Zedi Forder – I Don’t Want To Set The World On Fire/Ditties 1 EP

For us one of music’s best adventures over the past decade has been the creative emprise of songwriter/vocalist/drummer Chris Kerley; an escapade taking in acclaimed releases from bands such as Tricore, An Entire Legion, Rind Skank, Kid Golhum and now Zedi Forder. It has been a journey Kerley has for the main taken with guitarist Mark Carstairs but is now just the songwriter with new creative mischiefs on board for the latest encounters from the latter of that long line of great projects.

Ahead of a new single released this December, Zedi Forder recently unveiled the Ditties 1 EP, a collection of tracks which did not quite fit the alt metal/rock palette of the band but more than deserved a full airing. It is fair to say that each has the inimitable touch and character of a Kerley song, his distinctive tones and melodic prowess unmistakable as too the devilish humour which always lurks around his compositions and often takes over the driving seat, but just fall outside the palette of the band’s previous offerings.

With guitarist April Cox and bassist Rich Tomsett alongside Kerley and more of an indie pop/rock sound to its contents, Ditties 1 opens up with Fine Wine. It is a song which as soon as its initial bass lure is joined by a similarly enticing guitar hook has the body swaying, a bolder bounced incited by its lively and increasingly bold, defiant and tongue in cheek stroll. With a Queen-esque hue to its captivation and imagination, the track needed barely a play to get under the skin and have mutual participation involved.

Teasing hooks and sultry shimmers accompany the entrance of Forget about me next, one of a couple of songs which would not have glaringly been out of place within the bands outstanding debut album of last year we would suggest but certainly have their own particular flavour. It too swiftly and easily had attention and involvement hooked, Kerley just as adept at breeding pop songs as more predacious encounters.

I Am with its piano elegance and intimation as well as Cox’s great harmonic backing tones simply beguiled especially as its opening arms brought a virulent rock ‘n’ roll saunter while Sit and Wait provides an relatable intimate croon which again had body and thoughts swaying in pleasure and recognition before Something Else shines with its crystalline balladry and emotive charm.

The EP also features two bonus tracks in Football in the park and Spookums though the latter is not listed, songs which share the same reggae/folk devilment and indeed tune as too Reeves and Mortimer like humour and released previously during the World Cup and Halloween periods respectively; tracks which dare you not to join in with the biggest knowing grin.

As mentioned the EP was released ahead of a single; that track being a cover of The Inkspots classic I don’t want to set the world on fire. Embracing the forties nostalgia of the original with their own particular misbehaviour, the track bewitched ears and vocal chords, again rather quickly and enjoyably. It is a track which makes the perfect Christmas song if you have no appetite for the infernal creative clichés and bells most have to come with.

With a highly anticipated new album slated for next year, both Ditties 1 and I don’t want to set the world on fire make for a great appetite pleasing slice of Zedi Forder; a one of a kind treat few can emulate.

The Ditties 1 EP is out now as a pay what you want purchase via https://tricore.bandcamp.com/album/zedi-forder-ditties-1-indie-rock-punk-ep with I don’t want to set the world on fire released December 7th.

https://www.facebook.com/zediforder

Pete RingMaster 01/12/2018

Copyright RingMaster: MyFreeCopyright

Icarus Dive – Among The Thorns

Radiating out from their home town of Guildford, there is a buzz around British alternative rock outfit Icarus Dive that simply teases attention. It is suggestiveness though which will become a demand if they continue to offer and grow even more potent from new release, Among The Thorns. Four tracks of creative adventure aligned to mischievous imagination, the EP is a joy to ears and unpredictability providing plenty to be truly excited by.

The release is headed in order and irresistibility by Hydra, a track which is pure creative theatre. Zooming in on a sonic wave as a vocal barker announces its and the band’s arrival, the song swiftly strolls through ears with a gait as much a sinister prowl as a celebratory saunter. Grooves immediately wrap around ears, seducing as the rapier swings of drummer Louis Nanke-Mannell slice through the moody lines cast by Harry Crowe’s bass. The equally captivating lead vocals of guitarist Joe Crook trigger a new swagger of sound flooded with drama as too is its accompanying harmonic backing. There is a definite Muse like spicing to the moment but as throughout the track, Icarus Dive breeds their own individuality to lure ears and appetite like a moth to a seductive beacon. The track is superb, twisting and turning with zeal to perpetually surprise and captivate.

Such its dynamic craft the following trio of tracks are simply eclipsed for personal tastes but starting with Murder and Lies, each offers their own fiercely enjoyable and compelling adventure. The second track coaxes ears with a simple niggle of guitar which is quickly joined by the ever alluring tones of Crook. It is a low key but gripping coaxing that escalates in animation to entice darker hues from the bass alongside the crisp dancing beats of Nanke-Mannell. As within its predecessor, melodic craft and rhythmic verve sparks expectations squashing vitality, the track constantly a fire of adventure and imagination further ablaze with almost vaudeville like drama aligned to boisterous energy and fun.

Mesmerised is next revealing harsher wiring in its initial encroachment before springing into an emotive glide with a whiff of bands like KingBathmat and Zedi Forder to it. Whereas the first pair of songs made an immediate compulsion for ears and lust, their successor took its time to truly blossom but time which only ensured success as the band’s ideation and individual prowess united in another flame of aural temptation.

The EP ends with The New Gods, another relative slow burner in comparison to those before it but quickly a web of magnetic enticement nurtured by the snare of guitar wires alongside inviting but almost predatory rhythms. Crook’s vocals just escalate the trap of fascination and contagion as the song completes a thoroughly striking and richly enjoyable encounter.

 Among The Thorns is the introduction of one thickly promising and already strongly impressing band to national attention though it is easy to think recognition and praise is not going to stop there.

Among The Thorns is out now across most major stores and @ https://icarusdive.bandcamp.com/

 https://www.icarusdive.com/    https://www.facebook.com/icarusdive/   https://twitter.com/IcarusDiveUK

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

The Survival Code – Hopelessness Of People

Checking out recent single Crawl combined with the potency of previous releases, we declared The Survival Code a band it is so hard for us not to be excited about. That track was the second teaser for the London based outfit’s new album; an intimation alongside its predecessor of something to truly anticipate. Having feverishly devoured the full-length we can announce that Hopelessness Of People not only lives up to the promise offered by its singles but has emerged as one of the year’s major gems.

Formed by Dubliner Gary McGuinness, The Survival Code has bred and earned a rich reputation since emerging late 2011, each release seeing their imaginative rock bred sound openly growing and evolving backed by a live presence which has constantly proven itself a rousing experience. Though numerous musicians have been alongside lead vocalist guitarist McGuinness, it has been his long term link up with drummer/backing vocalist Tom Cook which has been the heart and power of the band. A trio for their acclaimed Matt Hyde (Trivium, Slipknot, Ash) produced 2015 debut album, MMXV, and the subsequently just as striking Broken Strings EP two years later, The Survival Code has slimmed down to just the core duo upon Hopelessness Of People and the band has never sounded more powerful, dynamically bold, and rousing.

With Hyde again producing, Hopelessness Of People takes mere seconds to entice and thrill ears with opener Same Skin. Its initial guitar shared lure is a calm intrigue ridden coaxing which soon flares up with rapacious energy as Cook’s beats court their own infectious trespass of a swing. McGuinness’ vocals are just as captivating, like the sounds a blend of melodic composure with underlying aggression and volatility. Embracing rock in its various shades alongside a twinge of punk irritability and metal bred ferocity, the track and band’s sound soon establishes its inescapable identity though with its tenacious almost stalking hooks and hungry grooves there is a certain Sick Puppies hue to the excellent encounter, a spicing which enjoyable lingers across the whole release in varying degrees.

Crawl is next to snare thick attention, immediately imposing with its senses harrying riffs and formidable rhythmic swing. From its already infectious threat, appetite wrapping grooves and imagination stoking twists combine for a web of contagious enterprise matched by the equally compelling vocals of McGuinness in turn backed by Cook’s potent tones. There is a touch of Coheed & Cambria to the track, a pinch of Adelitas Way too as well as the aforementioned Australians but the song rises to be all The Survival Code. As a single it got us lustful to hear Hopelessness Of People and still does each and every time roaring from within its midst.

A calmer entrance by the following Take It As It Is only brings a mutually eventful slice of melody rich and highly catchy hook loaded alternative nurtured rock where rhythms swing with muscular intent and emotion fuels vocal expression while Anything Goes These Days strolls with emotive tempestuousness in its heart and raw power in its snarly breath. In their individual ways, both songs had the body and imagination bouncing, the first especially with its keenly crafted unpredictability.

One of the album’s early tasters is next, Along The Way a single earlier this year which effortlessly hits the spot whilst leaving a lingering breath which again just draws intrigue and attention the way of the album. Though the track does not have the incendiary dynamics of Crawl, it is a virulent persuasion which again has the body dancing to its whims before Self Medicate wraps thoughts in its emotive balladry and the imagination in a tapestry of creative and vocal intimation. A slow burner compared to its companions within the album, the song just grew by the listen enticing purposeful contributions from hips and vocal chords.

In so many ways the track epitomises the almost deceitful virulence of Hopelessness Of People, quietly nagging away yet openly seducing with its resourceful breeding; a template just as successful behind the decisive enterprise of Not Working. It is another which seems to be a touch subdued compared to other tracks but the truth is clear when from nowhere we found ourselves repeating melodies and a chorus which had burned itself into the memory.

Damn these Survival Code boys are devious and at it again within the smouldering and increasingly fiery and just a bit funky This Time Around. McGuinness and Cook unite to weave a contagion of hooks and melodic grooving as tenacious as the expectations devouring exploits of the song, repeating the feat with new imagination for the quite outstanding and devilishly tempting Too Late and in turn Next Step. Another major favourite here, the second of the two borders on the feral, its metal seeded antics spring grooves which demand subservience and riffs which harass to the point of addiction. Around them, melodic flames and vocal angst roar to add to the undiluted captivation.

The final pair of Integrity and Goodbye proves there is truly no moment within the album which is lightweight in presence and enjoyment. The first has a vocal calm which rests perfectly within the more unevenly tempered air of the song though McGuinness’ delivery has a hint of prickliness to it too while the closing offering is a slice of magnetic rock ‘n’ roll which too mixes hushed aggression with volatile energy whilst casting an infectious wind of melody woven turbulence and emotive exclamation.

Quite simply releases like Hopelessness Of People are the reason our hunger to devour new music is more lustful than ever. It is an appetite which has been rewarded so many times this year alone but few as relentlessly and powerfully as by The Survival Code.

Hopelessness Of People is released Friday 31st August, through Good Deeds Music Ltd.

 https://www.thesurvivalcode.co.uk/    https://www.facebook.com/thesurvivalcode    https://twitter.com/thesurvivalcode

Pete RingMaster 30/08/2018Copyright RingMaster: MyFreeCopyright

Lara Smiles – All For You

There are times when you can only expect plaudits and ears to come chasing an encounter and one such moment is surely to surround the release of the debut album from British singer songwriter Lara Smiles. A truly magnetic festival of resourceful sounds and lively imagination, All For You is as rich in its variety and enterprise as it is determined in its aim to get the body bouncing and involved in inhibition losing fun. It is a treat of an introduction which just seems to get more impressive and manipulative by the listen.

With music never far from her ears and passion since a young child, seeds laid by the sounds her parents were playing, Lara has grown to embrace a host of styles and flavours which has nurtured the variety and diversity in her own writing and music. Among a host of major inspirations, the likes of Tina Turner, The Beatles, Paul Simon, Queen, Prodigy, The Strokes, Yeah Yeah Yeahs, Muse, Beth Ditto, Green Day and Middle Eastern music heavily feature yet as her first full-length reveals, they have only gone to spark her own musical individuality. Since emerging she has also become a praise drawing presence on the UK live scene supporting the likes of Pete Doherty and playing some of the biggest festivals, including Glastonbury four times, the Isle of Wight Festival, and The Great Escape as well as also finding herself collaborating with The Orb, guesting on the new Shed Seven album, Instant Pleasures, and singing with The Australian Pink Floyd Show for the past eight years.

Mixed by Jamie Grashion and legendary producers Michael Rendall and Martin Glover aka Youth (Primal Scream, The Orb, Pink Floyd), her self-produced debut album is poised to thrust Lara into the limelight in her own rights. That is our expectations here and every venture through All For You only cements our thoughts.

© Hannah Smiles

Breeding a boisterous and tenacious, often ferocious blend of alternative rock and contagion loaded pop with a just as eager appetite for punk, electro and industrial rock with plenty more besides, the album opens up with the swiftly and increasingly magnetic Coincidence. A spiral of electronic enticement entangles ears first as crisp beats pounce, their combined lure soon reinforced by the hungry riffs of Lara’s guitar. Instantly intrigue and drama lines every emerging tendril turning, it evolving crystalline glamour and beauty as the song breaks into a melodic stroll alongside the seductive tones of Lara. The mercurial edge to the track though continues as its writhes around like a creative dervish, tantalising and fascinating at every turn whilst getting the release off to a tremendous start.

It is an overall inescapable enticement which continues through the following Save Yourself. Bubbling electronics and boisterous guitar align to the darker stroll of Joe Singfield’s bass as the rustle of Sara Leigh’s beats tease before leading the song in its own individual canter. In turn there is a devious urgency and aggressiveness which breaks out as the chorus escapes a calmer build up though that too has a dramatic edge which just sparks the imagination as potently as ears. Lara’s vocals have rich variety which relish her imagination and the equally diverse tapestry of sounds she ventures forth across this track alone it emerging as a compelling slice of punk lined pop ‘n’ roll.

The album’s title track comes next, bounding in on an irresistible incitement of a bassline which continues to manipulate as vocals and melodies dance. Ridiculously infectious and persuasive to hips and vocal chords, the track simply seduced compliance and participation whilst igniting an already firmly placed appetite for the release before Dictate Peace explores a whole new landscape of Eastern spiced teasing and imagination. Its summery stroll and breeze radiates captivation but also the darker shadows and strains of drama which impose their intrigue throughout; it all adding to a riveting invention which sees the listener taken through a web of creative espionage.

And It Hurts follows with its initial gentle elegant charms to the fore. They continue to entice as the fire in the heart and belly of the song smoulders and ignites note by note. With its blaze increased, energy erupts but so too another striking collusion of textures and flavours with the track continuing the great unpredictability of its predecessors and their instinctive contagion.

The folkish grace and melodic beauty of Oh How is pretty much aural intoxication straight after, Lara’s voice intimation carrying seduction and radiance while Disconnected provides a controlled but virulent contagion of pop rock with a compelling blend of spikiness and winning grins to its stomp. In turn, Zombie preys on the senses and body with its emotive irritability and electro funk catchiness. Like all tracks, it soon reveals its individually inventive escapade of unexpected twists which only accelerate its slavery of ears and involvement.

Penultimate song, The Fightings Over, needs mere seconds to have everything robustly involved in its punk ‘n’ rock bred bounce as thoughts align to its lyrical exploration, a tempestuousness in its air and attitude only adding to the incendiary theatre perfectly setting up the contrasting mellow and glowing yet melancholic repose of final track, Turn It Around. The individuality of this pair alone songs epitomises the variety thick All For You as a whole and of Lara’s songwriting which seems so effortlessly to cast real diversity and adventure.

There have been a few releases which have truly inspired and aroused us here this year, a couple this month alone and All For You sits boldly alongside giving real undiluted pleasure. Whether it sees Lara Smiles a household name we will see but it will surely establish her as one of our most exciting and unique talents.

All For You is released September 7th via iTunes and other stores with its album launch show @ the Sebright Arms, London August 30th.

http://www.larasmiles.com/   https://www.facebook.com/larasmilesmusic/   https://twitter.com/LaraSmilesMusic

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Das Fluff – Anxiety Dreams

Though last year we came to the third album from Das Fluff late, we devoured the temptations within Flower With Knife last year like a kid in a candy store. Released in 2016, it introduced an artist who had an instinctive agility in grabbing attention and ears whilst seducing the imagination. It also sparked keen intrigue and anticipation for the full-length’s successor which the band was beginning to breed at the time we discovered the release. Now we stand poised on the lip of the release of Anxiety Dreams and all we can say is if you were wrapped up in the pleasures of Flower With Knife and its predecessors you really have only been dipping your toes in the post punk electro rock filth fuelled delights of Das Fluff.

Das Fluff is the creation of Berlin/London-based vocalist/writer/producer/rhythm guitarist Dawn Lintern, an artist who like the band’s sound just evolves and grows as an artist by the record. Alongside her is long-time collaborator Christian Ruland, a similarly magnetic presence with his electronic and visual art prowess. 2011 saw the release of debut album Would You Die for Me? with Meditation And Violence following two years later. Both encounters awoke ears and attention to the dance and drama loaded enterprise of the project though it is fair to say that it was the acclaimed Flower With Knife which really awoke a whole new wave of recognition and fans. With lead guitarist Joe Dochtermann alongside the pair, Anxiety Dreams can be expected to ignite even greater and broader awareness amidst a tide of plaudits the way of the band with its every breath, layer, and shadow echoing the intimation of its title.

The album roars into life with Millennial, a track which instantly had appetite and imagination on red alert as fluid electronic squirts align with inescapably coaxing beats while electro punk tendencies gather. In no time it breaks into its infectious stroll with Dawn’s melodic tones as mercurial in expression and attitude as the sounds around her. It is a rousing start to the album, a magnificent trespass of temptation and multi spiced sound seeing lips being licked for what is to follow.

The album’s title track is next up providing a prowling enticement with a matching vocal intent from Dawn as rhythms pulsate. Its electro post punk swells remind of Fad Gadget, an inherent catchiness which lines every dark breath and flirtation within the excellent seduction before Bleed Me Dry brings its own almost tenebrific yet radiant climate to immerse within. There is a far heavier tone and intent to the song compared to the previous one, an imposing threat cast by determined rhythms, the brooding bass of guest Wendy Solomon, and a gothic lined tone which is defiant and bold in its attitude.

Next up is Ringmaster, already a favourite offering from the band here. Released as a single and teaser earlier this year, it is a song which we have a natural connection with not only through its name but in the fact we somehow managed to be a part of its inspiration or rather our review of Flower With Knife was. A richly alluring serenade with a lively energy and pulse, the track rises from a sonic sigh and melodic caress with the ever magnetic presence and tones of Dawn leading the way. Immediately there is a drama to sound and voice; words emulating the theatre as the song’s sawdust earthiness colludes with melancholy lit but elegantly seductive harmonics. As burlesque nurtured shadows continue to envelop the darksome heart of the encounter, a Stevie Nicks-esque hue tinting the vocals, intimate shivers breed at the lure of the crepuscular but starry romance.

Through the irresistible strains of the rather outstanding Animal, a punk bred slice of rapacious electro rock with a deviously manipulative swing and imagination and the predacious almost vaudeville like antics of Freaks, the album evolves yet another shade of adventure and invention. The first of the two manages to be simultaneously hypnotic and feral, Dawn coming over like an especially magnetic Siouxsie Sioux within The Creatures like heart of the track while its successor probes and teases with feline grace within a dark visceral captivation as untamed as it is seductive.

The apocalyptic shuffle of Obey is a web of samples and stirring enterprise where dark predatory clouds and sonic winds trespass the psyche amidst melodic viscera and vocal dynamics. As its rhythmic incitement invades hips, the track invades thoughts and fears with devastation in its dust. As the previous track and Ringmaster, the song sees additional guitars from Stefan Missfeld to add to imposing drama so easy to devour though it still gets firmly overshadowed by the simply glorious affair that is The Cure. Smouldering surf kissed strokes of guitar are the first seduction on offer, Dawn’s melodic prowess the second with both undiluted seduction from the start. There is an intimacy to the album’s best song which feels like you are the focus of its intent while a sixties glaze just adds to its beauty, Dawn like a bewitching blend of Susan Maughan and Chantal Claret but as unique as the music hugging the senses.

The final pair of Rise and Supervolcano ensures that Anxiety Dreams leaves with a lingering touch and tempting. The former also has sixties pop colouring to its much more intense dynamics and suggestiveness nurtured by conspicuous imagination and equally lays blossoming seeds in thoughts for best song honours with the latter matching its fascination through its climacteric breath and inevitable destiny built upon portentous temptation and shamanic beguiling.

Anxiety Dreams is a release with so much in its intrigue carrying layers and diverse depths that each outing is a fresh adventure. We were already locked in an on-going affair with Flower With Knife but quite simply its successor leaves it trapped in its shadows as Das Fluff treads a whole new plateau of creative sorcery.

Anxiety Dreams will be released September 20th via Sohappymusic.

Upcoming das Fluff Live Shows:

September 14 – The Railway Hotel / Southend

September 20 – Monster Ronsons / Berlin (DE album launch)

October 26 – Paper Dress / London (UK album launch)

October 27 – The Railway Hotel / Southend

November 2 to 25 Asia Tour: Thailand, Malaysia, Vietnam including 23-25 November The Quest Festival, Hanoi, Vietnam

 http://www.dasfluff.com     https://www.facebook.com/dasfluff/   https://twitter.com/dasflufftwit

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

The Stone Angels – Self Titled EP

We first came across The Stone Angels when researching for a piece on the debut album from fellow Brits, Brighton hailing Stone Angels in 2015. This subsequently led us to checking out for pleasure the first full-length from the Torquay in Devon trio, Spirit, Love & Higher Meanings upon its release the following year. It proved to be an ear pleasing melodic rock bred endeavour which ensured attention, reaching well beyond us, found and stayed upon the band. Now the threesome has unveiled their new self-titled EP offering up more highly enjoyable slices of their lively sound.

Described as the ‘South West’s best kept secret’, The Stone Angels consists of guitarist/vocalist Dan Nathan, bassist Nathan Hughes, and drummer Sam McIver. It is fair to say that their so called ‘anonymity ‘ has not stopped their reputation and fan base swelling through that debut album and performances at numerous well-known festivals and appearances on BBC Introducing in Devon. With a UK tour across September following their new EP, we suggest that the band will feel another increase in attention as they continue their strong emergence on the British rock scene.

The EP opens up with To The Light and immediately ears are faced with forceful but inviting riffs and firm rhythms to which spicy grooves add their lures. Electronic enticement joins the track’s threads of enterprise as it settles into a calmer stroll, a reserved moment building towards a fiercer expulsion and a quickly virulent and rousing chorus.  Providing a strong and ear grabbing start to the released, the song only increases its captivation by the minute and listen; its rock ‘n’ roll not particularly unique but oh so contagious.

The following Animal matches its predecessor in imagination and potency, unveiling its chorus early on with equal catchiness involved. With Nathan providing magnetic backing to Dan’s similarly strong lead vocals, the track infests ears and body movements with its bold classic meets hard rock stroll. The grumble of the former’s bass is just as manipulative to rock ‘n’ roll instincts as the swinging raps of McIver; it all together providing another seriously enjoyable offering.

With its acoustic entrance Fear easily entices attention, firmly gripping it with its evolving pop rock saunter. There is a main hook at its middle which just dares you to ignore it, an impossible task, while melodies and keys weave their own warm come-on to the imagination as the track establishes its infectious character and prowess.

A cover of The Human League’s Don’t You Want Me follows. As it is a song which we have always instinctively and totally disliked, it would be unfair to pass judgement but the trio do grab it with a firm hand without making it their own before closing the EP up with Set Me Free. The final song brings the release back on track with its pop catchiness and bold rock ‘n’ roll tenacity, a slight Spandau Ballet hue only adding to its robust attraction.

Thoroughly enjoyable from the off and increasingly impressing by the listen, The Stone Angels EP confirms the band as ones to keep a keen ear upon especially as their individuality maybe hinted at here blossoms ahead.

The Stone Angels EP is released August 24th.

http://www.thestoneangels.co.uk/   https://www.facebook.com/TheStoneAngels   https://twitter.com/thestoneangels

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Static Fires – Thirteen

Static Fires have a name which seems so familiar that we were sure we had covered them before here but could find no evidence to back up that thought though it still lingers. Similarly their sound has a roar and character which feels like an existing friend but with no definition to exactly why and to be honest neither thing is particularly important anyway as the Welsh outfit has provided one richly enjoyable and enterprising offering in the shape of debut album Thirteen.

Hailing out of Swansea, Static Fires emerged in 2014; formed by old school friends in lead vocalist/guitarist Sam Randles, lead guitarist/vocalist Jack Clements, bassist Tom Gibbins, and drummer/vocalist Jack Piper. Inspired by the likes of Red Hot Chilli Peppers, Foo Fighters, and Kings Of Leon, the foursome create an alternative rock sound which indeed has led to comparisons to those prime influences but as Thirteen shows, it has a certain voice of its very own too.

The album quickly grabbed ears and keen attention with opener Rollercoaster, its opening caress of guitar a calm and suggestive invitation from within which the animated bass of Gibbins strolls bringing equally tenacious riffs and melodies from the guitars. That lining of familiarity to the band’s sound is a quick presence as the song’s swing kicks in but only adds to the enjoyment and rousing prowess of the encounter. Keenly infectious and rhythmically manipulative, the track is a dynamic start to the album, one which is maybe never quite surpassed thereon in but certainly rivalled a fair few times.

New single Black Velvet is one harrying its stature, the track a funk rock infused stroll with muscular linings to its twists and turns. Clements’ vocals, as in the first, impress and entice within an enterprising weave of sound cast over ears. A blues breath adds to its inescapable lure, the song swift and constant magnetism before Hit the Gas revs up and cruises in with thick rhythms and rousing grooves. Within seconds it had us rising to our feet as it proved itself one of those major rivals for best track honours with its virulent adrenaline fuelled, sleekly bodied rock ‘n’ roll.

Return is next, evolving from a mellow almost melancholic suggestion to a raucous blaze though its fire in heart and sound still comes with enterprising restraint while Like the Sun bounces along with a summery air and catchy dynamics. As its predecessor, it is a track which does not quite exploit the hints of lusty adventure it gives but easily gets inspires an appetite for more of the same.

The album’s title track has a steelier edge and tone to its presence, a whiff of early U2 escaping the guitars early on. It too is a song which promises big things especially in its verse and ever sharp hooks but does lose that blade a little once its chorus and roar escapes. Nevertheless, the track is pure magnetism with its devilish imagination

The final pair of Blood Red and Fix Myself complete the highly enjoyable release with their individual romps. The first is a fiery slice of rock ‘n’ roll; a tenacious and ballsy encounter with an emotive flame to its roar which soon established itself as another favourite here. Its successor has its own hearty holler this time aligned to a more ballad bred but lively presence. As all tracks it is a seriously catchy proposition and like the album as a whole one which just grows and impresses more and more by the listen.

Only true uniqueness is lacking from Thirteen yet every minute on offer is fresh and adventurous, maybe more importantly thoroughly enjoyable. It pushes Static Fires towards the biggest national spotlights and you can only sense from their release that they will thrive on the new attention.

Thirteen is available now across most online stores.

https://www.facebook.com/StaticFires/   https://twitter.com/staticfires

Pete RingMaster 12/08/2018

Copyright RingMaster: MyFreeCopyright