Crushing landscapes with US metallers Backblast

US outfit, Backblast, create a heavy metal roar embracing the flames of other styles and flavours. It is a proposition which is constantly growing and evolving as well as building on the success of the Manassas, VA hailing band’s well received debut EP, of 2015, The Area is Clear. We recently had the chance to get to the heart of the band with drummer Chris Tamberella, exploring its origins, growth, the band’s latest attention drawing release and more….

Can you first introduce the band and give us some background to how it all started?

We are a five piece metal band consisting of Dan Cunningham on vocals, Jake Ford on  lead guitar, Adam Pritcher on rhythm guitar and backup vocals, Wilsen Rivera on bass and myself, Chris Tamberella on drums. In 2015 Dan and I, along with original guitarist Marcos Eguia, began recording tracks in Dan’s basement. After 6 months of writing and recording, we decided to bring the studio to the stage.

Had you been involved in other bands before?

Wilsen has been in a number of projects including Kaemon, Bourne of Ash, Greythor, Pandora’s Box, Sanguinus and some solo work on Wilsen’s Sessions.  Dan was is a heavy metal band in Newport News, VA called Kaivol Motak who enjoyed local success.  Jake was in a band for a few years in high school and since has filled in periodically for the Miami based band Inferion.

What inspired the band name?

The majority of our band members are military veterans and have experienced the back blast of an RPG before.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

There was no specific sound that we targeted at first. We played what came naturally which was best described as rock. After recording The Area is Clear, we wanted to add more to our sound but didn’t know exactly what we were looking for. Enter Adam Pritcher and his heavy riffs and we were on our way to making metal songs. Since then we added Wilsen on bass which opened the doors for another evolution in the band with his ability and experience. The final piece to our sound is the addition of Jake Ford. Adding a lead guitar to our sound has provided more opportunities for growth and another evolution in our sound. With the addition of Jake we are steering in somewhat of a power and progressive metal sound. Who knows what we will create in the future.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Our band has evolved in all aspects including what drives us now. As a band we want to push ourselves and churn out the best sound possible. That can only occur if we are all driven individually and as a unit. When we started in Dan’s basement we were messing around and seeing what came out. Right now we feel like the sky is the limit between the five of us and are excited for our next release and to continue bringing our brand of metal live on the east coast.

Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?

Everything that happens with our sound is organic and nothing is forced. We certainly want to try new things but we haven’t limited ourselves into what we are trying. If it feels right we move forward. If it’s clunky or not smooth than we move on to something else.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

With five guys in the band there are many different inspirations. We all share some of the same likes such as Black Sabbath, Dio, Lamb of God, Iced Earth but some of us like reggae, jazz, classical music, electronic music and more. For myself as a drummer I am inspired by Chris Adler of Lamb of God and Jimmy “The Rev” Sullivan of Avenged Sevenfold.

Is there a general process to the band’s songwriting? 

Most of our songs are based off guitar riffs. Sometimes that riff is structured before it comes into the band room or it may just be a small riff that starts with a jam session and grows into a full track.

And lyrically, where do you draw the inspirations?

Past experience, current political climate and what happens inside Dan’s head (which could be scary).

Would you give us some background to your latest release?

Our latest release is a four song concept EP, The Ringmaster. It revolves around an evil entity “The Ringmaster” who has pulled in all the outsiders of society and placed them under his spell. He lures with them with the promise of hope and acceptance but his true motive is to create an army of minions. After realizing their fate those who have come under his power rise up to fight back. In this story the good guys just might not win.

Give us some insight to the premise behind its songs.

The first song, The Ringmaster, tells the story of our protagonist and gives the listener a hint of his plan. Next is To the Grave which lets the newly acquired minions understand what is actually in store for them under the big top. The third track Uprising is when the battle begins. The minions have come together to throw down with “The Ringmaster” for an epic battle of good and evil. Our battle finally comes to a bloody finish with Bend the Knee. Who will be left standing?

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We are 100% ready to record each track when entering the studio. Studio time is a pricey endeavour and we don’t like to burn money. The blade is sharpened before we hit record.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Our live shows are our bread and butter. I promise you will not be bored. At one point you could be two feet away from a slinging guitar or about have Dan singing in your face. Our shows require audience participation and I promise you won’t be able to resist joining in.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

Our region has had a recent bump in the past year but it is an uphill battle. The underground metal scene has some very strong bands and personalities but the only way we grow is standing side by side. We are doing our part to make sure the scene keeps pushing.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?

At this point social media is crucial for BackBlast and for all underground bands in any genre. On one hand social media gives any band exposure that would typically cost a ton of cash for free. On the other hand our music is free. There seems to be some formula for success through social media and we are still doing the math.

 Our big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Right now you can grab a free copy of our EP, The Ringmaster, by going to our Facebook page. Give it a like, and shoot us a message to get your free download code!

Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright

The Ugly Kings – Darkness Is My Home

Towards the tail of last year Australian blues rockers The Ugly Kings left a rather fertile and extremely tasty teaser for their debut album in the shape of two-track single Promised Land. Now we can reveal that all the hints and intimation offered then of something special coming ahead have been forcibly realised with the band’s first full-length, Darkness Is My Home. The release is a powder keg of muscular rock ‘n’ roll, a cauldron of suggestion and haunting darkness, and most of all simply one of the most powerful creative roars heard in a long time.

From the coarse grain of the delicious bass sound to the suggestive clang of the guitars and from the lyrical atmospherics to their vocal realisation, Darkness Is My Home is pure uncompromising temptation, one as dynamic as it is seductive and as cinematic as it is intimately haunting. In fact it is so much more than that outstanding first single implied, and still offering more after a multitude of listens.

Formed in 2011, the Melbourne quartet soon stirred local and subsequently national attention through their live presence and in turn 2015 mini album Of Sons. The past two years has seen the band share the stage with Rival Sons in Melbourne (2016), support Airbourne on their successful sold out 2017 east coast Australia tour and this year open for Papa Roach on their two shows in The Ugly Kings home city. Darkness Is My Home can only open bigger doors and opportunities, the album thrusting the band into the realm of the big boys without even a knock on the door.

The album opens with the outstanding Promised Land and instantly hooks ears with its initial lure of sultry guitar and vocal expression. Frontman Rusty Clark has a voice which commands attention, a musical orator you just want to listen to and backed by just as compelling sound throughout song and release. The smouldering brooding of the song is transfixing, only escalating its lure as resonating beats and the first of a tide of irresistible basslines across Darkness Is My Home breaks. Igniting into a robust stroll with a searing groove, the track is pure captivation and increasingly so as it repeats its cycle with greater lust and vigour. Rock ‘n’ roll does not come much better as this imposingly infectious and skilfully manipulative encounter though it is undoubtedly matched throughout the album.

The following Black Widow also makes an instant impact with the beats of Andy Alkemade sending ripples of resonance across the senses with every impact before Christos Athanasias’ guitar begins its prowl alongside Clark’s vocal incitement. The earthy growl of Nick Dumont’s bass is just as riveting, the four conjuring a predatory yet seductive dark romance with threat in every note and suggestion in every syllable. Influences to the band include the likes of The Doors, Jack White, Black Sabbath, and Royal Blood, flavours you can sense but as in the first and those to come the track is as unique to The Ugly Kings as you could wish.

The fiery rock ‘n’ roll of Raging Bull has a more animated gait though it comes in an ebb and flow which stabs at the senses with purpose and mischief before being uncaged in a rich blaze of melodic lava while Killing Time borders on the carnivorous with its gorgeously gnarly bassline and romantic with its melodic and vocal reflection. The uniting of contrasting textures is masterful and Dumont’s bass manna for personal tastes whilst the song’s croon is just impossible to resist. Both songs light up ears and imagination, fire up the passions though we can say that about every track within Darkness Is My Home.

Love Enemy with its slow swagger of a stroll brings calm after the clamour of its predecessor but one lined with dark provocative shadows and magnetism as sinister as it is infectious. Its catchiness is inescapable, swaying hips and over worked neck muscles our evidence with the imagination just as involved as words and tendrils of sonic enterprise entangle before You And Me brings is boozier intoxication to bear on ears. The band’s passion for the blues is a constant roar in their skilfully eclectic sound, The Ugly Kings infusing it into their own power fuelled designs, each individual to the next as proven by the volcanic heat and earnest swing of yet another gem.

Another great trait of the album is that every song feels like old friends within a couple of listens, Lazarus drawing vocal chords into play even before it finishes its first influential roar, the ballad a pyre of power and individual intensity.

The album is brought to a just as rich close by firstly Little Birdy Told Me; a cauldron of senses singed grooves and ever welcomed rhythmic trespasses aligned to the striking prowess of vocals and unpredictability, and lastly The Fire. The closer has the heat its title suggests but before it reaches that intensity, simmers and smoulders around vocal melancholy and defiance. When it catches, the track is a furnace of sound and intensity but just as powerful when it’s sonic and atmospheric kindling is just glowing.

Darkness Is My Home is quite simply glorious, a rousing beacon among already a host of great and powerful heavy rock releases. The Ugly Kings better get their passports in order because we get the feeling the world is going to want them blazing away in their backyards hereon in.

Darkness Is My Home is out now via Kozmik Artifactz; available @ https://theuglykings.bandcamp.com/ and http://smarturl.it/DarknessIsMyHome

https://www.facebook.com/TheUglyKings/   https://twitter.com/theuglykings   https://theuglykings.bandcamp.com/

Pete RingMaster 25/04/2018

Copyright RingMaster: MyFreeCopyright

Promethium – Faces Of War

There is nothing better than hearing, release by release, the growth of a band in craft and sound especially when their potential is realised step by step whilst offering plenty more promise to be anticipated. Such has been the case with British metallers Promethium, a band who has openly blossomed record by record and now breaches a whole new plateau with Faces Of War.

Creating a sound merging old school with modern rapacious flavours, Lancaster hailing Promethium formed in 2007. Inspirations to the quintet included the likes of Black Sabbath, Metallica, Megadeth, and Pantera, essences still colouring a sound today which is as individual to its creators as you would wish. Quickly releasing their first EP, The Revenge, it was in 2009 and with debut album, Welcome to the Institution, that the band grabbed our, as so many others, attention. It was a raw yet accomplished introduction rich with that earlier mentioned potential brought to some fruition in its successor Origins four years later. As it built upon its predecessor’s strengths, so Faces Of War builds upon the second album but with a far more dramatic impact in songwriting to imagination to craft.

A concept album with each song offering a different perspective to war, the album launches at the senses with opener Enemies of Fate. A portentous sonic tone lures a march of riffs and rhythms into view with grooved armoury in its midst as vocalist Steve Graham swiftly joins the attack. It is a composed assault though, the band almost sizing up the listener rather than going at them full charge, providing a healthy mix of intrigue and predacious intimation. In no time guitarists Dan Lovett-Horn and Rossi are weaving a transfixing tapestry which is more than matched by the great vocal backing unity between Rossi and bassist Henry Greenwood; just two aspects in the inescapable maturity and growth in the band’s sound already being unveiled.

The outstanding start is followed by the similarly impressive Declaration. From its initial grooved trespass and Graham’s earnest calls, the track just wormed its way under the skin. The swinging strikes of drummer Kev Yates potently stir the senses, their rapacious incitement aligned to the groaning contagion of Greenwood’s bass as again a great maze of sonic enterprise is cast by the guitars with Curran Murphy guesting with a flavoursome solo. Drops in intensity brings spoken words from Nev Jones as Graham croons, a fluid twist which subsequently sparks a roaring finale before the outstanding P.O.W steps forward with its own dark clouds and intent. Grooves and rhythms instantly collude around vocals as an irritability fuels the nature of the track, essences of those aforementioned influences to the band spicing the volatile air of the track.

A shadowed calm is brought in by next up Shell Shock, its atmosphere as claustrophobic as it is seductive. That reflection rich restraint intermittently erupts in a cauldron of turbulence and emotive turmoil yet all the time guitars continue to weave a suggestive web of melody and predation. It is another gem and though only four songs in fair to say Faces Of War had us firmly hooked; a grip only tightened by 20,21,15 and its wirily grooved stroll. With Barry Mills sharing vocals with Graham across the song it boils with sonic dexterity while rumbling with rhythmic manipulation.

Such the massive heights of the first half of the album maybe it is inevitable that the task of living up to what came before slips up meaning personal tastes are not always stoked up as rigorously yet everything about Turncoat, from its vocal mix and rousing rhythms to sonic invention, is an ear grabbing proposition. It just misses some of the major sparks of its really striking predecessors.

As soon as the grooved webbing of Stolen Valour wraps ears straight after appetite was back to greedy, guitars and rhythms almost dancing on the senses with their snarling and badgering enterprise as again a vocal blend simultaneously entices and harries. With every passing minute the track simply blossoms as it evolves, harmony loaded vocals and creative unpredictability fuelling its compelling arsenal of invention. Another candidate for best track it is swiftly followed in matching captivation by Final Solution, itself an almost deceptive proposal being as intimidating and predatory as it is invasively infectious.

Featuring one of our favourite guitarists in Jay Parmar, Kill on Demand is one of those rousing anthems which have thoughts and spirit as eagerly active as the body. Led by the crunching beats of Yates and the brooding tones of Greenwood’s bass, the track is a magnetic fusion of old school and current ferocious metal shaped by the ever imaginative work of Lovett-Horn and Rossi and capped by the stylish raft of Parmar.

The album closes with its title track, another rigorously catchy and aggressive creative raid warlike in its tone and galvanic in its character. Epitomising the fresh strength and guile not forgetting that real maturity in the band’s sound, the track is a masterful conclusion to one mighty fine release.

Promethium and their sound just go from strength to strength, in turn so too pleasure. Yet there is still the feeling that they are yet to hit their full potential which considering the sheer unrelenting  quality of Faces Of War is something to keenly anticipate.

Faces Of War is available now @ https://www.promethiumband.com/product-page/faces-of-war

https://www.promethiumband.com/    https://www.facebook.com/Promethiumband/    https://twitter.com/promethiumband

Pete RingMaster 12/02/2018

Copyright RingMaster: MyFreeCopyright

Exploring the lures of The Lunar Effect

Hailing from London in the UK, The Lunar Effect is a band making a potent impression on the Capital’s live scene and through their debut EP, Strange Lands released last year. We caught up with the band to find out more exploring origins, inspirations, the muse of “demon seductress soul stealing women” and more….

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

We are Jon, Dan, Josh and Brett and we are The Lunar Effect. It all started with Jon messing around with some solo songs which then developed into a gigging band. Jon’s brother Dan joined, then after a few gigs with other musicians Brett came in on bass. Josh joined soon after that when he answered an advert we put out for a singer. Job done!

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yeah, we have all been in different bands and played as solo artists. You learn from the mistakes you have made in previous bands and try to avoid doing the same thing. It is important finding band members you get along with on a personal level; being a good musician just isn’t enough if you’re also a prize bell-end. If you’re not getting along it can seep into the music you make, then you’ll find it influences the style and direction you take going forwards. That’s why when we put an advert out for a singer we specifically said no dickheads.

What inspired the band name?

A lot of people often think it is because Jon has a daughter named Luna, but the band came first and it’s spelt differently anyway so we can nip that one in the bud. It is actually inspired by the moon and all of the elements in life that its cycles and phases had been said to affect through time, whether true or not.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We all just wanted to be musicians and write music, so forming a band is obviously what you do. It has taken a while to find the right people, but now we hope we can offer something a bit different. Basically some really good songs as an alternative to a lot of the rubbish that’s out in the mainstream right now.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

The goal remains the same. It’s always been about making good music with good people and having a laugh along the way. If we can make money from doing this then that’s a bonus. As time goes on you learn to be more selective with things like which gigs to take and which to pass on. You also learn where the pitfalls and charlatans are and how to avoid dealing with them.

Since your early days, how would you say your sound has evolved?

When the band first started it was mainly songs that Jon had already written himself that we just tweaked. We had a more lo-fi, grungy sound. As we have settled and grown into the new line up we have pushed ourselves more and found a sound drawing on all our influences.

 Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

Originally it was more organic, with each of us bringing in new ideas and influences. It just started to flow over time until we felt we were happy with it. Now we try to build on our sound by trying new ideas and pushing the boundaries, experimenting with new styles and noise while still keeping that vintage sound that is our essence.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

We like all sorts, from 70’s bands like Black Sabbath and Pink Floyd to bands like Soundgarden and Silverchair. There are a load of great bands around at the moment that people may not necessarily have heard of, like The Heavy Eyes, Mars Red Sky, Kaleidobolt, etc. The list goes on.

Is there a process within the band which generally guides the writing of songs?

It varies from song to song, but our latest songs usually come out of refining a jam or a riff. Sometimes it takes us weeks to finish an idea, other times they’re finished quicker than it takes to play it through which is cool. We’re good at criticising each other too, bad ideas don’t last long.

 Where, more often than not, are inspirations to the lyrical side of your songs found?

As far as inspiration’s go we cover the classics; women, drugs, women on drugs, demon seductress soul stealing women, trivial existences, crippling pain and yeah, the classics.

Give us some background to your latest release.

Our last release was an EP called Strange Lands. It’s very much sci-fi themed, from the cover to the lyrics and everything in between. Our first full album should be out by the end of the year. It’s shaping up to be a bit of a belter. You can see us performing a song from it for Hunter Studios Live sessions here: https://www.youtube.com/watch?v=aFrGNrBJXrU

 Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Generally we like to have the bones of the songs all rehearsed and gig tested. Then we can experiment with different techniques and add more layers to the track if we find something that fits and improves the song as a whole. We make sure we record more than we need, that way we can try out new ideas, see what works and what doesn’t and then cherry pick the best stuff.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Well I wouldn’t say it’s necessarily our favourite part but obviously we do enjoy it. We also enjoy writing and recording in the studio.  We always have fun at live shows though, as hopefully do the people who come out to watch us.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

No, it’s hard locally as most local venues keep closing and everyone just goes to Wetherspoons. In London it’s the complete opposite. There is an oversaturation of venues which makes it harder to promote, especially with all the high entry fees, though you do learn with experience as we said earlier on. Gigging in Europe is a good idea. The promotion and pay can be a lot better and it’s all generally better organised. They really look after you.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

The internet is good for self-promotion and getting stuff out there, though getting people to actually click and listen is still difficult. It would be interesting to know how many of the people that read this interview will then go on to actually check our stuff out. Again, it is a good thing if you have the money behind you to pay professionals to handle the social media side for you, but that goes against what it is meant to be in the first place.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Just thanks for taking the time to read this and we hope that you do check us out on Facebook and all the other sites. You never know, we could be your next favourite band.

Check The Lunar Effect out further @ https://www.facebook.com/TheLunarEffect/  and https://thelunareffect.bandcamp.com

Pete RingMaster 06/12/2017

Copyright RingMaster: MyFreeCopyright

IAmFire – From Ashes

With the self-titled debut Mary Beats Jane album one of our all-time favourite releases, we have kept a close eye on the exploits of vocalist Peter Dolving especially with his time in The Haunted. So there was certain anticipation when news of a first album from IAmFire emerged, a project originally seeing Dolving linking up with bassist/vocalist Mikael Ehlert, guitarist Peter Ahlers Olsen, and drummer Ulf Scott. Now completed by drummer Jakob Mygind with Rasmus Revsbech, the Copenhagen outfit swiftly and increasingly surprise, feed, and captivate with From Ashes and its feast of heavy psychedelic/stoner rock bred adventures.

From its first breath From Ashes imposes its presence and qualities upon ears and imagination, opener Magpies and crows forcibly prowling the senses with ominous riffs and hefty beats. It soon settles into a heavy footed magnetic stroll though as the contrasting but equally tempting warm tones of Dolving settle upon the trespass. Fusing essences akin to Electric Wizard, Black Sabbath, and Kyuss with the grungier spicing of a Gruntruck, the track submerges the listener in a weighty embrace of sound and hypnotic charm.

It is a compelling start carrying on into next up Did you find your name, the song sauntering in on a mellow melodic breeze driven by boisterous and instantly rousing rhythms. As its predecessor, its presence is immediately contagious, Dolving vocally and the band musically weaving a celestial tapestry of suggestion with a lurking lining of shadow bred implication. That dark inclination erupts with increasing intensity as the song twists and turns, its rapacious Palms spiced heart sharing its creativity with melodic stimulants and increasing imagination.

Burn your halo shares a more irritable nature in its grunge lined rock ‘n’ roll next with its successor, Eyes wide open, descending into psych rock foreboding and seduction, again with an ever present edge which keeps the senses wary and ears transfixed. Both songs infuse unpredictable and tantalising twists in their already riveting bodies, the second casting a sonic incantation with a raw Jane’s Addiction like air, and each leave ears and appetite just wanting more.

That need is potently fed by For what it´s worth, its tribal rhythmic predation and invasively dancing grooves as addictive as Dolving’s vocal incitement which carries as much portentousness as reassuring calm. Bordering ritualistic, the track is creative manipulation with increasing dexterity before a similar but individual persuasion is cast by Beamer. It too has a volatility which maybe threatens rather than erupts but adds to the song’s body and imagination involving mastery with the drums an addictive ringleader once again.

The album concludes with firstly My mistake, a ravenous cosmic infestation, and lastly through the caustic yet suave tenacious shuffle of Inside. As the album overall, both tracks simply get under the skin with the puppeteer qualities of the rhythms and irresistible trespass of the grooves, they just two aspects in their individual multi-layered and flavoured examinations.

From Ashes is psych/stoner manna with rabidity in its enterprise controlled by an imagination which barely recognises restraint itself, in its midst Dolving may be exploring his own finest moments yet. Simply it is striking irresistible stuff; so seems we have another to add to our persistent favourites.

From Ashes is out now via Elevation Denmark and available @ https://iamfirerocks.bandcamp.com/album/from-ashes

https://www.facebook.com/IAmFireband/    https://www.instagram.com/iamfireofficial/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

The Ugly Kings – Promised Land

With their debut album slated for release early next year, Australian rockers The Ugly Kings recently provided a rather flavoursome teaser for it with Promised Land. Offering two tracks cast in the band’s “power blues” sound, the EP weaves a temptation as atmospheric and haunting as it is bold and fiery, both songs rich in a potential suggesting that forthcoming full length just has to be checked out.

Formed in Melbourne in 2011, The Ugly Kings draw on the inspirations of bands such as Led Zeppelin, The Doors, The Black Keys, Muddy Waters, BB King, Black Sabbath, Dead Weather, and Royal Blood for their sound. It is a mix which brought the band’s mini-album, Of Sons, praise carrying attention in 2015 and now makes a striking invitation within Promised Land.

Though you can quibble whether a two track release is an EP or single, there is no denying Promised Land inescapably grabs ears and appetite with its title track. An opening sultry stroke of guitar courts the imagination though it is the instantly striking tones of vocalist Rusty which really hook attention; his potent presence backed by the imposing drama brooding beats of Andy. As further elements unite, the song raises to yet another level, hitting a majestic stroll which initially is almost predatory before becoming a celebratory fire of energy and suggestion.  Its masterful cycle repeats, increasing its hold on body and imagination second by second; the guitar of Christos creating a web of fiery temptation as the bass of Nick makes a grumbling, almost irritable trespass easy to greedily devour. Imposingly infectious and skilfully manipulative, the track is glorious and reason alone to explore that future album.

Even so, personal tastes just took to companion song, Wash Me Of My Sins, with instinctive lust. Like an aural equivalent of a flickering sepia hued film, the song shimmers with the twang of guitar and those ever compelling vocals. Its slow crawl is a shadow wrapped enticement more rejoice than funereal leading to an energy fuelled, spirit arousing canter which still embraces a reserved intensity in its dark country/psych rock canter. With a harmonic tapestry of voices around the ever compelling presence of Rusty, the song seduces listener involvement and imagination with sublime ease; just stealing best song honours and uniting in suggesting that the next encounter with The Ugly Kings is not to be missed.

Promised Land is out now and available @ https://theuglykings.bandcamp.com/album/promised-land

https://www.facebook.com/TheUglyKings/    https://twitter.com/theuglykings

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

Devil Electric – Self Titled

Looking for some new dark and heavy rock ‘n’ roll, especially some with flames of lava-esque blues within encroaching doom bred shadows? Then there is a good chance that the debut album from Australian heavy rockers Devil Electric will have the senses buzzing. Offering nine predacious slabs of seventies inspired heavy goodness with a virulent catchiness in its grooves alone, the release declares a new mouth-watering force in town.

Hailing from Melbourne in the midst of 2015, Devil Electric swiftly began honing a potent reputation for their sound and live presence, the latter seeing the quartet play alongside the likes of Truckfighters, The Sword, Kadaver, and Endless Boogie over time. Last year saw the well-received, highly praised release of their first EP, The Gods Below, which saw the band subsequently lured by and signing with German label Kozmik Artifactz for the release of their swiftly gripping self-titled album.

It opens up with Monologue (Where You Once Walked), quickly raising intrigue and appetite for spicy portentous rock ‘n’ roll with its opening prowl. Entangled in juicy grooves and driven by raptorial riffs and rhythms, the track soon steps into a seriously contagious stroll, thumping beats and intrusively pulsating bass lures a bestial temptation and grooves a fiery vining of the senses. In the midst of the instinctive seduction the richly magnetic tones of vocalist Pierina O’Brien roar; her voice another irresistible focal point among so many in the song fair to say.

The starter is glorious, almost reason alone to check out the album but quickly matched by the equally compelling exploits of Shadowman. As quickly as the first grips ears and imagination, its successor swings on them with irresistible dexterity and endeavour, grooves again winding around the appetite as rhythms belligerently unload their intent. Marching through ears with an antagonistically commanding air, the track proceeds to spread fiery fingers, guitarist Christos Athanasias spinning a web of flirtation as the blended trespass of bassist Tom Hulse and drummer Mark Van De Beek court and invade the senses.

The sultry flirtations of Lady Velvet wind their charms around the listener next, O’Brien leading the heated vines of the guitar with her beckoning tones. Alongside her Hulse’s voice makes a potent backing, always understated in the mix but a firm texture which works perfectly with O’ Brien’s. Ultimately the song maybe does not have the same thrust as its predecessors, preferring more of a smouldering attack but it too is created from a tapestry of sonic imagination and rhythmic enticement this time with just a sense of physical rabidity involved.

Acidic Fire similarly has a fire borne climate and siren like call to its body, O’Brien the central protagonist but more than matched by the sonic weaving of Athanasias. In many ways the song crawls over the body and psyche, enjoyably searing the senses before the bestial gait and muscle of Monolith brings its own instrumental sludge thick crawl to bear. After its softening up of defences, the mercurial air of The Dove And The Serpent immerses ears, its climate soaked in danger and seduction as it dances in ears like a sonic equivalent of festivities bred from a mix of venomous isolation a la The Wicker Man and The Witches.

Both The Sacred Machine and Lilith with their individual trespasses keep the rich temptation flowing, the first with its invasive yet bewitching blaze of sound and intensity, the second with its haunting atmosphere and exotic mystique. The latter is an instrument which swiftly has the imagination conjuring whilst seeming to set up the atmosphere of the equally enticing and occasionally salaciously moody Hypnotica. The closing track and the band’s new single, the song is six minutes plus of flaming ambiences, emotive intensity, and sonic webbing; all primed to seduce and enslave the senses and in turn the imagination.

It is a mouth-watering end to a striking at times ear withering but persistently thrilling first full outing with Devil Electric; a band seemingly drawing on the inspirations of bands such as Black Sabbath, Graveyard, The Dead Weather, Jess and the Ancient Ones, and Blood Ceremony but forging their own individual incantations.

The Devil Electric album is available now via Kozmik Artifactz @ https://devilelectric.bandcamp.com/album/devil-electric

http://www.devilelectric.com/    https://www.facebook.com/devilelectric    https://twitter.com/_devilelectric_

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright