HOT-TIPPED METAL CREW LEFT FOR RED, NATIONALLY UNVEIL THEIR STUNNING DEBUT ALBUM!

Left For Red Online Promo Shot

‘Pantera-influenced metallers Left For Red are loud, heavy and will make you wanna throw your super-size Coke over someone.’ -Jennyfer J. Walker, Kerrang!

‘This is metal as it ought to be, from a band with great potential’ – Rocksound, 8/10.

Oozing gargantuan riffs and imposing melodies, Midland metallers ‘Left For Red’ step up with their enthralling debut album All Things Known and Buried, out through Burning Halo Records on 27th April.

Hailing from the same fertile region that bred metal kings such as Black Sabbath, Napalm Death, Diamond Head and Judas Priest, Left for Red were spawned in 2010 and soon soaked up the records of Sabbath and Judas Priest before spreading their wings to help form their own blend of modern heavy metal.

The past four years have been very productive for the midlanders; they have built up an army of followers and are well renowned for delivering stunning live performances. Sharing stages with the likes of Chimaira, Crowbar, Beholder and Breed 77, and winning Kerrang!’s TNA competition, have all contributed to the band’s growing stock. Added to that, the metal monkeyshave nationally released two killer EP’s: ‘Vol 001 – Empty Shell’ and ‘Vol 002 – Mercy Flight’, which both picked up considerable national and widespread online praise including rave reviews from Kerrang!, Big Cheese and Rock Sound.

The five-some surge forward with their first full-length debut album, entitled ‘All Things Known and Buried’, which is unleashed in April. This record etches a line in the sand and it’s poised to mark the band as a true force within the UK metal scene. Stacked with pounding riffery, immersing vocal passages and intricately woven layers, the album offers up nine beefy slabs of cutting edge modern metal. Current single ‘Master Of The Game‘
( http://youtu.be/C0GKtzvLv-g) is a true statement of intent; so too is the magnificent ‘Reborn’ with its Tool-esque hook that will leave you pining for more. Look out for the raucous metal-heads when they bring the party to your town, as they plan a flurry of shows and festivals this year.

LEFT FOR RED LIVE:28th February – Album Launch – 02 Academy, Birmingham; 28th March – The Unicorn, Camden, London; 25th April – The Old Sal, Nottingham; 15th May – Mosh Against Cancer Festival – The Lomax, Liverpool; 16th May – Lower George Inn, Gloucester; 30th May – Midlands Metal Crusade – Slade Rooms, Wolverhampton; 20th June – Hard ‘N’ Hevy Fest – The Dollhouse, Abertillery.

Left For Red

www.facebook.com/leftforreduk https://twitter.com/leftforreduk

– LEFT FOR RED RELEASE ‘ALL THINGS KNOWN AND BURIED’, OUT 27th APRIL THROUGH ALL STORES –

Possessor – Stay Dead

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Like so many we were ravished and bewitched by Electric Hell, the debut album from UK metallers Possessor which was unleashed last year. It was a tremendous persuasion of sound and enterprise reinforced by a retrospective listen of their first EP Wings of Fire, which came out just a few months before that impressive full-length. They have a sound which is raw and voracious yet unafraid to embrace a melodic and sonic toxicity come seduction which is as fierce and flavoursome as the hostile and sinister landscapes it infiltrates. Now band and music has drawn a new lustful submission with new EP Stay Dead, a release realising all the qualities of its predecessors in new and raucously adventurous exploits.

Hailing from London and formed late 2013, the trio breed their insidious temptation masquerading as sound through merging occult metal with sludge and thrash bred hues and tenacity. It is a fusion emerging with a sense of familiarity yet providing distinctly new and incendiary provocations and temptations. They are like a mix of Black Sabbath, Electric Wizard, Kylesa and Therapy?, a hellacious assault on the senses and demonic seducing of the psyche.

cover     The EP opens on a real high of a track and the release never does anything but look down from lofty heights again. Lucifer Stay Dead opens on a rumble of motorbike before descending on the senses swiftly after with a tsunami of riffs from guitarist Graham Bywater and bassist Marc Brereton. With swinging beats just as feverishly hostile and immediate aligned to a sonic enterprise from Bywater sparking early lusty reactions, the track prowls and snarls with bestial irreverence. The song is simply predatory, everything about it soaked in real hunger and antagonistic ferocity. There is no letting up of its intensity either, those ravenous riffs seemingly gaining in strength and appetite across the track whilst rhythms simply grow bigger balls of attitude within a flaming melodic web.

It is an exceptional start matched by Night of Venom straight after, a track which launches itself on the senses with an even heavier and intensive assault. Of course it also comes with that instinctive seduction, an exciting sonic spicing which tempers the viciousness. Brereton’s bass delivers its dirtiest, rabid tones ever though, whilst the contagion of riffs and grooves coring the encounter, like in its predecessor, has a repetitive niggling which simply evolves into an irresistible addiction. This is where that Therapy? essence comes in for us, the song reaping the nature of the same type of persuasion which lit up the N. Ireland trio’s early work.

With it definitely being too short, fair to say you cannot get enough of its primal tempting, the track makes way for Cobwebs, a smiling slice of pop rock. Nah don’t be silly, the song is another portentous stalking of the senses, though to be honest it does have a more respectful swagger to its energy and character too. Of course this is bound in menacing and dark hearted bass growling and just as grizzly riffery, whilst the drums almost call out for mercy such the psychical and gripping sledging they get. It many ways the track is like the darkest Hammer Films of the seventies, its demonic presence and nature wrapped in alluring colourful designs set to entrap before the horror begins.

The EP closes with Lights Out / Crypt of the Sorcerer, the darkest, chilling, and most toxic offering on the release, arguably from Possessor ever. Its classic psych charm is a deceit within a cavernous smothering of devil seeded ensorcellment, the appetiser before a devouring of senses and emotions within a swamp of thrash sculpted riffs and occultist violation. It is sonic smog of seventies and current classic metal twisted and wrung out until breeding its own scorching and intoxicating sludge thick blasphemy. The track is quite simply a thrilling end to another stunning release from Possessor, even with its infernal fade out.

Possessor last year set a plateau with Electric Hell for themselves and the current British occult metal scene, but has now left it behind as a past marker in their emergence with Stay Dead. Maybe only the brave will dare immerse in the world of Possessor but with rewards plentiful and lingering within their aural necromancy, truly no metal /heavy rock fan should fear giving them a go.

The Stay Dead EP is available now via http://possessor.bandcamp.com/album/stay-dead-ep

https://www.facebook.com/possessorband

RingMaster 02/04/2015

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://reputationradio.yooco.org/

XII Boar – Pitworthy

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Trampled under the heavy booted sounds of their excellent self-titled debut EP four years ago, UK heavy rockers XII Boar have just got sonically fiercer and more virulently compelling over time. Subsequent releases have continued the ignition of a hungry appetite in the British underground rock/metal scene for their rampantly aggressive and virulently grooved sounds, though nothing before matches up to the thrilling Southern fried might of debut album Pitworthy. Bulked up with ten tracks of muscular temptation with a mischievous glint in their eyes, the album is a thunderous stomp of virulently primal and dirty rock ‘n’ roll.

XII Boar hail from Aldershot and first came to light in 2010. It was not long before their blend of voracious metal and heavily slung rock ‘n’ roll was breeding a potent and loyal local following around Hampshire and the South East of the UK. Growing increasingly more distinct and individual to the band over time, their sound takes the richest and most aggressive strains of stoner, doom, blues, and southern metal and turns it into one incendiary blaze of sound, imagine Black Sabbath and Corrosion of Conformity colluding with Motorhead and Black Tusk for an inkling. It is probably fair to say that their early days which included that first EP, the band musically was offering a familiar if exciting proposal but as the Split Tongue, Cloven Hoof EP of 2012 and especially the single Truck Stop Baby last year came and went, XII Boar showed they were breeding their own musical identity, a presence now grabbing the passions in Pitworthy. It still has an instantly recognisable flavouring but now from the band’s own open sound rather than having a thick feel of others, though ripe hints are still a welcome spicing.

Live XII Boar has continued to impress and lure acclaim too, shows over the years with Corrosion of Conformity, Crowbar, ASG, and Karma To Burn as well as appearances at Bloodstock, Desert Fest, and Hard Rock Hell adding to their rising stature. It is a live feel which also seems to vein the new album, its tracks rampaging with that edge generally stages only inspire and immediately adding extra potency to the creativity and energy of album opener Sharpshooter. The song is introduced by a wrestling/boxing match like ring barker, and its entrance lit by a flame of sonic coaxing from the guitar of Tommy Hardrocks. That initial expulsion is swiftly left behind though as grooves flirt with and immediately entice ears as the thumping beats of Dave Wilbraham begin the incessant and invigorating battering which charges up the whole album. With the great heavy throated lure of Adam Thomas’ bass snarling with bestial temptation within it all, the trio has attention and imagination gripped. Hardrocks vocally roars and growls as the music around him, but already there are unpredictable twists and adventures crawling through the song. With older tracks in many ways once established you knew where they were creatively going but in the first song alone, Pitworthy reveals a fascinating depth and exciting tenacity to pull Coverout the middle finger on expectations. Bottomline though is that the track is one commanding irresistible stomp, with all guns blazing and nostrils flared.

It is the same with the following Young Man, and to be honest the rest of the album too. The second song has a stronger blues spice to its fiery blood, toxic melodies and tantalising grooves providing the intoxicating liquor veining and flowing through the Down meets Desert Storm like shuffle. Rhythmically the track is a strongly enthralling and agitated groan whilst vocally it bellows and melodically it flames within a sultry climate embracing ears and emotions. It is compelling stuff igniting the air before the bruising weight of Crushing the P lumbers in and proceeds to press its own intensive and imposing bulk on the senses. Again though, grooves temper the rugged nature of the proposition, whilst inescapable infectiousness wraps the swing of rhythms and riffs. The song is an on-going predation too; every aspect increasing in magnetism until by its conclusion the crawling posture of the song is pure addiction.

The outstanding flirtation of The Schaeffer Boogie emerges out of those final throes of intensity, the track swiftly breaking into a robust and contagious slab of heavy temptation. Grooves swing with inescapable persuasion, casting an irresistible invitation for all to join their devilry, though we warn that their weighty movement will even worry young hips getting involved over long term exposure. Never taking a breath or allowing one, the song is sheer heavy rock majesty; not demanding, except on the body, and seriously exhilarating.

The grouchy tones of the album’s title track comes next, Hardrocks’ vocals a grizzly web of confrontation and attitude, and backed strongly by Thomas whose bass simply oozes cantankerous sounds and ferocity within the thick tapestry of temperamental and predatory sounds. The track is a tempest of drama and shadowed intrigue too, again every subsequent unexpected detour or twist in the nature and journey of the climactic offering surrounded by a rhythmic and riff sculpted catchiness which has feet and neck muscles exhausted.

The short Cajun aired instrumental Crawdaddy Blues is an ok interlude for the first couple of listens but to be honest ignored as appetite wants to dive back into the punk fury of Chicken Hawk again and again thereon in. The track is a brute of a companion, that punk seeded hostility and urgency a ripe tempting against the pungent heavy metal and ravenous rock ‘n’ roll it is aligned to. Pantera meets Converge yet different again, it is another major pinnacle of the already impressive release, a peak matched by Battle Boar. The rumbling rhythmic heart of the track is an anthemic call in its own right, and the fuse and detonator to a turbulent and hellacious conflict of intensive and insatiable energy. Riffs and rhythms collide with hostile intent, ridden by the equally abrasing and assertive vocals, whilst grooves are venomous and flailing in their scything enterprise. The track is a glorious sonic conflagration but too damn short at less than three minutes.

   Rock City is smoky and at times like sonic vapour on the taste buds, a fine musical whisky which slips across the senses with smooth ease before unveiling its bite and spicy tang. As you would expect grooves and riffs make a tapestry of tart and colourful temptation whilst vocals and the deliciously imposing basslines help spark the old school predation fuelling all classic slabs of uncompromising rock ‘n’ roll. Compelling and rousing, the song is another towering anthem setting emotions up for the closing Quint, an eleven minute savaging unafraid to explore every avenue of heavy rock and ferocious metal whilst painting it all with a sludgy stoner hue. Arguably over long for some, every minute of the track is a new scene to run with and imaginative corner to dive down.

XII Boar has had little difficulty impressing and exciting since their first release but have creatively and musically come of age with Pitworthy. It thrusts the band to the frontline of British rock ‘n’ roll with even broader spotlights potentially awaiting as their excellent album surely begins to lure in the world.

Pitworthy is available now digitally and on CD via http://xiiboar.bandcamp.com/

 https://www.facebook.com/xiiboar   http://xiiboar.bigcartel.com/

RingMaster 10/03/2015

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://reputationradio.yooco.org/

 

Forged In Black – The Exodus

Forged in Black Online Promo Shot

Though UK heavy metallers Forged In Black is far from being a new band, they have found a new shift and exploration in their sound and thoughts which has led to a relatively recent name change, a renaming which reflects line-up changes and this progression in sound. Their new encounter is The Exodus EP, a release consisting of one brand new track and a couple of early demos of older songs. It is sure to be a tonic for all fans of adventurous classic metal, imposing riffs, and flesh scoring vocals, whilst for the rest it still has enough to stir attention.

The band began in 2009 under the name Merciless Fail, emerging with the intent to merge traditional heavy metal with a unique contemporary essence. The band swiftly earned a strong reputation for their live performances, playing both Bloodstock Festival and the main stage at Red Roar Festival in 2012 and going on to win Metal to the Masses and Band Quest competitions. 2013 was the band’s most successful to date, playing Metal Gods Festival 2013 alongside the likes of Beholder and Savage Messiah, supporting Skreamer and again Beholder, and re- releasing acclaimed debut album Forged in Black. As the following and similarly well-received The Tide EP, the album came out last year for its second outing, two years after the first appearance and under the new band name. It was the four-track EP which showed a suggestion of a twist in the band’s sound, something far more pronounced and exploratory now with the Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) recorded The Exodus.

The opening melody of the title track is simple bewitchment, a potent lure reinforced by the emerging stride of imposing rhythms and climatic swipes of guitar. There is a definite thrash breath coverto the track once fully in view, an early Metallica essence to ignite imagination and appetite. It is swiftly infused with heavily toned riffs and the rich vocals of Chris Storozynski, his classic style standing eye to eye with the rugged elements of the track but matching the acidic sonic flames around him. A great bruising vocal backing from bassist Kieron Rochester badgers the fiery tones of Storozynski as they lie on the skilled weave set by guitarists Tim Chandler and Andy Songhurst. The track ebbs and flows with its driving torrents and dramatic crescendos, providing a fascinating encounter offering something for thrash, classic, and heavy metal fans and as suggested previously enough for even those not as enamoured in the genres to find intrigue in.

A 2013 demo of Accusations Of The Innocent is next, the original track having previously featured on album and last EP. Once again a thrash invention helps open up ears and focus before the track spreads into more classical metal scenery wrapped with a creative web of guitars and spicily delivered vocals. Again there is plenty to get your teeth into even if the track feels a little reined in compared to its predecessor. With a cauldron of impressing guitar craft and invention courted by the excellent punching rhythms of Joshua Moreton, the song before it makes way for the 2011 demo of the song Forged In Black, shows exactly why the band has inspired such a potent fan base and reputation. Its successor instantly reveals the rich seeds and bait which has been persistent within the band from their start. Comparisons to the likes of Judas Priest, Iron Maiden, and Black Sabbath come with the mention of the band’s name and it is easy to see why with the closing song. Muscular and sonically sultry, it has feet and neck muscles pumped whilst the operatic calls of Storozynski finds a welcome home in the rich melodies veining the incitement.

The Exodus is a release to put a smile on all heavy metal fans but as shown especially by its lead song, it also has the potential to awaken strong appetites in those less taken with its core breeding, a potency shown by it persuading our less than enthused tastes for classic metal and its vocal styling.

The Exodus is available through all stores from December 1st.

https://www.facebook.com/forgedinblacks

RingMaster 01/12/2014

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FORGED IN BLACK UNLEASH THEIR NEW EP UPON THE NATION!

Forged in Black Online Promo Shot

With a mighty affection for British heavy metal and a kinship with Judas Priest, Iron Maiden and Black Sabbath, as well as taking inspiration from Machine Head, Forged In Black display a sound that is steeped in tradition but still truly relevant to a new audience. The Essex metal crew release ‘The Exodus’ EP on Monday 1st December through all stores.

The original seeds of Forged in Black were sown at the start of 2009 under the guise ‘Merciless Fail’. The band set out with the aim to deliver traditional heavy metal with a unique contemporary edge. From their early beginnings straight through to today, their operatic vocals lead the charge, backed by dark, hard-hitting music that includes full-throttle thrash, epic guitar harmonies, crushing doom riffs, and aggressive, guttural vocals. The band’s live show embodies a visceral energy, unleashing copious amounts of head-banging music with a charismatic stage presence.

Under their old moniker ‘Merciless Fail’, the band played the Bloodstock Festival and main stage at Red Roar Festival 2012, won ‘Metal to the Masses’ and ‘Band Quest’ competitions, played Metal Gods Festival 2013 (featuring Beholder and Savage Messiah), and have racked up supports with Skreamer and Beholder, as well as releasing their self-titled debut album ‘Forged in Black’ to critical acclaim. The band followed this release in 2013 with the EP “The Tide,” which displayed the development of the band’s sound and included tracks which have become a staple part of the metal crew’s live show. To mark both their progression and a shift in personnel, last year the quintet decided to change their name to ‘Forged in Black’. The metallers have recently been focusing their attention on recording and have just finished work with acclaimed producer Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) for the recording of their latest single “The Exodus.” The band release ‘The Exodus’ EP and new video this Autumn and they plan to take the metal world by storm.

https://www.facebook.com/forgedinblacks  https://twitter.com/ForgedInBlack

 

Witchrider – Unmountable Stairs

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With a sound somewhere between Queens of The Stone Age and a pact between Nirvana and Soundgarden, nodding to the former more often than not, Austrian rockers Witchrider are poised to present their debut album Unmountable Stairs. It is a fiery and rigorously captivating proposition which merges familiarity with raw invention, culminating in a release which does not leave a blaze in its wake but definitely a smouldering and lingering temptation which persistently increases to leave appetite and satisfaction bloated.

Hailing from Graz, Witchrider began in the November of 2012 with initially the name Desert Mountain but soon decided the current name was a better fit for their music, the title taken from “riding the witch”, a another term for sleep paralysis. The band wear their inspirations from the likes of QOTSA and Eagles Of Death Metal openly but employ them in their own scuzzy recipe as evidenced on the new album and the band’s previous self-titled EP of last year. Initially a trio of vocalist Daniel Dorninger, guitarist Hans-Peter Leitner, and drummer Michael Hirschmugl, the band enlisted bassist Bernhard Weigl for their live shows who subsequently became a full-time member and makes up the quartet unleashing the colourful treats upon the Fuzzorama Records released Unmountable Stairs.

OCD starts things off, looming up on ears from a distance with sultry fuzz lit riffs and caustic melodies. A loud breath of Josh Homme and co is unmissable but it only adds to the intrigue and drama which comes with the song. Firm beats and a bass rumble brings shadows whilst the vocals of Dorninger, as the music, are not that far removed from a Homme like delivery and texture. The raw air to the song equally brings an imagination awakening aspect whilst the scorched slightly warped grooves and hooks throughout the opener, just hold ears and passions in their grip. It is a tasty contagion that has hunger for more bordering on lustful, so it is good that the following 1 For 5 is just as raucously compelling and virulently infectious. A bulging bassline matched by resonating beats provide an irresistible skeleton to the fusion of noise and stoner rock, swiftly hints of the likes of Melvins and Kyuss converging on thoughts as the song spreads its flames of sonic enterprise. Bedlamic at times, the track provides another twist and aspect to the sound and invention of the band, the two ridiculously addictive opening songs closely related in structure but individually striking.

The pair of Black and new single I’m Outta Breath keeps things boiling nicely, the first sending sonic shards through ears and across a feisty mesh of again heavily QOTSA influenced rhythms and riffs, before acidic scythes of sound aligned to potent vocal harmonies and melodic exploration express their tantalising narratives. It is a fascinating if less than explosive encounter which still easily grips attention before its successor strides in with an instant creative and addictive devilry. Riffs and hooks need little time to start reeling in the imagination and passions, whilst soaring blazes of guitar light the insatiable temptation of the song. Though it is one of the songs seemingly more intent on being catchy and enslaving its recipients it is also one of the most original and unique in sound, and if any comparison can be raised it is that of Australian band Voyager.

Its infection whets the appetite all over again ready for the scuzzy tempting of Far From You, a proposition cored by a pungent throaty bassline and a Nirvana-esque sonic scowl. With an additional hue of blues causticity, the track hits the spot without sparking additional lust before the melodic climate of SP immerses ears in its enticing graze of sound courted by mellow vocals. It also lacks the something extra which ignites the single but matches it on being something more uniquely different to Witchrider in sound, whilst both tracks parade encounters which still only add to the increasing potency of the album.

   The Cabin strolls in next with a dramatic air to its persuasion and wonderfully toxic sound, bass and riffs stalking ears with lustful intent for another helping of addictive pleasure. It is a sinister outing with a portentous breath to even its melodic fire whilst its predatory nature is a giveaway even under the erosive atmosphere of the excellent track. It’s almost theatrical narrative in word and sound is emulated by The Fog, the song also employing a gait which prowls with a devilish glint in its manner but with an even slower and heavier lumber. Additional attention reveals the real difference to the two songs which a casual listen misses, and both tracks create a haunting psychedelic landscape of intrigue and creativity which apart or together sparks imagination and pleasure.

Next the album’s title track strides through a Sabbath-esque terrain with Black Tusk like structures, across which spicy harmonies and wiry grooves lay out their mystery and incendiary temptation. As the album it is a slow burning but undeniable grower which makes the fullest seduction over time unlike Witch-Hunt which steals ardour and acclaim on the first examination of its tenacious enterprise over a sinew boned canvas. Marked by rutting riffs and beats inside a caustic wash of sonic enticing, the track flirts with the same spicery that flavours most songs but turns it into its own, not necessarily unique but definitely riveting trap.

The album is completed by the bluesy Styx, a track which as enjoyable as it is never quite convinces to the same depths as others songs upon Unmountable Stairs. Nevertheless with a presence which to these ears would be like Josh Homme plays the Kinks, it is a fine end to an increasingly impressing and fun release. The album as a whole announces that Witchrider is a band with all the invention and imagination to make a big impact, especially if they can or want to evolve a truly unique sound, the one thing reining in Unmountable Stairs from being a startling debut.

Unmountable Stairs is available from November 14th via Fuzzorama Records @ http://www.fuzzoramastore.com/en/cd-s/witchrider-the-unmountable-stairs.html

http://www.witchrider.com/

November sees Witchrider on tour with Truckfighters, with dates at…

Nov 10 – Brudenell LEEDS; Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW; Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov 15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.

RingMaster 03/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Datsuns – Deep Sleep

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The press release accompanying new album Deep Sleep contains the quote from Dolf de Borst, the vocalist/bassist of New Zealanders The Datsuns, which states that “We’re not fucking around. We’re all conscious of the fact that we don’t live close to each other and we’re getting older and people have families, so, if we’re together, we’re going to make records.” It suggests a passion, urgency, and intent to pour everything they have into these creative opportunities and it is fair to say that the bands sixth full-length is a compelling and feverish bloom bred from the ten days the band took to record it whilst for a rare moment being in the same place at the same time. The release is a transfixing adventure which does not ignite a raging fire in sound and emotion but smoulders with persuasive persistence to emerge as one hot and lively simmering vat of rock ‘n’ roll.

Taking their energy fuelled voracious rock sound into a new sultry sonic landscape employing the richest essences of bands like Black Sabbath, Deep Purple, and Blue Oyster Cult and similarly essential sounds of the seventies, The Datsuns have created a mesmeric tempest of insatiable rock ‘n’ roll which relishes either charging with flared nostrils or crawling over the senses and imagination with seductive menace. Deep Sleep also takes a healthy dose of inspiration from 1970s French comic Kris Kool which was created by cult psychedelic artist Caza (Philippe Cazaumayou), whose work also covers the captivating release. Summoning “images of 1970s cult film super-villains” with its darker inflamed sonic The-Datsuns-Deep-Sleep-Cover-400x400proposition, though we would suggest it suits even more so the folk darkness of a Wicker Man or a Blood on Satan’s Claw, Deep Sleep is a thrilling blaze of sound and intensity which just gets bigger and better with time.

The album opens on a moody tone as first track Caught In The Silver begins with a shadowed breath of riffs and atmospheric keys. A shimmering crystalline resonance swiftly joins the brewing climate of the song, guitarists Philip Somervell and Christian Livingstone casting haunting and elegant melodies around a pungent bass line and rhythms which appear to be just waiting for the right moment to expel their intimidation. It comes once the distinctive and varied vocals of de Borst unlock the heart of the song, everything erupting in a thick, muggy, and gripping wash of sound and intensity. The song proceeds to rumble and rampage as well as engage in a psychedelic radiance especially ablaze through the riveting solo commandeering attention.

   The potent start is powerfully backed by the heavy swagger and contagious swing of new single Bad Taste. Grooves make an inescapable web from virtually the opening seconds whilst Ben Cole’s rhythmic persuasion provides an imposing cage within which the excellent vocal calm and melodic flames explore ears and imagination with inventive revelry. The track is a delicious enslavement which the heavier footed and toned Claw Machine emulates straight away. It is another dramatically infectious proposition which with ease goes from a restrained yet vivacious stroll into expulsions of sonic fire, grooves and vocals soaring through the heated climate of the song with their melodic and ridiculously catchy flames. The album is at its most thrilling pinnacle at this point, the opening pair of tracks and this, joined by the glorious majesty of Shaky Mirrors and 500 Eyes to light a lustful hunger in appetite and emotions. The first of this pair is an incendiary groove fest with a tenacious energy and predacious attitude to match. Cole unveils a merciless bait of rolling and agitated rhythms which only seems to inspire the toxic lure of the guitars and throaty enticing of the bass whilst vocally de Borst roars with harmonic devilry. The song is instinctive in its temptation and ingenuity, purposefully preying on the submissive ardour already inspired by the album. Its unrestrained anthemic lure is matched by its completely different but no less predatory successor. 500 Eyes is stunning, a slow stalking of ears which slips tenderly over the senses with dark drama and portentous vocal temptation. It might just be the most evil and seductive song in existence, the band in full flirtation as they feed and devour the psyche, every aspect of the track parading a spellbinding voracious croon and sonic irreverence.

It would be unfair to say that Deep Sleep slips a gear from hereon in but such the alchemy driving the first clutch of triumphs, the likes of That’s What You Get and Creature Of The Week struggle to match their glory. To qualify that though, the first of these is a raging rock ‘n’ roll fire which is as ferocious in its sonic roar as it is infectious in its psych pop bullishness whilst the second of the two is a theatrical stroll with sinister drama and dark shadows draping every heavy rock and psychedelic enterprise making up its intriguing presence. Both tracks provide plenty of enjoyable food for thought and pleasure before making way for the bluesy rampage of Looking Glass Lies, a bruising and boiling slice of virulent energy and raw thrilling enterprise. The outstanding song is another anthem for feet and soul, a cauldron of sonic and melodic passion sculpted with enviable craft and flair.

Deep Sleep is completed by the mellower embrace of Sun In My Eyes, a warm breeze of melodies and radiance cored by a hungry stride which just gets more addictive with every listen, and finally its title track. The closer is a fuzzy wash with a dirge like breath and funereal intensity yet shines and shimmers with an absorbing beauty and irresistible charm.

It makes for an enthralling close to a breath-taking release. The Datsuns though admired, has never really brought our ears and emotions to a stop with their previous enjoyable releases. With Deep Sleep they have ignited a fire which can only be quenched with more of the same ahead please.

Deep Sleep is available via HellsquadRecords digitally @ https://itunes.apple.com/gb/album/deep-sleep/id907118759 and on vinyl, CD, and cassette versions.

http://thedatsuns.com

RingMaster 08/10/2014.

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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