Royal Podencos – Broken Bones

Released earlier this year, Broken Bones is an album well worth taking a close listen too especially if you have an appetite for boisterous garage rock. The second album from Spanish quartet Royal Podencos, it offers much more than that garage rock tag, the Santander outfit creating their sound with a  just as rich flavouring of punk, blues rock, and power pop for a proposition as fresh as it is enjoyably nostalgic.

The successor to 2014 debut What´s your plan, the eleven song strong Broken Bones needs little time to get the body bouncing and an appetite for the band’s rock ‘n’ roll brewing with opener Sexuality. The foursome of Jonny, Jota, Toni, and Hans instantly tease with a rockabilly riff, its lure aligned to a rousing hook and melodic devilry as rhythms dance invitingly in the ears. With great distinctive vocals riding its mischievous almost salacious antics, the song swiftly springs its inescapable trap to inspire the body and imagination to be as lively as its own escapade.

It is a rousing start to proceedings which is never outshone within Broken Bones but certainly rivalled like by its successor Break us down. Its own swinging flirtation and gait brings a more sixties flavoured adventure but one quickly revealing its seventies punk instincts as vocals and hooks unveil their infectious intent. As the first song it is a highly catchy and addictive proposal, a slice of pop infused punk ‘n’ roll to get the hips and spirit dancing; their energies given no respite by the following more bluesy rock ‘n’ roll of The dog you found. With a Tom Petty-esque scent and drawl to its stroll it too casts a contagious sixties power pop jangle with a truly virulent hook to grab ears and attention alike.

Though not quite finding the heights of its predecessors, Anything you want is no lightweight in persuasive rock ‘n’ roll either, its tenacious swing and sharp hooks leading the listener into eager involvement while Noone´s giving up in here, whilst keeping enjoyment full, allows a breath to be taken with its Americana kissed blues croon and suggestive guitar woven melodic web. Both tracks spread the rich flavours in the Royal Podencos sound further, each song so far revealing a different angle in the garage rock ‘n’ roll heart of the band.

A little creep has the inner bounce leaping again as it shares its pop rock contagion next, eager rhythms injecting its already enticing bait with moments of anthemic tenacity as riffs scythe across their swings before What´s wrong with you has thoughts going back to bands like Eddie and The Hot Rods, The Motors, and Tonight with its hepped up and highly enjoyable antics.

The discord lined canter of On and on hits the spot within seconds next, its punk nature and off-kilter harmony inescapable temptation against which Let me shake puts up its own blues laced raw pop ‘n’ roll to matching persuasive success. As with most tracks within the album, each has an instinctive knack in setting traps and hooks which are impossible to evade or ignore resulting in another very agreeable rock ‘n’ roll workout.

The closing pair of You got a home and Tell me why are no different even without quite hooking up with the passions as naturally as others within Broken Bones. Nevertheless, their respective individual moments of garage pop punk and classic blues rock leave pleasure high and the album impressing right up to its last breath.

While sensing something even more unique is lurking, just waiting to break out in the Royal Podencos sound, Broken Bones consistently hits the spot with moments of lustful pleasure on top. If you are looking for some new varied rock ‘n’ roll to get dancing too then Broken Bones is well worth tangling with.

Broken Bones is available now @ https://royalpodencos.bandcamp.com/

https://www.facebook.com/royalpodencos/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Drive On Mak – Babylon

Creating a magnetic mix of punkabilly with blues coated rock ‘n’ roll though that just scratches the surface, Drive On Mak is a proposition, certainly with their latest EP, which teases and tempts until you cannot resist taking attention. It is fair to say that initially Babylon pleased without making a major impression but over subsequent listens where its prowess and enterprise seemed to really blossom, the release really captured the imagination.

Texas hailing Drive On Mak is the creation of U.S. Army Vet Sean Makra who in 2011 after eleven years in the forces taking in three tours in Iraq left and began focusing on pursuing his long-time musical dreams. Three years later having linked up with his brother-in-law and drummer Scott Feigh and bassist Jason Bilderback, the beginnings of what was Drive on Mak emerged. Embracing and exploring the experiences and emotions bred by those military years in his songwriting and lyrics, Drive on Mak released the Weapon EP in 2015. Now it is Babylon luring increased attention with its individual, slightly dirty and fully tenacious rock ‘n’ roll.

Babylon opens up with its title track, its initial melodic stroking of ears the tempting lead into the song’s blues kissed reggae lined stroll. Makra’s vocals make a just as alluring invitation, his tones wearing the weight of battles and sights seen without an ounce of weariness, instead coming fuelled by a lively spirit to share and express. The song continues to carry its gentle swing through ears, epitomising the release in its quality to become more potent and compelling listen by listen.

The great start is followed by the similarly boisterous Comin’ For You. Instantly it had a firm hand on attention with the flames of Feigh’s harmonica rich enticement. Its melodic heat echoes the tenacious gait of the surrounding sounds, essences of garage rock and fifties rock ‘n’ roll aligning with blues punk adventure. It is a mix and invention which escalates the strong start of the EP before Kiss Thy Hand brings more of a seventies psych rock air to its lumbering saunter. Though the song does not ignite personal tastes as potently as its predecessors it quickly feeds an appetite already brewed, nagging away with every note and fibre of its creativity to ultimately be just as memorable.

Best track comes in the shape of the cowpunk flavoured Outlaw, a dirt clad slice of punk ‘n’ roll with dust in its climate and instinctive infection in its hooked lined character. With moody rhythms courting the defiance oozing vocals of Makra’s alongside the creative shuffle of his guitar, the track is a contagion on the ear setting up the following relaxed but manipulative swing of Player. It is another which seems to find greater heights over time though tapping feet and eager hips show its no slouch at teasing involvement from the off.

Babylon concludes with When I’m Gone, a country scented proposal with Feigh again just as skilful on harmonica as in springing catchy beats. There is no escaping a slight Rancid spicing to the track either, mostly through the Tim Armstrong textures of Makra’s tones, as it canters along with a lively attitude and infectious agility.

With its songs inspired by Biblical tales and personal observations, in the case of its title track by the Heath Ledger movie A Knight’s Tale too, Babylon has little trouble in awaking interest; it is with time and more plays though that it truly comes alive …a quality only adding to many more reasons to check out Drive On Mak.

Babylon is out now @ https://driveonmak.bandcamp.com/album/babylon

https://www.driveonmak.net/home    https://www.facebook.com/driveonmak/

Pete RingMaster 14/11/2017

Copyright RingMaster: MyFreeCopyright

Regulus – Quadralith

If you are looking to be ensnared in some new and fresh groove wired trespasses, checking out the latest album from UK blues stoners Regulus would be one wise move. Quadralith is ten tracks of eagerly infectious heavy assed enterprise; a multi-flavoured affair from a quartet of highly accomplished musicians.

The successor to their 2014 debut album Smoke and following a self-titled third EP released a year later, Quadralith sees Sheffield hailing Regulus venture into a new plateau of sound and imagination. There is new energy and maturity to its presence and songwriting compared to its predecessors which in turn breeds a bolder tapestry of flavour and enterprise as well as new potential for future success.

The album opens up with Dominion and instantly winds a dirty enticing groove around ears before the robustly swinging rhythms of drummer Joe Milburn and bassist Martyn Lucas-Bewick spring their bait. As the guitars of Thomas Osborne and Luke Jennings add their melodic enterprise and hungry riffs, the latter’s vocals backed by the former’s to complete the potent lure, the track has attention firmly held. With a touch of early Desert Storm to its body, the song grows and blossoms by the minute and listen, laying the scene for things to come with its expanding net of flavours.

The following Last Chance To Die Young makes a more instant impact as the virulent beats of Milburn stirs the instincts from within a sonic cry. There is no escaping the organic draw of the grooves swiftly dancing on the appetite, riffs and rhythms courting that temptation with their own catchy tenacity. Vocals come with a greater snarl than in the first song, a cantankerousness which suits as both guitarists combine the imagination of their electric strings. Quickly igniting ears, the song builds on the strong invitation of its predecessor to really get things firing before Seven Tales Told gets funky and sultry with Lucas-Bewick’s magnetic bass leading the way. Merging blues rock essences with heavy stoner and that keen funkiness, the song flirts and imposes from within a raw contagious stroll.

The band takes the listener into darker depths with Bones, its heavy textures almost stalking the senses but again with a natural catchiness which only entices. Even as it slips into a blues croon, there is a swing to the rhythms which demands involvement as much as that coaxed by melodies and vocals, the potent addition of contrasting female tones catching the imagination. Its heavy, lurking prowess is followed by the country rock twanged Heart of Stone and the resourceful tapestry of The Dream Reaper. The first of the two easily pleases though lacks the vital sparks of many companions within Quadralith and is quickly outshone by the grooves woven, stoner heated roar of its successor. Taking best track honours, the song spins a sonic weave of temptation and enterprise which fascinates as it manipulates ears and body.

Poor Man’s Grave is no slouch in grabbing eager attention either; its instinctive swagger, if ebbing and flowing too much at times, a constant draw on which guitars and bass skilfully and magnetically conjure while Dutch is a slab of instrumental stoner rock ‘n roll which twists and turns with persistent boisterousness and ideation to continue the new high the album has found. Milburn is especially dexterous and compelling and just as potently backed by his band mates as the song masterfully dances upon the senses.

With a scent of XII Boar to its grouchy romp, Overcome keeps the passions burning, its lure devilish and infectiousness unwavering as it nurtures another pinnacle to Quadralith, success backed by the album’s title track as it brings the release to a fine close.

Across the album you sense a tempestuousness, an intimate angst but one used to drive and colour the creative adventure and energy of all four members of Regulus individually and as one. There are times when the album does not bite and sear as it might or personal tastes wish but it has a persistent potential which draws keen attention as much as the undoubted prowess and imagination of the band with pleasure the continuing result.

Quadralith is available now through Off Yer Rocka Recordings @ https://regulusband.bandcamp.com/

http://www.regulusband.com/    https://www.facebook.com/regulus.band    https://twitter.com/RegulusBand

Pete RingMaster 07/11/2017

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

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Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

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