Hailing from the suburbs of Melbourne, Desert Kingdom recently made their introduction to greater attention with their self-titled debut release offering seven slabs of fiercely muscular stoner bred rock ‘n’ roll relishing the band’s inspirations. Certainly uniqueness is not as forceful as the physical power and prowess of the band but there was no escaping a richly pleasing and rousing first glimpse of the potential loaded quartet.
Consisting of vocalist Ritch, guitarist Emmett Young, bassist Brett Wright, and drummer Paul Coste, Desert Kingdom swiftly get down to business as opener You’ll Burn descends on ears with sinew woven riffs and swinging beats. Instantly infectious, it is a commanding coaxing for ears only increasing its potency as choppy tenacity infects those initial chords and a heavy grumble escapes the bass. The raw scowling tones of Ritch are equally as persuasive, it all combining for a fiery slice of stoner heaviness clothed in the influences of bands such as Orange Goblin, Kyuss, and Down.
The atmospheric, drama soaked entrance of Mafiaso Opera deceptively makes a gentler proposition but its sinister air is soon a tempestuous torrent of catchy beats and predacious riffs. As vocals rage spicy grooves wind around the rhythmic temptation, varied metallic strains linking arms in a familiar yet fresh incitement. Brawling with the senses through every passing second, the track quickly eclipses its impressive predecessor, stomping with raw aggression and captivating enterprise before Doghouse Blues prowls with an equally rapacious intent to that of the previous track while military seeded rhythms impose their agreeable authority. Like a blend of Gruntruck and Pantera with a whiff of Mary Beats Jane, the track irritably rumbles leaving satisfaction full if not quite matching the heights sparked by the pair before it.
If the last track prowls then 7 Years stalks the senses with its doom bred trespass, sonic flames erupting within the pressure as choice grooves entwine voice and the engaging ponderous gait of the rhythms. It too lacks the sparks of those early successes but again only and increasingly pleases as its waspish sound intensifies in tandem with the song’s boisterous aggression with subsequent blues toxicity adding to the fun.
Abstainer rocks like a lustful dog next, its hungry riffs and heftily swung rhythms alone a carnal incitement while Fuck You is sonic belligerence and muscular aggravation bred to raise the spirit as the release re-hits the early plateau it began upon. With spicy hooks and scorching grooves, the track has all the attributes and open potential to raise expectations that Desert Kingdom will come under the scrutiny of the broadest spotlights if not now in the time ahead.
Concluded by the boozy blaze of Whiskey, sawdust and spit rock ‘n’ roll with all the groove laced liquor you could wish for, the release is a very easy to return to stomp. Originality might be a touch on the scarce side but enjoyment is full, something never drawing complaints.
The Desert Kingdom album is out now via Black Bow Records across most online stores.
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Pete RingMaster 01/03/2017
Copyright RingMaster: MyFreeCopyright
The progressive ingenuity in the latter stages of the song only adds to a theatre of sound and craft which continues in the imagination fuelled emprise of Haarlem Struggle. An exotic acoustic opening is soon a tempestuous wall of lumbering confrontation, though that early spicing still flavours the bracing proposal of primal intensity aflame with senses enveloping harmonies. Strains of death and groove metal among other bold spices are equally glimpsed in the brewing maelstrom, teasing and thrilling ears though not as much as the subsequent spiral into experimental adventure towards the track’s rear where Boss Keloid conjure an alchemy best described as a bedlam of Faith No More, Trepalium, 6:33, and Destrage.
Buckfast For Breakfast opens the album, an easily relatable repetitive vocal sample the spark to a wall of cantankerous riffs and rapier like rhythms. It is a senses trespassing confrontation, swiftly bound and veined by wiry grooves with richly engaging toxicity to their wandering sonic hands. The raw vocal squalling of Nat Gavin adds to the intrusive hostility tempering the melodic flirtation and the instinctive swing to the track’s stalking gait. It is an ear gripping start firmly backed by the blues intoxication and fiery rock ‘n’ roll of Losing Things. With Gavin’s caustic delivery, tracks are inevitably going to challenge with attitude loaded animosity yet as proven here, The Bendal Interlude merge it skilfully with a melodic/stoner prowess and addictive sonic contagion which gives every assault a captivating and inviting personality.
Marauder looms up on the EP first, an emerging sonic mist filling air and ears before a brooding bassline and spicy grooves entangle around punchy beats and the instantly alluring grizzled vocals of Ray. Swiftly thoughts of Black Sabbath through to Red Fang come to mind as the track swings and saunters purposefully across the senses and into the imagination. Its toxic sultriness also has hints of the raw ferocity found in bands such as Possessor and XII Boar if not with the fierce and aggressive rabidity they possess. As a sign of things to come, the mesmeric roar continues to evolve and soar into fresh adventure; smouldering climates and seductive flames with psych rock veining wrapping the senses as intensity and energy ebb and flow to pleasing success.
Conan frontman Jon Davis, its limited to 300 vinyl release a joint unleashing with a CD/digital assault from Burning World Records. The album is a heavily consumptive provocation which swallows and chews the senses with a creative rabidity which simply intimidates under the massive weight of doom spawned atmospheres and malevolence. Just as ravenously though, the release leads the listener through inventive weaves which dazzle in elegance and seduce in majestic radiance though never truly released from the hands of rancorous oppressiveness.