The NX – Night Heaver

Photo Credit_ Robbie Shakeshaft Radcliffe Studios

Hitting the listener like a venomously swung sledgehammer in its first breath and proceeding to increase in hostility and brilliance from thereon in, Night Heaver simply blows thoughts and emotions away. The debut EP from British hard rock/metallers The NX, the four track onslaught is a dramatic and breath-taking introduction to a band sure to make a major impact on the UK music scene if their first trespass of the senses is any evidence.

Possibly the strength and quality of Night Heaver could be expected as The NX features former members of The Casino Brawl in its line-up; nothing is ever guaranteed though and the band swiftly show they are a unique and potential drenched proposition in their own right with the EP. Formed a few years ago in the north east of England, The NX soon bred a potent reputation and following as they proceeded to ignite venues with their live presence, which over the years has seen them play with the likes of The Chariot, This Is Hell, Enter Shikari, Bring Me The Horizon, Penknife Lovelife, Heights, Yashin, Job for A Cowboy, The Casino Brawl, Deaf Havana, Devil Sold His Soul amongst many more. Returning from a prolonged hiatus, the band unleashed their creative fury again from the end of 2013, a new line up and appetite to create more contagiously aggressive shows and sounds driving the band’s return, which has included so far successful tours with Funeral For A Friend, Hacktivist, and The Blackout. It has all added to a growing anticipation for the band’s debut EP, and there is no doubt that Night Heaver feeds all hopes and wants with ease whilst providing much more.

Lonnie Johnson’s Greatest Hit is an immediate raging bellow in the ears but equally a compelling web of heavy rock grooves and spicy hooks with a tempestuous rhythmic incitement. Quite swiftly like a blend of Every Time I Die, Turbonegro, and Cancer Bats with its own distinctive roar, the track takes no prisoners. The venomous vocal squalls of Warby Warburton intrude and entice with rasping causticity whilst the spicy hooks and scorching grooves of Mark Thirtle seduce and scar with equal tenacity. There is also great unpredictability to the track which shines out, PromoImagethe sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.

It is a potent start but personally just an appetiser for bigger and better things to come, starting with The Great Unwashed. The second track immediately has a dirty air to its breath and opening riffs, an antagonistic nature which is urged in by the great bassline cast by Glen Holmes and spread with intensity through the swiftly following blaze of guitar punctured by the viciously swung beats of drummer Luke Walker. Every syllable spat from Warburton comes with a soaking of malice, a rancor matched by the rest of the track though it too is unafraid to offer catchy hooks and anthemic vocal calls against the clanging steely tone of the guitars and an overall merciless ferocity.

Yet another plateau is breached with the following The Day It Rained Forever, the opening grouchy coaxing of another irresistible bassline aligning to thumping beats for the first potent bait from the song. Soon though it is prowling and seducing as great cantankerous vocals, which initially hold a sobering air, add their interest in proceedings before they are venting with rich malevolence amidst a web of tangy grooves and psychotic rhythmic enterprise. As hardcore punk as it is metallically infused, the song is a glorious maelstrom which twists and turns as if it has the creative mania of St. Vitus Dance. Equipped with a closing noise fostered chorus which is impossible to leave alone, the track is one big reason for suspecting The NX will take their history to new major climes.

It is a suspicion done no harm by the other songs and especially the raging Let Sleeping Dogs Lie which brings the EP to an immense close. In a way opening in similar fashion to how its predecessor parted, the track brawls and violates the senses with another hardcore bred ferocity and corrosive inventiveness. Every riff scowl and hostile vocal expression exhausts and smothers the senses which in turn are invigorated by an incitement of hard rock melodies and spiky hooks which erupt and surge from time to time across the ever evolving provocation.

The song is an outstanding end to a tremendous release, the kind of debut fans were hoping and delivering a startling and thrilling adventure which declares The NX as a new inescapable force in British rock ‘n’ roll.

The Night Heaver EP is available from February 23rd on EP and digitally via Footloose Records and all stores.

https://www.facebook.com/thenxofficial

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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No Way – Sing Praises

Pic  Tony Stanley

Pic Tony Stanley

From sound and presence to voracity and appeal, there is nothing lightweight about the debut release From US band No Way. The four-track Sing Praises EP is a brute of an introduction to the Brooklyn quartet, a compelling and enslaving tempest of noise and invention fusing thick essences of noise and punk rock with those of sludge and heavy melodic rock. Some bands seem to instinctively tune in to the listener’s wants and primal needs, and it is fair to say that No Way certainly fed and intensively satisfied ours.

No Way was formed in 2012, swiftly making their mark on the New York punk scene. Drawing comparisons to the likes of Helmet and Unsane, the band were soon sculpting their own distinct presence and sound, unafraid to infuse varied styles and raw spices into the mix of sound mentioned earlier. Their live reputation has also grown from those early potent days with the foursome sharing stages with bands such as Whores., Fight Amp, Black Tusk, Inter Arma, American Sharks, Cancer Bats, Naam and White Hills. That attention will only be broadened and strengthened by the release of Sing Praises, the Andrew Schneider (Unsane, Pelican, Shrinebuilder) recorded and Carl Saff (Young Widows, Helms Alee, OFF!, Kowloon Walled City, Big Business) mastered proposition an imposing slab of prime sonic and rhythmic beef flavoured with an imagination and a creative intrigue to get the taste buds singing.

The release looms up on ears with opener The Cutting and within a breath is walling them in with bulging riffs and debilitating rhythms. It is an imposing start but only the teaser to greater things as warped sonic scythes from guitars coveradd to the brewing mayhem. Vocalist Chuck Berrett is as a formidable a presence as the song itself, his raw and growling tones an instant lure complimenting and inciting further the rugged turbulence around him. At its heart there is the inventiveness of a Melvins to the song and the caustic beauty of a Cancer Bats whilst the core swagger to grooves is Coal Chamber bred, their swing reminding of the song Sway. It is a merciless seduction gnawing and flirting with thoughts and emotions, an immediate pinnacle matched straight away by Shake the Meat.

The second track makes a less intensive but just as gripping entrance, the guitar of Jordan Melkin coaxing ears and imagination with potent hooks as ripe and pungent beats from drummer Chris Enriquez provide an intimidating cage. Further enhanced and coloured by the throaty bass bait of Dave Maffei alongside the varied and fierce vocals, the track is an unpredictable and insatiable predator threatening and teasing with impassioned aggression and shadow bred, bordering on deranged enterprise. The riveting blaze is followed by the exceptional prowl and creative stalking of War Dance. It is a hypnotic proposition, a lone riff accompanied by this time more restrained tones from Berrett the initial drama; bait subsequently joined by merciless slaps from Enriquez and eventually stoner-esque hues within explosive roars. The song hunts the senses and psyche from start to finish, even its intermittent immersive and invasive sonic squalls a menace which increases the theatre induced by the engrossing single minded slim stalking either side of them

The track is scintillating and leaves the appetite greedier than ever so thankfully closing track Pastures / Abuelas is more than able to feed the hunger. Over eight minutes of imaginative tension, it is a rigorously captivating pursuit of the senses loading with vicious bass growls, savage riffs, and a sprawling thick sonic smog, all punctuated with a rhythmic resourcefulness which leaves ears bruised and emotions raw. There is also a psychedelic smearing to the atmosphere and inventive colour of the track but it is the hellacious and brutal ingenuity of the track, as well as the stoner bred grooves further into its adventure, which lingers longest and the deepest in the psyche. Dark and ravenous with greater menace in its restraint than a full-out assault could achieve, the track is a delicious immersion and challenge as well as another open side to No Way’s sound.

Sing Praises is an exceptional debut from a band with all the potential to be a potent and inspiring force ahead on the evidence of this stunning entrance. No Way seem to know what ears and instincts want in heavy, brutal, and incendiary exploratory sounds, and of course this is only the beginning….

The Sing Praises EP is available now digitally and on cassette @ http://www.nowayny.com

https://www.facebook.com/nowayny

RingMaster 07/11/2014

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When We Were Wolves – Heartless

When We Were Wolves

At the end of our review of the deeply pleasing The More Things Change, The More We Stay The Same EP from Welsh post hardcore band When We Were Wolves, we added that this was “still a band in the making”. Now the Bridgend quintet unleash its successor in the stunning shape of Heartless to show that they are a creative tempest which has arrived at its first pinnacle whilst still offering the potential of even greater things to come. The five track fury of invention and intensity is a startling encounter exploring a broader and more mature landscape than its predecessor yet still passionately driven by the band’s now distinctive and imaginative post hardcore intent.

Formed in 2011, When We Were Wolves has built a rich reputation for their live presence, which has seen them play alongside the likes of Bury Tomorrow, The Blackout, Devil Sold His Soul, Malefice, Born Of Osiris, Exit Ten, Betraying The Martyrs, Martyr Defiled, and Carcer City. Add that to the success of The More Things Change, The More We Stay The Same and it is fair to say that anticipation for its successor was ripe and full, a hunger swiftly sufficed as Heartless rampages through the ears.

Opening track Dying On The Inside straight away lays a feisty glaze of riffs over ears, their lure fusing a punk and metal attraction before the rampaging beats of drummer Josh Baker uncage their full weight upon the sonic turbulence. The bass of Matt Shaw prowls the gripping brawl of sound with relish whilst vocalist Mitch Bock roars with emotion and animosity. Riffs and grooves spill equal animosity through the craft and invention of guitarists Steve French and Rhod Evans too, their intensive proposal alone creating a riveting baiting of thoughts and emotions within the song. It is a stunning start to the EP, the track twisting and embracing the senses with enthralling imagination whilst further inescapable temptation is expelled through the outstanding and impressive vocal delivery of Bock. Like a collision between While She Sleeps and Slipknot with a twist of Cancer Bats, the song is an irresistible contagion.

Coating ears in an initial melodic yet fiery embrace, the next up The Devil You Know soon twists into a ferocious beast of vocal hostility and sonic antagonism. It is a demanding and compelling start but taken to another level as Bock PromoImageunveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.

The following Confession takes its spark from the previous track, staggered riffs and venomous grooves an intensive and welcome intrusion as rhythms cast their heavyweight provocation. There is no respite from the vocals either initially, the fighting tones of Bock showing no mercy until his seamless slip into the equally impacting clean and velvet delivery he possesses. The encounter is a masterfully invigorating tempest which like most of the songs, perfectly sculpts its relatively brief length for the most dramatic impact before making way for the closing title track. Lighter in its presence in comparison to the last couple of tracks, Heartless is a radiantly emotive song, a melodically fired croon of sonic enterprise and vocal intensity which steals attention and ardour with Bock again exceptional though well-matched by the skilled sonic and rugged rhythmic charm of the rest of the band.

The Heartless EP is a major triumph for When We Were Wolves and the British post hardcore scene. The Welsh band has not only found its own voice but set out a new vat of promise and invention to inspire even greater anticipation for their next offerings.

The Heartless EP is available digitally through all stores on Monday 22nd September.

https://www.facebook.com/whenwewerewolves1

RingMaster 21/09/2014

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Still Bust – 77 For You (57 For Me)

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At its very best, hardcore can produce some of the most rewarding and exhilarating challenges, and some of the most viciously impacting. The new EP from UK band Still Bust is all that and more, one of the genre’s most riveting and emotionally searing releases this year. Veining their sound with irresistible discord drenched tendrils of noise and math rock, the Gloucester band is one offering something different as evidenced by the excellent 77 For You (57 For Me).

The successor to debut album A Few Things We Might Agree On (A Few Things We Might Not) of 2013, the quartet of Matthew Stanley, Ed Hudson, Matt Raybould, and Niall Jones, swiftly scar and grip ears and attention with their new proposition. The EPs title refers to diabetes of vocalist/guitarist Matty, 77 being the average life expectancy for someone without diabetes compared with 57 for someone who does. The encounter though has no sense of self-pity, instead raging and pushing thoughts and emotions of listeners to challenge their own issues and to deal with them. It also has titles which catch the imagination and raise the first step of anticipation before a note is even heard.

First up is It’s Your Fault And You’re Stupid (Kind Regards Barbaros Icoglu), which straight away entangles ears and appetite with its opening web of sonic temptation and magnetic unpredictability. Guitars score and tease with EP Artworktheir discord bred ideation, like fireworks leaving a pungent taste on the senses which lure you in for the oncoming punk fury which subsequently bursts free. Its bait is no less intrusive and compelling, the varied and multiple vocal attack as enterprising as the rhythmic antagonism and aggressive riffery around it. With the technical ideation and craft of the band continuing to vein the angst driven roar, the track emerges like a mix of Cancer Bats, The Dillinger Escape Plan, and UK punk band Dead Retinas with elements of Every Time I Die, and is insatiably riveting.

TV On After Breakfast (Would You Like Your Hair Cut Today) comes next and swiftly unleashes its hostile punk breeding as riffs and vocals rage contagiously whilst rhythms beat out a bruise on the senses with every rally. Within the brawl though, the band uncages another dose of warped and technically twisted ideation which helps to turn a great song into a rigorously impressing one. The bass reveals a deeper throated intimidation to its creative armoury whilst the guitars continue to sculpt a net of seduction and malice which is inescapable, not that you will wish too. Its successor I’ve Never Been More Happy To Have A Hypo (However This Could Mean I Have Irreparable Knee Damage) is built from a similar template though with a unique character and tempest of sound of its own. There is a darker threat and intensity which has little difficulty in riling up hunger and passion for track and release. The song is not alone on the EP in providing a false end either, the encounter taking a breath to return with an even more potent and greed sparking design of enterprise and temptation.

The closing Twenty Foot (Broken Foot) is a test which goes from delicious seducing to raw testing hostility, entwining both across its length whilst providing an epic and enthralling close to the EP. Addiction breeding grooves erupt straight away from within the song, seducing ears and imagination with their insatiable and inventive toxicity. Heavy rhythmic jabs and furious riffs add their taunts soon after too before the raw vocals squall aggressively across the whole mix. Such the impressive start, it loses some of its grip with the following expanse of impassioned anger and slow predation but in time employs its lustful and irresistible endeavours once again within the tempestuous climate and emotion of the track to reignite ears and passions.

It is a striking end to an invigorating and wonderfully abusive release which suggests the potential of Still Bust, as outstanding a release it has just created, still has plenty more to explore and reveal. We can hardly wait.

The 77 For You (57 For Me)EP is available digitally and on white vinyl via Matt Records @ http://mattrecords.bandcamp.com/ and http://mattrecords.bigcartel.com/ respectively.

https://www.facebook.com/stillbust

8.5/10

RingMaster 10/09/2014

Copyright RingMaster: MyFreeCopyright

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The Dropper’s Neck – Line Me Up For The Firing Squad

The Dropper's Neck

If you have not yet immersed in the mutated brilliance of Second Coming, the debut album of UK noise provocateurs The Dropper’s Neck, then firstly shame on you and secondly now is the time to immerse into the psychotic flight and sound of the band with their new single Line Me Up For The Firing Squad. Drawing on all the essences which instilled their album as one of the most striking and impressive releases of 2013, the band explores darker corners of their deranged imagination with the new single whilst forging a stronger rapaciously contagious causticity to their startling sound. It is a glorious onslaught of invention from a band evolving from something exceptional into a major player.

Bred from probably the darkest untoward psyches of Essex, The Dropper’s Neck formed in 2011 and soon had fans screaming in lust, and fear no doubt whilst dogs howled and cowered as rats sought out sinking ships, with their emerging irrepressible presence. Forged with inspirations of band such as Gallows and Queens Of The Stone Age as well as Pulled Apart By Horses and Eighties Matchbox B-Line Disaster, their sound swiftly took hold across the south of the UK as their debut EP was unleashed before the exceptional Second Coming sparked a country wide attention from fans and media alike. The album was as mentioned a thrilling slab of sonic and rhythmic devilry, one seemingly cultured by the hybrid stock of Eighties Matchbox B-Line Disaster and to a lesser degree fellow UK band Engerica. It led to a familiarity to its songs which only added to the potent spicery at play. Now Line Me Up For The Firing Squad shows the quintet of vocalist Lloyd Mathews, guitarists Chris Blake and George Barrows, bassist Jack Turner, and drummer Danny Keene, hatching a more unique and distinct sound to them, a proposition which The Dropper’s Neck are all the more better for.

A hypnotically rabid fury of noise and garage rock with all the antagonistic punk tenacity you could wish for, Line Me Up For The Firing Squad is right away a sonic buzz saw on the senses with a rhythmic punctuation which is as flirtatious as it is intimidating. From its first artillery of beats, the song is sending down cascades of warped grooves and sonic rapacity which swamp the senses. It is barely a few seconds before the squalling vocal grazing of Mathews is adding to the addictive animosity, but that too as the sounds around him, is part ferocity and part tenderising before he unveils a more composed and seductive enticement with a clean delivery which entwines with his abrasive roars.

There is a metal seeded aggression to the guitars and riffs within the song too, and a hardcore spillage across the vocals, their united tempest climbing rabidly all over the imagination. To that mix a predatory garage punk hostility drives the rhythms, though again everything comes with the devilish seduction that the band spawns all their songs from. Like a brawling maelstrom of Melvins, Cancer Bats, Queens of the Stone Age, and we still have to add but to a lesser degree Eighties Matchbox B-Line Disaster, the single is a ravenous and unrelenting furnace of corrosive rock ‘n’ roll enterprise, i.e. quite brilliant.

Line Me Up For The Firing Squad is released for digital download on 11th August through iTunes, Amazon, Spotify and all other online outlets.

9.5/10

The Dropper’s Neck upcoming UK tour dates:

THURS 14TH AUGUST – DUBLIN CASTLE, LONDON;

FRI 15TH AUGUST – FUEL, CARDIFF;

SAT 16TH AUGUST – SANTIAGO, LEEDS;

SUN 17TH AUGUST – SOUTH SEA LIVE, SHEFFIELD;

MON 18TH AUGUST – OPIUM, EDINBURGH; TUES 19TH AUGUST – BLOC BAR, GLASGOW;

WEDS 20TH AUGUST – RETRO BAR, MANCHESTER;

THURS 21ST AUGUST – LADY LUCK, CANTERBURY;

FRI 22ND AUGUST – FITZHERBERTS, BRIGHTON;

SAT 23RD AUGUST – CHINNERY’S, SOUTHEND.

thedroppersneck.com

RingMaster 09/08/2014

Copyright RingMaster: MyFreeCopyright

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Circle of Reason and 48 Hours unite for New Breed Of British Rock UK Tour 2014

  • cor
    Two of the UK’s finest emerging rock bands join forces this July. Hitting venues across the south of England, pop fused hard rockers 48 Hours unite with alt/rock act Circle Of Reason for a number of live dates. Bringing together two exciting bands, The New Breed Of British Rock Tour shall reach a climax on the 26th July, with two separate shows in one day.Forming in 2012, Kent based trio 48 Hours feature Adam Jerome and Matt Savini (ex Colt 44) and Gary Broughton (ex After The Ordeal). Previously building their reputations through appearances at festivals such as Sonisphere & Hevy and supporting successful artists including The Blackout, Madina Lake, Cancer Bats and We Are The Ocean, 48 Hours bring vast experience to the live stage & studio. Following extensive touring since their inception, 48 Hours have gone from strength to strength in 2014 following the release of their debut album ‘Recovery’ which has garnered early taste-maker support from XFM Rock Show and Kerrang! Radio.Taking in this venture as Part 3 of their own Trilogy Tour, Southampton’s prog tinged alternative rock outfit Circle Of Reason have gained attention and support from the likes of Kerrang!TV & Big Cheese Magazine on the strength of two self-released EP’s. As an endlessly touring band, Circle Of Reason have reached many corners of the UK, appeared at major festivals and opened stages for the likes of InMe, Neck Deep, Marmozets and Feed The Rhino. Taken from their ‘These Hands And This Mind’ EP, their most recent video single ‘Themes Amongst Thieves’ is currently airing on rock channel Scuzz TV.

    48 Hours & Circle Of Reason are represented by Tim Crane Artist Management.

    UK Tour Dates

    18th July – Hellfire Club-Redhill

    22nd July – Poco Loco – Chatham

    23rd July – Bar 42 – Worthing

    24th July – Sanctuary Bar – Basingstoke

    26th July – Leos – Gravesend

    https://www.facebook.com/48hoursrock?fref=ts

    https://twitter.com/48hoursrock

    https://www.youtube.com/watch?v=40XFwkLTmV8

    https://www.facebook.com/circleofreason?fref=ts

    https://twitter.com/Circleofreason

    https://www.youtube.com/watch?v=KX82tM24wDE (Currently on Scuzz TV)

Dearly Beloved – Enduro

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Hazily immersive and virulently seductive, not forgetting mouth-wateringly compelling, Enduro the new album from Canadian rock band Dearly Beloved is another unexpected treat for the year. You sense the dramatic presence and striking sounds of the release is not something new as their existing fans can surely confirm but as our introduction to the Toronto protagonists, the release comes as a potent and thrilling new adventure. Merging sultry essences of stoner and progressive rock with the creative voracity and enterprise of garage punk, Enduro is a glorious ride of sweltering textures and magnetic imagination wrapped in a scuzz kissed melodic vivacity which flirts contagiously from start to finish. It is a magnificent encounter and the start of a torrid union between the band and our passions, and a horde of many others we predict upon its uncaging.

Dearly Beloved is centred round guitarist/lyricist/vocalist Rob Higgins (ex- Change of Heart, Doctor and nephew of Rush’s Geddy Lee), and vocalist Niva Chow and from the release of their critically acclaimed third album Hawk vs. Pigeon, has been on a non-stop charge of shows, including tours with the likes of Julie Doiron, Cancer Bats, Wrong Guys, and Grimskunk as well as venturing into the UK and Europe with their renowned stage performances. Now with the successor to their previous triumph, the band is set to reap even greater success and rewards, hindsight showing that as impressive as the last album was its successor takes things to a new inventive height.

Recorded at the infamous Californian Rancho De La Luna studios (Arctic Monkeys, Queens of the Stone Age and Kyuss), Enduro saw Higgins and Chow recruit Eamon McGrath as guitarist and co-writer for the 15-day creating and recording of the album. Also involved were Brendan Canning (Broken Social Scene), Dave Catching (Eagles Of Death Metal), Chris Goss (Sound City Players) and Dave Elitch with its mixing undertaken by Adam Kasper (Nirvana, Foo Fighters). Apparently there were not even skeletons of songs prepared before the recording of the album but that obviously was in no way an issue such the sonic ingenuity which has evolved from the process. As soon as feedback soaks ears and a dulled yet intrusive resonance brews at the opening of the title track, intrigue is pricked and swiftly fed along with the imagination as rhythms roll in on rugged sinews, flames of sonic coaxing erupts, and the bass grumbles impatiently. It is a captivating start and one pushed to greater strength by the breath-taking vocal union of Higgins and Chow. Theirs is a rigorously captivating union, whether sparring or uniting in their delicious persuasion. Guitars have a mesmeric yet simultaneously raw air to their enterprise around them whilst the heavily swiping rhythms simply enslave an eager appetite for song and release. Like a rugged union of Mars Volta and Jane’s Addiction, the song is a wanton fire of craft and invention, a psychedelic seducing which is scintillating.

The following Olympics Of No Regard rides boldly in on another rhythmic enticement courted by potent hooks and grazing rubs of db COVERguitar. Its confident stroll continues unabated but still relaxes along the way for evocative shimmering surf rock twists and expressive stoner abrasing which are as unpredictable as they are engaging; a union constantly repeated across the whole album in the startlingly new characters and designs of songs, as next up Astor DuPont Payne. The track is sensational, from its initial tingling of guitar a riveting incitement which grows in presence and potency as acidic melodies entwine the senses, vocals breathe seduction with each syllable, and captivating grooves dance around thoughts like the flames on the opening credits of Tales of the Unexpected. The bass also is a tempting impossible to resist, its dark wiles a persistent shadow in an incredibly imaginative and creatively fascinating triumph. Psychedelic pop rock at its finest and most unique, the song is a new pinnacle in nothing but so far across the release.

Both the more voracious Not My Pig with its punk bred attitude and the aggressive Seven Plagues get feet and passions involved further, the first a song which stalks and abuses with a caustic toxicity across all musical fronts which is as bewitching as the ever impressing embracing vocals. The following song revels again in the punk part of the band’s heart, raging and brawling with rhythms and grooves but only within an invigorating pop tenacity and enticement which tempers and inspires equally the thrust of the track. Neither matches the heights already set but both inflame and feed ears and thoughts with full satisfaction. A sufficing pushed into gluttony with the brilliant The Guile Of Pricks and its instinctive rock ‘n’ roll. Garage punk meets psychedelic pop, the track is another raw yet fluid enveloping holding a Pixies experimentation and QOTSA stomping before making way for the desert smothered sounds of Between Finger & Thumb, where Perry Farrell and co again spring to mind in tandem with at times Melvins. Though not as instant as other tracks it is an evolving web of sound and ingenuity which steals a mighty share of the plaudits.

The smouldering beauty and melodic glances of All Sins Are Forgiven come next and simply leave passions in a pool of ardour, a mellow tempting which leads into incendiary imposing and provocative crescendos across its enthralling suasion. The song tantalises and mesmerises with intimate yet expansive radiance and reflection to cast another slice of creative alchemy into the album before the voracious canter of Run For Your Life decides to make its claim for best song honours. Pop punk with antagonistic devilry, the track is rock music as it should be; fiery, inventive, and ridiculously contagious.

Closing with the brief psychedelic and slightly psychotic smothering of Ether Binge, a song which drifts with melodic venom and seducing shadows, Enduro is instinctive brilliance. There are times where like the final track you feel songs are incomplete in some way or as they were created in short time, their ideation suggesting and unfulfilled body but it does not bring any sense of negativity to the sensational sculpting. In fact it adds to the loose and primal feel of the album, one though conjured through precise thought and unleashed imagination from all involved. Enduro is our introduction to Dearly Beloved giving us a two directional investigation of the immense band from here on in, must be our birthdays.

Enduro is out now on Aporia Records in Europe and eOne Music in Canada now!

http://www.dearlybelovedmusic.com/

9/10

RingMaster 10/06/2014

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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