The Kut – Valley of Thorns

The Kut by Canz Rickman

There is no doubt that the recent release of new single Mind Games stirred up a fresh hunger in an already in place appetite for the eagerly anticipated debut album from The Kut, in us and a great many others. Truth is we had already been hooked on the band’s contagious punk grumble ’n’ roll through their previous EPs but the new track’s fresh adventure and imagination brought fresh intrigue and pleasure to devour. It ensured that Valley of Thorns was leapt upon with rude eagerness and the fuse to further pleasure lit.

The album brings live favourites, some of which already known from those previous encounters, and brand new creative provocations; a union providing one rousing and increasingly impressive, dare we say essential slab of rock ‘n’ roll. Within its striking body it roars and seduces, attacks and coaxes, all the time infesting and manipulating ears, body, and imagination in a way which reminds of punk rock in its seventies prime but is all modern fire and attitude.

The Kut is the alter-ego of multi-instrumentalist Princess Maha and live a sonically ferocious trio completed by the moodily infectious basslines of Stella Vie and the swinging beats of Diana Bartmann. With their reputation growing by the year since emerging in 2010, The Kut has exploded upon venues across the UK and Europe and earned rich praise playing festivals such as Download, Camden Rocks, Nice N Sleazy, Rebellion, Hard Rock Hell, Glastonbudget, and Strummercamp. Support and acclaim has been rife across the media, radio and written press alike, and last year saw the band become a finalist in the Rock category of the UK Songwriting Contest 2017 as well as being a current Semi-Finalist of the International Songwriting Competition. It has been a busy and successful time which the release of Valley of Thorns can not only escalate but nurture The Kut as a household name.

Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.

The album’s stirring start continues with the rebellious rock ‘n’ roll of Hollywood Rock N Roll, a virulent slice of anthemic temptation which had us bouncing and roaring in no time with its Babes In Toyland/ Spinnerette-esque stomp. The latter of the two is a band which often frequents thoughts across the album, its snarls and instinctive catchiness reminding of the band even in a sound which is pretty much distinct to The Kut.

The following No Trace swings in like a predatory temptress, grooves writhing around ears with an almost salacious touch as dark hues of bass growl and beats firmly strike. It is a scuzzy affair, the songs body a muggy grunge trespass contrasted by Princess Maha’s harmonic vocal caresses which offer their one lining of danger. It too has a haunted sigh to its croon which just enslaved attention before I Want You Maniac grips ears with initially a gorgeous low slung hook and subsequently its infection loaded swing. A tinge of L7 lines its tenacious enterprise, a whiff of Hole its encroaching shadows; the song a volatile sonically visceral encroachment just impossible to have too much of.

The blossoming diversity within The Kut’s sound is superbly shown in next up Love In The Rush Hour, the song a collusion of harmonic kisses and predacious intent. It strolls with the inherent swing which effortlessly springs from the band’s invention but aligned to a caustic glaze of guitar amid fuzz twisted riffs; an entangling of contrasts which is as compelling as Princess Maha’s vocal temptation who at times can be described as being like the UK Brody Dalle.

I Am Vain is dirty rock ‘n’ roll with attitude flowing from every pore but as naturally infectious as anything within the album; its punchy nature spawning its own unique hooks and skilled enterprise while the mellower climate of Alekhine’s Gun breeds a prowling volatility which erupts in sonic flames and vocal abrasions; its irritations and discontent erupting and spewing rancor before simmering down back into the song’s relative calm. Though neither track quite match the heights of those before them each leaves ears and appetite greedy for more whilst revealing new shades in The Kut’s adventure.

A calmer air is brought by X-Ray Eyes too though unsurprisingly it has an inbred growl which fuels bold rhythms and its suggestive character plus an increasingly addictive catchiness which has song and the body bouncing as the first contemplates and the second submits to its moody enslavement. Its success though is soon eclipsed by that of Bad Man. A multi-flavoured rock ‘n’ roll virulence, the track is like a boiling cauldron spiced by the punk juices of Bikini Kill, the dark rock ‘n’ roll of  Jess and the Ancients Ones, and the infectious agility of Sleater-Kinney; it all brewing up into another individual Kut intoxication.

The album is completed by Mario, a raw pop ‘n’ rock encounter as beguiling as it is aggressive. Throughout the album another band which at times comes to mind is seventies outfit The Photos through the pop hues open within The Kut’s sound. Here alone there are coincidental echoes in its infectious traits which only add to the fun.

Being already hooked by their earlier releases, we were always likely to head into Valley of Thorns with a favourable disposition but swiftly it outshone anticipation heights, the new songs alone suggesting The Kut is ready to grab attention from the biggest names in attitude soaked rock ‘n roll.

Valley of Thorns is released via Cargo Records / Criminal Records on 13th April in the UK and Europe and May 18th in the US.

Forthcoming Tour Dates

TBA April Album Launch Party, London

26.05 Strummercamp Festival, Oldham

27.05 Nice n Sleazy Festival, Morcambe

02.06 Camden Rocks Festival, London – 2pm The Monarch

30.06 Rat InFESTation 2, Facebar, Reading

06.07 Amplified Festival, Gloucestershire

07.07 The Cotswold Inn, Cheltenham

14.07 Wemstock Festival, Wem

22.07 Tramlines Fringe, The Royal Standard, Sheffield

2/3/4/5 August: Rebellion Festival, Blackpool

http://thekut.co.uk    http://facebook.com/thekut   http://twitter.com/thekutgirlsrock   http://instagram.com/thekutofficial

Pete RingMaster 04/04/2018

The Dollyrots – Whiplash Splash

There are inescapable feel-good encounters and there are others which lead you into lustfully energetic engagements but there are very few which has the body and spirit engaged in a full on party of endless physical endeavour equipped with mischievous behaviour.  Whiplash Splash is one of the few, a feverish riot of sound and inhibition squashing incitement virtually tattooing a broad smile on face and mood.

Uncaged by Californian duo The Dollyrots, the band’s sixth studio album is a new wave of their bubblegum flavoured pop infested punk ‘n’ roll. A year ago, the pair invaded a new plateau in their sound with the Mama’s Gonna Knock You Out EP, itself continuing the new bloom of growth started by previous album Barefoot and Pregnant two years before that. Now the ‘invader’ has become the conqueror, Whiplash Splash owning the new level of creative maturity and instinctive contagion in the pair’s sound leaving the body exhausted and emotions flying in its wake.

If last year was a truly busy time for the couple of vocalist/bassist Kelly Ogden and vocalist/guitarist Luis Cabezas, with the release of the EP and a sold out UK tour with Bowling For Soup backing up the birth of their child, 2017 has the potential of being even hungrier on their time and virulent revelry with Whiplash Splash leading the way. As Mama’s Gonna Knock You Out, the crowd funded album was produced by John Fields with the duo and immediately has ears and attention enslaved with a proposition maybe best described as The Donnas and The Crystals meets Australian band Valentiine infused with Bowling For Soup mischief, a hint which covers all the album though really it is all best pinned down as simply The Dollyrots.

With the album’s title, imagery, and writing spun from Ogden’s passion for and longing to be a mermaid, as well as working as a metaphor for the band’s spilt time living in downtown Los Angeles and coastal Florida, Whiplash Splash just rips itself from the speakers with opener I Do. A squeal and coaxing beats hit ears before a swaggering stroll of Ramones like riffs and further tenacious rhythmic exploit punk instincts led by the catchy vocal lures of Ogden and the equally enticing throb of her bass. Feet and hips are just as quickly involved as too voice and appetite, the song simply punk pop devilry refusing to be ignored.

The following Babbling Idiot is just as virulent, Ogden’s harmonic romancing warming the angular surge of guitar and the sparking of solitary rhythmic seduction before it all boils up into another seriously addictive and physically persuasive chorus. The song has a slim seventies/eighties scent to it, occasionally bringing thoughts of bands like The Photos and The Waitresses, but roars with a punk ‘n’ roll zeal borne of today’s agitation and energy.

Next up is Mermaid, the song pure seduction from its harmonic caresses and flirtatious hooks to a sonic blaze fuelled by just as forceful bait. It is a creative collusion built for the listener’s slavish captivation, success captured within a handful of breaths with similar rewards sought and found by Just Because I’m Blonde straight after. With Cabezas’ guitar jangle the first chain of temptation, Ogden’s probing bassline the second, the track quickly prowls the senses with a lively confident swagger and a throbbing almost salacious backbone. Again hooks escape from each creative twist with B52s inspired keys just adding to the imagination igniting drama.

From its first breath, the album is a puppeteer to body and spirit, continuing its manipulation in fine style with Squeeze Me. Its initial rockabilly hued bass groove is alone enough to tempt submission, an almost taunting tempting soon fondled by sonic invention and subsequently joined by Ogden’s vocal saunter.  As words and song make an increasingly pop punk proposal no red blooded rocker can refuse, kinetic dynamics ensure class ‘A’ catchiness before This Addiction serenades ears with its own boisterously infectious swing and harmonic invention; its croon sliding melodic caresses across the senses like a sultry lover inflamed with lust borne energy.

Dance Like a Maniac more than lives up to its title as a persuasion, its bold and bruising punk rock a bully for feet and body swerves driving song and listener into zealous union while Saturday Morning with a great opening bass groan offers its own headstrong physical temptation. Riffs and rhythms alone are sparks for instinctive compliance and only assisted by the blend of hard and pop rock surging through the song’s imaginative tapestry of sound and ideation.

Both tracks leave lungs gasping for breath and pleasure over flowing, yet still get slightly eclipsed by the hip swinging incitement that is City of Angels; imagine The Runaways and Bikini Kill mixing with The Go-Gos and you have a sense of its mighty romp before things mellow out with the graceful Jump Start This Heart, a song lined with an electro pop shimmer and bound in melancholic beauty as a sonic fire burns in its heart.

The rawer pop ‘n’ roll of Pack of Smokes steps forward next, bouncing along as a caustic air hugs its fiercely catchy enterprise and energy, and though it does not quite match those before it, the song leaves satisfaction pumped before the outstanding Other Trucker with its reggae hinted, attitude soaked summer canter again has pleasure brimming over. As throughout, Cabezas’ vocal backing and unity with Ogden’s is superb, often understated but always a complimentary hue to her almost siren-esque presence, especially on this treat.

The album closes with Walking on Sunshine, The Dollyrots giving the Katrina and the Waves classic their distinctive craft and energy. To be honest, it is a song which has never lit our fires but that does not stop the twosome causing bodies to bounce in the office as the album ends in fine style.

Ogden and Cabezas have hit another high with Whiplash Splash, their loftiest yet in all aspects and fair to say, when put together by The Dollyrots pop and punk has never been more tempting.

Whiplash Splash is out now through Arrested Youth Records and is available digitally and physically @ https://thedollyrots.bandcamp.com/

Upcoming Live Dates

Mar 28 The Rebel Lounge Phoenix, AZ

Mar 29 The Hideout San Diego, CA

Mar 31 The Hi Hat Los Angeles, CA

Apr 01 The Slidebar Rock-n-Roll Kitchen Fullerton, CA

May 11 The Saint Asbury Park, NJ

May 12 Firehouse 13 Providence, RI

May 15 Cafe Nine New Haven, CT

May 16 Ottobar Baltimore, MD

May 17 Kung Fu Necktie Philadelphia, PA

May 19 Sunnyvale – Brooklyn Brooklyn, NY

http://www.dollyrots.com/    https://www.facebook.com/thedollyrots/    https://twitter.com/thedollyrots

Pete RingMaster 25/03/2017

Copyright RingMaster: MyFreeCopyright

Petrol Girls – Some Thing EP

PG_RingMaster Review

Originally formed for an international women’s day gig in 2013, feminist post-hardcore band, Petrol Girls have proved to be one fiery roar within British punk ‘n’ roll. Their attitude loaded, defiance fuelled sound has ignited many a venue across the UK and Europe as well as an ever increasing horde of eager ears, a success bound to be accelerated by the release of the Some Thing EP.

Inspired by the likes of Refused, White Lung, Bikini Kill, Fugazi, RVIVR, Propagandhi, At The Drive-In, and War On Woman, Petrol Girls create a ferocious brew of punk rock unafraid to embrace other spices. Certainly the six tracks making up Some Thing have varying echoes of those influences but equally there is a coincidental eighties punk/post punk essence which lures thoughts of bands like Au-Pairs, The Molesters, and Vice Squad. Lyrically too, the South East London hailing quartet pulls no punches in exploring and challenging sexism and other themes such as politics, alienation, the migrant crisis, and mental health. It all unites for one stirring and invigorating incitement and an EP which attacks, inspires, and rouses body and thoughts from start to finish.

PetrolGirls_SomeThing_Cover_RingMaster ReviewProduced by the band and Marta Salogni at Strongroom Studios, London, Some Thing embraces ears with fiery directness straight away through Slug. The guitars of Ren Aldridge and Joe York dance as they sizzle on the senses whilst the jabbing pokes of drummer Zock reveal a swing and relish which only sparks stronger involvement in the swiftly contagious and dramatic encounter. The darker prowling tone of Liepa Kuraite’s bass adds weight to the thick lure of the song too, a tempting enhanced further by the potent vocals and expression of Aldridge backed as potently by York and Kuraite.

The strong start kicks up another gear with Protagonist where short spicy grooves aligned to piercing sonic and rhythmic hooks instantly prey on ears and imagination. As in the first, a contagious energy and flirtation is a persistent beckoning, this time within a hardcore ire that has a Red Tape meets Billy Talent feel to it before an X-Ray Spex meets The Raincoats like confrontation shows through to stir up song and enjoyment even more.

Separated strolls in next, its mellower melodic landscape courting a catchiness which combined hints at the earlier mentioned band Au-Pairs. Expectantly, it too has a raw snarl and antagonistic nature which perfectly tempers and works with the calmer but no less imposing punk ‘n’ roll revelry, but as great as it is, the track is totally eclipsed by the outstanding Restless. The best track on the EP, it is a scathing sonic tempest which seduces as it wrong foots, sudden slips into warm caresses and virulent old school punk devilment complete with addictive hooks and abrasive intensity an inescapable enslavement. At certain points, the song has thoughts wondering if this is what The Slits would sound like if starting out now, but ultimately and once more the striking provocateur is distinctly Petrol Girls.

The predatory enticement and belligerent roar of System comes next, band and song creating infectious and intimidating emotive contumacy before Disgrace brings the EP to a close with its even more cantankerous proposal. Again as wilful and rebellious as both are, there is an underlying catchiness which has the body as hooked as ears and mind.

Petrol Girls is maybe a band on the outskirts of recognition, or was as that is surely going to change if the Some Thing EP gets its persuasive way.

The Some Thing EP is available on CD, Digital Download, and three-track 7” Vinyl featuring the first trio of songs above now via Bomber Music @ http://www.petrolgirls.bandcamp.com/

https://www.facebook.com/Petrolgirls

Pete RingMaster 20/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Dollyrots – Mama’s Gonna Knock You Out EP

dollyrots_RingMaster Review

Currently romping around the UK alongside Bowling For Soup on their How About Another Round Tour, Californian pop punks The Dollyrots certainly got things off in fine style with the release of new EP Mama’s Gonna Knock You Out. The three track escapade is a prime slice of the band’s melody fuelled, hook enriched bubblegum punk, and a piece of tempting sure to entice a great many more to the host of dates already past and ahead.

Formed in 2001 and centred round vocalist/bassist Kelly Ogden and guitarist/vocalist Luis Cabezas, the Los Angeles band has released over twenty increasingly potent proposals across a host of singles and EPs as well as a clutch of eagerly received and devoured albums over the past decade. For a great many, the band’s last album Barefoot and Pregnant breached a new plateau in attention and their distinctive sound which their new John Fields produced EP rousingly continues, starting with opener Save Me.

MGKYO - cover_RingMaster ReviewBeats and guitar strikes immediately tempt with the nagging melodic prowess of the band at close quarters, they setting the scene for the mischievously toned vocals of Ogden to begin leading the revelry within. Her bass provides a shadowy tempering to voice and the vibrancy around it, especially when the song relaxes into a reflective moment, whilst the fiery enterprise cast by the strings of Cabezas collude fluidly with electronic spices additionally colouring the song’s infectious theatre.

The seriously energetic and engaging lure of pop ‘n’ roll is matched in kind by the punkier flirtation of Little Medusa. Buzzcocks like hooks soon emerge as the track breaks into a virulent canter lit again by the ever drawing tones of Ogden with guitar and keys courting her persuasion with matching temptation. If The Shangri-las were a punk band it is easy to suggest they would sound like The Dollyrots, especially listening to pop contagion like this.

Closing romp Sweaty Hug My Love is the rawest of the three encounters within the EP but still an inimitable hug on ears and appetite as the band creates something which incites like a mix of UK band The Poly-Esters and The Go-Go’s with a Bikini Kill snarl to the sonic beauty. Feisty and knowingly devilish, the track is a superb end to another invigorating stomp of feel good rock ‘n’ roll from The Dollyrots.

With a live CD/DVD release called Family Vacation scheduled for March, 2016 is already looking like another exciting year for band and fans wherever they are.

The Mama’s Gonna Knock You Out EP is available now @ https://thedollyrots.bandcamp.com/album/mamas-gonna-knock-you-out-ep

Remaining dates on the 2016How About Another Round UK Tour featuring Bowling For Soup, The Dollyrots, Lacey, and MC Lars.

10 Feb – Guildford G Live

11 Feb – London Roundhouse

12 Feb – O2 Academy Bournemouth

13 Feb – Southampton Guildhall

14 Feb – Cardiff Great Hall

15 Feb – O2 Academy Bristol

https://www.facebook.com/thedollyrots   https://twitter.com/TheDollyrots   http://www.dollyrots.com/

Pete RingMaster 08/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Sassy Kraimspri – Cock Fight

SassyKraimspri3

Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

http://www.sassykraimspri.com/   https://www.facebook.com/SassyKraimspri

RingMaster 01/06/2015

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

Chasing Dragons: Take Flight For A Firefight

In already a year of immense debuts maybe the most impressive of all comes on August 13th with the release of Take Flight For A Firefight from melodic metal/rock band Chasing Dragons. It is a release which quite simply leaves the heart afire with unbridled passion and enthusiasm , the UK rockers flooring expectations and the senses with their introduction to the world.  If you had any doubt about the state and future of British rock music then Chasing Dragons easily lay it to rest.

Formed in 2011,the quintet from Leeds fuel passions with a riotous mix of metal and rock n roll. They bring the aggressive bite of The Distillers and snarling punk energy of Bikini Kill into a refreshing blend with classic metal flavours from say an Avenged Sevenfold and the melodic prowess of a Paramore. What emerges is something unique to Chasing Dragons laced with familiar spicery to make for an instantaneous pleasure and connection. The band has been picking up a very strong and rapidly growing following as through their stage performances which has seen them alongside the likes of Attack!Attack! (UK), The Headstart, Skarlett Riot, and Our Innocence Lost to name a few. Take Flight For A Firefight though will throw the band to much loftier plateaus once it rampages through the ears of metal and rock fans  nationwide, the EP that impressive.

As soon as the first electrified riffs of opener Spawn Of The Succubus light up the ear one is immediately and fully drawn into the moment as if nothing else exists and as soon as the outstanding vocals of Tank spread their stunning tones throughout the song, the world is a distant memory. There is something extra in the character of her delivery and voice which demands and receives willing attention, whilst her control of melodies and intensity sets her apart from most other female vocalists anywhere. The song itself is a fury of scything scorched melodic play and inciting muscle bound riffs from guitarists Mitch Sadler and Zebs alongside the thumping explosive rhythms of bassist Ant Varenne and Tom Wheelwright on drums. The track has a gnarly core within the open infectiousness of the golden melodies and contagious hooks to give it a depth and hungry presence. It throughout is lighting up the senses with majestically enticing craft and  imagination but all the time also chewing on them with an underlying greed.

The startling and captivating start is backed up by the following bristling harmonic glory of Mirror’s Edge. A softer yet no less riveting appeal to the ear, it is an evolving piece of invention fusing military rhythms to enchanting melodic caresses from music and vocals alike. It then turns the emerging brew in to a punchy storm of expressive and incendiary energy. Again as on every song the voice of Tank is something special, a wonderful piece in the arsenal of a band just as special itself. Even though it only two tracks in on their debut the promise of the band let alone what they lay before the ear is overwhelming.

Rivalling the opener for best song is the brilliant Seeds Of Tomorrow, a song which showers the listener with glittering melodies , golden harmonies, and sparking guitar play, like confetti. The song is full contagion brought with a potency of craft and songwriting which is staggering. It does not offer any restraint on their power either, the song a wondrous slice of metallic rock n roll.

The bulging release also offers up the excellence of the hypnotic City Of Steel to further have one licking their lips as well as a very impressive cover of the Alannah Myles track Black Velvet, which is no lie to say leaves the original in its wake. The EP is completed by remixed demo recordings of Into The Pit and Under The Earth which in their rawer form still show more promise and accomplishment from the band than can be found in other studio releases, plus two excellent live acoustic songs of again Into The Pit and Spawn Of The Succubus.

Take Flight For A Firefight is simply staggering and the cause of full excitement to what is sure to come in the future. Chasing Dragons is already on the verge of something special and we can only be the winners, so no point in waiting go and enjoy now.

http://www.chasingdragons.co.uk

RingMaster 08/08/2012

Copyright RingMaster: MyFreeCopyright

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