The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Twelve Boar – No Forgiveness

We have no idea why they expanded the moniker from XII Boar to Twelve Boar but it has coincided with a whole new thrust of mischief and variety in the British heavy rockers sound as in mouth-watering evidence on new album No Forgiveness. The trio from Aldershot still conjure up and unleashed tides of southern fried grooves, thumping rhythms, and ravenous riffs, traits they have become acclaimed for but it all comes with a new carefree fun and adventure. Let us be clear, the band has never been anything other than the rich source of both across a host of songs and releases but No Forgiveness more than most raises the middle finger in a motion beckoning all to come in and join their riotous party.

Since the release of debut EP, Split Tongue, Cloven Hoof back in 2012, Twelve Boar has made an inescapable impact on the UK rock scene. Its well-received, attention grabbing success was just the teaser for the plaudits which eagerly gathered around the uncaging of debut album Pitworthy in 2015 and the even more acclaimed Beyond The Valley of The Triclops last year. Each backed up a live presence and reputation which has equally only grown year on year until it is fair to say that the threesome of vocalist/guitarist Tommy Hardrocks, bassist Adam Thomas, and drummer Dave Wilbraham is now regarded by a great many as one of the most essential roars on the UK scene. There still maybe a few yet to discover the instinctive stomp of Twelve Boar but only something No Forgiveness will soon sort out.

Beyond The Valley of The Triclops certainly hinted at the multi-flavoured evolution of the Twelve Boar sound but No Forgiveness gives it to you unbridled and face on, so much so that the first listen, whilst stirring up the passions, has us questioning whether we missed the dirtier thunderous trespasses of times past. The second listen then revealed that nothing has changed, the band still brewing a sound caked in rock ‘n’ roll soil which leaves the body exhausted and shaking from the onslaught but with a fresh toxin of fun involved, and the third listen…that is when the lust breaks out.

Recorded with producer Chris Fielding, No Forgiveness goes straight for ears with spice loaded grooves and ear rapping beats as Steppin’ Up gets things rolling. The gravelly tones of Hardrocks stand astride the tendrils of guitar, riding the grooves as bass and beats throb and land with a brooding intent.  A slab of muscular rock ‘n’ roll the band is certainly renowned for it then throws an unexpected twist in its midst as it slips into a mellow intoxication of melody and clean vocals though the moment is just the teaser to a waiting lustily fiery stroll. It is a great start to the release but soon overshadowed time and time again starting with Golden Goose. The second track instantly shows attitude in its riffs which continues to colour its character even as rap metal flavoured vocals dance devilishly on the emerging encounter. From thereon in heavy rock ‘n’ roll and that nu-metal toned adventure collude and interact enticing further whiffs of extreme metal and desert rock into the mix.

The Curtain Call swaggers in next with hooks lining every swing of its rhythmic hips and sultry grooves. Sabbath-esque riffs are openly embraced by the band then infested with their own devilment as rhythms harry the senses throughout, often dancing like a dervish as another dose of great diversity grabs the vocals. The track is glorious, Twelve Boar at the inimitable best and swiftly matched by the album’s southern bred title track. An acoustic strum is joined by vibrating beats as Hardrocks growls, the song sauntering along with accusation on its breath. In time everything finds a new tenacity and muscle, the encounter grabbing hips and appetite like a fine, throat burning bourbon.

Stealing the best song plaudits, Elders From The Deep dives in next, the track filthy rock ‘n’ roll stomping like Motorhead meeting Gene Vincent as The Cramps bring their salacious garage rock antics to the fun. The track is irresistible, a sinful slice of addictiveness which truly had this appetite drooling long before it had to make way for the blues rock romping of Snake On A Lead. As its predecessor, the song just hits the spot with flirtatious grooves and bone rattling rhythms, it knowing all the right buttons to push to have the body bouncing and a lively spirit fuelling keen physical involvement.

The crawling almost predatory opening prowl of All the Heavy Griftin’ instantly whets the appetite but it is just the prelude to another stonking rock ‘n’ roll canter impossible not to get infested by. If you had any doubts that Twelve Boar know how to rock until the sweat flows like a river and fingers bleed, than this virulently contagious track alone will wipe them away.

The brief sweltering climate of instrumental Panama lures ears into the landscape you can imagine the waiting final track Hellspeed Truckin’ would be rolling down. In the closer tarmac punishing riffs and air cutting rhythms shape the adventure, the bass a hypnotic driver with vocals holding the wheel. As grooves sear the scenery raw adrenaline flows through sound and voice, the track in top gear never flirting with the brakes until the body lies prostrate in its dust.

Wrapped in the striking artwork of Rahadil Hermana, No Forgiveness is quite simply one of the major treats of the year. It is relentlessly energetic, hungry, and fun from a band driven by those self-same attributes as well as an instinct and the craft to turn it all into one rousing experience. XII or Twelve Boar, they are still helping drive the UK heavy rock scene from the frontline.

No Forgiveness is out now and available @ https://xiiboar.bandcamp.com/ or http://xiiboar.bigcartel.com

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

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Sly Palms – Self Titled EP

As they introduced themselves to us with their debut release, we introduce you to the individual Weirdo Wonk sounds of Sly Palms and one magnetically enjoyable self-titled debut EP. From the ever giving Bristol music scene, the British quintet brew up their own individual fusion of garage, psych, and blues rock described as “Nick Cave meets Go Go Bordello through the Doors.” All are references which add up as you listen to the five tracks making up their first release but also imagine the involvement of essences from My Baby, 13th Floor Elevators, and Horse Party and you have a fuller if still not quite accurate inkling to the band’s imaginative adventure.

Recorded at Malthouse Studios with Dom Mitchinson (Spectres, Oliver Wilde), the EP quickly has ears enticed with Bottle Of Sin, the new single from Sly Palms. Immediately the opener teases and tempts with its spicy percussive grooving and new wave like movement, early XTC coming to mind in the song’s unpredictable quirkiness before things settle a touch around the vocal lure of keyboardist Louise Schwarz. Poking beats and jabbing swings collude with her fine vocals, that eighties hue merging with a brewing blues revelry as the song grows even more flirtatious and irresistible with each passing second. Additional discord only adds to the pleasure, the song mere notes away from chaos at times and only blossoming with boldness because of it.

Things are a touch more reserved from hereon in across the EP but no less enjoyable as the swarthy rock ‘n’ roll of Spanish Song proves. With sultry blues melodies uniting with hazy psych nurtured sighs, the song has the same mischievous nature as its predecessor but strolls along with a less agitated gait. Lead vocals this time are taken by guitarist Ian Cross, or it could be fellow string picker Alex Davies or indeed drummer Jake Cheesman; whoever the supplier their grainy tone only adds to the Tom Waits spiced proposal swiftly tempting and pleasing ears. The warm keys and floating harmonies of Schwarz similarly enthral and add to a creative drama which is no less potent within next up River Rhein. With a rockabilly/country rock coaxing to its catchy shuffle, the song has the body bouncing, gently at first but with increasing vigour as crescendos of rock ‘n’ roll erupt across its increasingly heated body.

The bass of Jaime Botella is a perpetually appetising throb within all tracks, adding an instinctive pulse and often growl which is especially alluring within the more unkempt climate of Slaughterhouse. The track is superb, challenging the first for best track honours with its rowdy rock ‘n’ roll and expectation defeating devilment of sound and imagination.

The more lo-fi presence and touch of Wall brings things to a potent close, the song a dance of harmonies and rattling rhythms as the band weaves another slice of off kilter sound as blues, garage, and psych rock as it is simply ear exciting rock ‘n’ roll.

With potential as vocal in every song as existing imagination and adventure, Sly Palms have made a powerfully persuasive introduction to themselves with their debut. Already they have nurtured something unique about themselves and intriguingly we, like they, have only just scratched the surface.

The Sly Palms EP is released July 14th.

14/07/17 – E.P. Launch Party @ The Old England

10/08/17 – The Louisiana, Bristol

24/11/17 – St. James’ Wine Vaults, Bath

https://www.facebook.com/SlyPalms/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Bottle Next – Bad Horses

Bottle Next is a hard folk band from the French music scene. It is a tag which is maybe unique to the band not having come across it before but only partially touches on their sound. Weaving seriously engaging songs from the imaginative threads of everything from indie and pop, through progressive blues and hard rock to folk and indeed any mischievous form of rock ‘n’ roll you wish to suggest, Bottle Next make for a tantalising proposition which within debut album, Bad Horses, persistently encroaches upon rich fascination and aural seduction.

There is a real sense of fun within and with the duo of guitarist/vocalist/saxophonist Pierre Rettien and drummer/vocalist Martin Ecuer; a feistiness and devilment which openly fuels their music. From the release of their first single in 2011, the pair has drawn increasing attention and support with a pair of EPs surrounded by other individual tracks and videos as well as an energetic live presence which has seen them play across France and further into Europe; sharing stages with the likes of Triggerfingers, Lofofora, Zebda, Mass Hysteria, Didier Wampas, and No One Is Innocent as well as appearing at festivals such as Rock’n’Poche Festival, The Festival du Chien à Plûmes, Musikmesse in Germany), Belgium’s Mannrock (Belgium) and the Swiss Zikamart Festival.

Released a few weeks back, Bad Horses is an announcement for a wider range of ears and spotlights of the presence of Bottle Next; the Daniel Bergstrand (Meshuggah, Soilwork, In Flames) mixed release swiftly making the most of the opportunity with its opener Break Down the Door. The initial twang twisted strums of Rettien have an instinctive striking swing to their nature, a zeal matched in the senses rapping beats of Ecuer. That energy is equally as frantic in the delivery and character of the former’s vocals; together the duo creating a body inciting, spirit dancing slice of tenacious melodic rock as garage raw as it is hungrily infectious.

It is a thickly enticing start matched in memorable heights by next up Choices, the song a swagger loaded stroll of blues tinged rock ‘n’ roll sharing a Queens Of The Stone Age meets In The Whale like adventure. There is a rapacious essence to the grooves winding around ears and an atmospheric suggestiveness to the keys which interrupts the urgency of the canter whilst emerging folkish revelry has a funk seeded grin encapsulated by the earthily sultry lures of sax.

From one mouth-watering escapade to another as next up, Running Herd, takes ears in its grips with stabby riffs and agitated beats, both entangled in a volatile web of melody and vocal dexterity. As with its predecessors, involvement in its tenacious shuffle is instinctive; voice and hips giving quick submission to its imaginative multi-flavoured dance before Revolution shows the grittier hard rock side of the band’s sound. It too though weaves in a lure of melody and pop scented indie enterprise topped by a chorus wearing sixties/seventies pop rock catchiness.

A slightly calmer air drifts over Age of beauty; the song tempting and vivaciously crooning like a mix of XTC and Be Bop Deluxe though like all songs it never settles for one idea or style for much longer than it takes the imagination to adopt one of the moments of creative chicanery.  At times it is an almost punchy encounter, the next a floating caress and consistently a captivating proposal before the outstanding Overthere grabs an already keen appetite for the release’s romp with its heavier touch and spikier climate. Again a grunge seeded essence runs alongside the song’s heavier rock instincts, colluding in a slimline, impulsively addictive temptation smoking in its shadows with a wealth of additional flavoursome scents.

The album’s title track is a more kinetic and wiry caper, guitars and drums magnetically nagging and popping as the track’s rock heart and vocals roar; pure rock ‘n’ roll its creative mantra while Machines courts a matching breeding in its mellower, blues rock tinged pop ‘n’ roll. Both offerings make swift deals with ears and imagination, More Humane matching their success with its folk/indie rock enticement brewing up from within initial suggestive smog of melodically nurtured atmospherics; funk and progressive keys born revelry growing across its enthralling body sparking canter.

The melody woven infection of The Lift off straight after is no less an inducement of physical participation, its warm and boisterous invitation a fest of inventive festivity for limbs and energy. The same equally comes with closing song The Woody Man where its folkish colour and melodic charm takes the track’s kinetic nature in hand, giving it a great layer of restraint without defusing its multi-style embracing devilry and impact on body and spirit. It is a great end to a rather fine album which it is fair to say had us leaping and grinning from start to finish, no track anything less than an imaginative galvanic romp. Bad Horses offers something really fresh in its familiar flavours and boundless enterprise in its bold and playful quest to simply rock ‘n’ roll. The best album you will hear this year, maybe or maybe not; destined to be one of the most enjoyable, without question.

Bad Horses is out now @ https://bottlenext.bandcamp.com/album/bad-horses

http://bottle-next.com/    https://www.facebook.com/Bottlenext/

Pete RingMaster 30/05/2017

Copyright RingMaster: MyFreeCopyright

Carnival Club – Magdalena’s Cape

Woven from the threads of numerous flavours which alone instinctively grab attention, the Carnival Club sound is a tapestry which certainly on the UK rocker’s debut EP, Magdalena’s Cape, blossoms from a rich first temptation to a lustfully devoured introduction thereon in. It is an infestation of the imagination nurtured in the creative mystique of prog rock, the hearty emotion of blues rock, the bold roar of sixties punk, and the hazy climate of psych rock. In truth, it is all that and more in a proposal and release which is as fresh and striking as it is the return of familiar sonic strains; an EP which offers the potential of a new essential force from within the ever pregnant Manchester music scene.

Emerging April 2016, the quartet of Eddie Moxon, George Peel, Joe Lodge, and Kai Jon Roberts quickly made a potent impression on the local scene. Now national awareness is being readied and stirred by the outfit’s maiden EP, its mature presence and rich web of sound belying the youth of its creators whilst consuming ears in an adventure bordering on the essential.

Opener House of Cards instantly entwines ears in one spicy groove, its psych blues tang soon aligned to the heavy throb of bass and crisply landing beats. Vocals make for just as potent bait as the song almost crawls into view before settling into a boisterous rock ‘n’ roll shuffle. With every groove and melodic tendril seemingly becoming thicker and richer in psychedelic/hard rock tenacity as impressive vocals equally grow in energy and presence, the EP quickly becomes a captivating proposal only increasing its grip as Mistakes Troubles and Kisses takes over.

The second track has a lighter touch compared to the heavy presence of its predecessor but an infectious swing built on pure rock muscle and emotive intensity. Its pop rock temptation is as much modern indie as it is seventies heavy rock, another fusion already revealing the kaleidoscopic canvas of the Carnival Club songwriting and sound. Its inescapably catchy body and unpredictable but fluid twists only seduce, passing on a willing submission to its bold charms to the following You’re So Hostile. It is a track even more virulently infectious with its eighties pop hooks and brooding rhythmic seducing which within seconds has the body bouncing and hips swerving with its flirtatiously weighty stroll while roaming the psyche like a blend of The Cult, My Baby, and The Doors; essences of Hendrix and goth rock only adding to its best track grabbing magnificence.

The EP’s title track steps forward next, Magdalena’s Cape a mellow caress wrapped in psychedelic wooziness and prog rock musing but with a tart spicing to its melodic  tempting, kind of like a distantly related fusion of The Jesus and Mary Chain and The Electric Prunes to try and give an impression of its sultry beauty.

Another mighty moment comes with the EP’s closing track, Headache a web of crunchy riffs and imposing textures around prowling vocals and stalking rhythms complete with sixties bred punk rapacity. Those stabbing riffs alone ignite the passions, the scythes of guitar and predacious grooves of bass escalating the primal attraction as the ever magnetic vocals seal the devilish deal on offer between song and listener.

It is a masterful and irresistible end to a just as successful release, one still carrying the potential of bigger, bolder, and greater successes ahead for Carnival Club. Magdalena’s Cape is the declaration of something mouth-watering and truly exciting breaking out within the northern music scene. With more of the same, national attention is surely guaranteed and with the realisation of the raw promise within, watch out world.

Magdalena’s Cape is out now through Demolition Diner Records as a digital download, on CD with an additional Ltd Gatefold CD version, and on Ltd Vinyl @ https://carnivalclub.bandcamp.com/track/magdalenas-cape

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

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Rugby Road – III

There is nothing lively about its title but the new EP from US rock band Rugby Road, simply called III, more than makes up for that with its heartily tenacious sound. An encounter which like us you may have missed upon its release as 2016 closed its eyes; the four track encounter is an ear pleasing, skilfully offered slice of multi-flavoured rock ‘n’ roll as bluesy and passionate as it is melodically captivating and instinctively boisterous.

Consisting of Kenny Kearns (vocals, keyboards, bass, guitar), Rich Pruett (drums, percussion, vocals), and Derek Smith (guitars, vocals), Philadelphia based Rugby Road began in 1990 drawing on inspirations found in the likes of Allman Brothers Band, Maceo Parker, Rusted Root, Bill Kreutzmann, Phish, Peter Frampton, and Dirty Dozen Brass Band. A regular in the late 90’s New York City Wetlands scene, the band has released a pair of albums, the 1998 unveiled Times Already Happened and three years later Different Degrees. More recently Kearns and the band have founded The Wayne Music Festival (now officially WXPN Welcomes The Wayne Music Festival) which since starting in 2015 has attracted more than 10,000 people each year to enjoy everything from country, bluegrass, jazz, pop, and rock from artists coming together from all over the country.

Recorded with producer Derek Chafin, III offers songs which according to Kearns “reflect what we’ve been working towards for years from a writing perspective.” It opens up with Back To You, a track which unmistakably has a rich feel of Bruce Springsteen to its rock ‘n’ roll but soon shows its own imaginative enterprise as suggestive melodies unite with the darker and denser rhythmic shadows of bass and Pruett’s crisp beats. Swiftly its magnetism is inescapable, the track a flame of craft and instinctive employment of influences and new endeavour, and just as quickly powerfully catchy. With a collection of vocals at times surrounding Kearns and the additional irresistible tones of a lady whose name has yet to be discovered, the song only escalates an attraction already sparked by the hazy weave cast by guitars.

The following Nobody (Needs To Know) is just as magnetic, it’s mellower but no less tenacious balladry carrying a soulful air and heart as blues kissed guitars spin a web of enticement around Kearns’ continually strong vocals. As with its predecessor, there is something quickly familiar to the song but only spicing adding to its appeal as its classic rock breeding grabs eager ears.

Spoken For unveils an even calmer canvas for its own emotive ballad next, though again it is a song with a blaze in its belly which from time to time urges more intensive expulsions of sound and energy. With the earthy tones of the bass almost growling alongside the contemplation of melody and voice, the song smoulders and slowly grows to rival those before it; eclipsing its immediate predecessor over time.

Bringing things to an enjoyable close is Give It Away, a country rock lined slice of rock which again has something of Springsteen about it as well as a Tom Petty-esque essence which does it no harm at all. For personal tastes, the song fails to match its companions but there is no denying its infectious ability to please as keenly tapping feet here can testify and it is fair to say that with every listen thoughts about the song only gain a more enamoured lilt.

Though it is annoying to say, we are new to Rugby Road but after having III sparking definite pleasure with its accomplished and refreshing presence, we can join the mass of others calling themselves fans of the band.

III is out now across most online stores.

http://rugbyroadband.com/    https://www.facebook.com/rugbyroadband

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright

Rival Bones – Self Titled EP

Slim line-up, big sound; this is a combination becoming even more frequent in the current rock ‘n’ roll scene and no bigger and indeed physically bolder than that offered by UK duo Rival Bones. Consisting of vocalist/guitarist James Whitehouse and former Boss Keloid drummer Chris Thomason, the band have just released their self-titled debut EP; four rousing anthems which rock hard and carry a punch a great many bands thick with personnel would beg for.

Emerging at the beginning of 2015, Rival Bones quickly drew attention with first single You Know Who You Are; radio play quickly following before subsequent singles in Robot Girl and Lost Along The Way last year matched its success and pushed forward the band’s reputation and growing presence on the UK rock scene. Their hard rock/heavy metal sound nurtured with a host of additional flavours involved was soon drawing references to bands such as Mastodon, Queens of The Stone Age, and Audioslave whilst live the Merseyside pair soon branched from local success into stirring up bigger venue audiences and festivals such as Threshold and Tramlines. Now national attention is under threat with their first EP, an attack which will bring big rewards and rousing exploits for listener and band alike.

The EP opens with Want You Madly. Its gentle beginning is a swift deception as a sonic murmuring soon becomes a wall of imposing and inviting riffs punctured by Thomason’s heftily swinging beats. The song’s commanding stroll is soon joined by the potent tones of Whitehouse, his strong voice aided by spirited shouts and in turn grooves which just demand hips and bodies get involved. The blues spicing of the track is equally intoxicating, its tonic flowing across a landscape of heavy rock ‘n’ roll bait as alone the opener makes a major statement for band and release.

Its inescapably contagious anthemic arousal of ears and imagination is quickly backed up by the calmer waters of Marceline. Note that the track placing we were sent, and follow here is different to that on the band’s Bandcamp but no matter the order, the release fiercely rocks as the second song with its similarly reserved entrance breeds an energy and tenacity which powers a similar spirited roar to that of its predecessor, if this time unleashing it in the chorus only.  Around the explosion, Whitehouse’s impressing vocals lure and involve within an equally calm temptation of melody rich sound; grooves and hooks as prevalent as in the first song and just as addictive. Those earlier comparisons are generally understandable in varying degrees but equally the second offering as in other moments within the EP has something of bands like Royal Blood and Johnny Wore Black to it.

Next up Hives gets down to business from within a sonic mist, the track soon strolling through ears with an earthier tone and confident swagger as riffs and grooves blossom while vocals once again incite further attention and involvement. Its blaze of a chorus carries a dose of grunge blues tempting, giving tang to the irresistible grooves wrapping round ears with flirtatious intent as rhythms jab and create their own infectious stirring of body and an increasingly hungry appetite for more.

The EP closes up with Running, a song sauntering in with a fuzz lined melody for company and soon after Whitehouse’s vocal invitation. A mix of blues and stoner flavouring flames within the track’s eruptions, expulsions of energy and passion surrounded by mellower but no less magnetic caresses in voice and sound. With every passing minute, the track becomes virulently catchy as it heads to a rousing crescendo followed by a last reflection of calm and in turn a final outburst of fiery provocation.

It is a superb end to a release which is sure to thrust Rival Bones to bigger and thicker attention. Their sound has an air of familiarity to it but a feeling which only adds to its potency to ignite and drive body and spirit into eager involvement with its ballsy rock ‘n’ roll; the kind of success anyone would be envious of.

The Rival Bones EP is out now on iTunes and Amazon and available @ https://rivalbones.bandcamp.com/album/rival-bones-ep

Upcoming Live Dates:

Dates:

12/05 – The Blossoms, Stockport, UK

18/05 – 81 Renshaw, Liverpool, UK

25/05 – The Cave at the Holly Tree, Addlestone, UK

26/05 – Iron Road, Evesham, UK

27/05 – The Kings – Wales (KingsFest)

28/05 – The Mulberry Tavern, Sheffield, UK

02/06 – Percy’s, Whitchurch, UK

03/06 – The Greyhound, Nottingham, UK

04/06 – The Sitwell Tavern, Derby, UK

30/06 – Sonder Festival,    Manchester, UK

21/07 – Amplified Festival – Gloucester, UK

http://www.rivalbones.com/     https://www.facebook.com/rivalbones/   https://twitter.com/rivalbones

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright