b.d. Gottfried – Something You Weren’t

Providing an intriguing teaser to his recently released new album, Something You Weren’t is a potent invitation into the musical world of b.d. Gottfried. The track is taken from Through The Dog’s Eyes, the successor to the well-received Motion Fever of two years back and hints at a new wave of creative energy and diverse flavouring in the already boisterous Gottfried sound whilst offering plenty of infectious enterprise to get wrapped up in.

Creating a lively mix of progressive and classic melodic rock with plenty of additional styles and spices, Canada hailing Bill Gottfried has grown from a kid of fourteen playing his first show, through years building his reputation as a session musician and writer, to an artist with a string of keenly played tracks across Canada, the US, UK and Europe as well as those previous seven increasingly acclaimed albums. Through The Dog’s Eyes is no different, being declared Gottfried’s finest moment yet, a claim which Something You Weren’t provides plenty of backing up for.

As the album, recorded with producer Siegfried Meier, Something You Weren’t emerges from a sonic fog with tenacious riffs and rhythms courted by a melodic excitement. Keys throw their dance into the mix soon after as Gottfried’s distinctive tones unveil the lyrical heart of the song.

Instantly catchy, the track swings along with a bold liveliness as the familiar imaginative enterprise of its creator plays. To that though, there is an air of confidence and a swagger in the writing and sound arguably not heard before in Gottfried’s songs. It all makes for a highly inviting and enjoyable moment in time as well as a strong lure to the exploits of Through The Dog’s Eyes and the continuing evolution in the b.d. Gottfried adventure.

Something You Weren’t and Through The Dog’s Eyes are out now; available @ https://bdgottfried.bandcamp.com/album/through-the-dogs-eyes

http://www.bdgottfried.com/   https://twitter.com/bdgottfried/

Pete RingMaster 17/08/2017

Copyright RingMaster: MyFreeCopyright

Kabbalah – Spectral Ascent

For everyone there are certain encounters which forge an instinctive union with personal tastes; records which more than most tap into the creative imagination. We have come across a great many over recent years, having the privilege to listen to and assess a constant flood of offerings, but few have made the immediate lustful impact as Spectral Ascent, the new album from Spanish psych/doom trio Kabbalah. The release is a siren for the senses, an enchantress for the imagination, and one of the most desirable proposals heard in recent times.

Kabbalah is the creation of Carmen and Marga, former members of Pamplona rock band Las Culebras. 2013 saw the well-received release of their self-titled debut EP, its success followed and backed by the Primitive Stone EP fourteen months later. Both lured keen attention towards the band’s fusion of occult rock, 70s retro, and classic heavy-psychedelic sounds of the late 60s; a mix creating a cauldron of temptation and dark suggestion, a snarling trespass of predacious uniqueness nestling often irritably under the beauty of alluring vocals and swarming harmonies. With Alba completing the current line-up in 2015, Kabbalah sound has blossomed again for Spectral Ascent, hints of its fascinating evolution coming in the 2016 single Revelation and earlier this year its successor Phantasmal Planetoid, both prominent lures within nothing but across the album.

Spectral Ascent quickly coaxes attention with its opening title track; a short intro of melodic flirtation with a shadowy undercurrent which plays like a music box enticing entrance to an alluring dark realm. It’s elegant if sinister coaxing leads into the equally beguiling lure of Resurrected where from the heavy throb of bass and the magnetic pull of vocals the song has ears and appetite swiftly engaged. Guitars similarly draw the senses with their melodic sparkling, teases leading into the more formidable and imposing heart of the track. Never deviating from its seductive swagger though, the song twists and crawls through ears right into the psyche, moments of almost carnal intensity and calmer flows of romancing melodies igniting the imagination and body like few other encounters.

The sheer drama of the outstanding proposition continues through next up Phantasmal Planetoid. Its climate is instantly darker and more formidable as the bass snarls, never losing its heavy trespass as the song moves on to court a boisterous gait with turns of tetchier growls. It is masterful stuff, stoner and doom essences colluding with those earlier mentioned flavours as vocals and harmonies soar. No lightweight on addiction loaded hooks either, the song is manna for ears and instincts, a consuming persuasion also bred in the voracious antics of The Darkest End and immediately after within The Reverend. The first of the two aligns carnivorous riffs and bass irritability with spell spun grooves and the ever bewitching vocal union across the band. It resembles a fusion of Blood Ceremony and Jess and The Ancient Ones, yet is as individual to Kabbalah as you could wish for. Its successor is almost punk like at times, an underlying crabby edge flaring up across its psych and post punk spiced tapestry like a hybrid growth from a union of Au Pairs, Cradle, and Deep Purple.

Following their triumph, The Darkness of Time offers a funk fuelled swing of psychedelic rock, its body a web of heavy and classic rock honed enterprise which might miss the more predatory traits of its predecessors but has body and spirit wrapped up with ease. Its occultist lure only adds to its relentless charm; bait which is taken to more threatening places within the outstanding Dark Revelation. Its first breath has a garage punk taste, the subsequent canter more of that Au Pairs like post punk tempting before Kabbalah turns it all into a compelling and virulent, almost unruly, tango of creative flirtation.

The Shadow slinks up to ears in its own inauspicious way, tempting and warning with portentous charm before its fires break from an initial smoulder into a white hot rock ‘n’ roll stroll while the album closing Presence shares a calmer though no less heated weave of retro and modern nurtured adventure to further enthral. The dancing prowess of the drums, not for the first time, is almost consuming in its rousing and resourceful drive of the magnetic sounds bringing the album to a masterful conclusion.

The need to go again is controlling as Spectral Ascent drifts away, and the pleasure in doing so ever rewarding. The album is immense and rich food for a passion for psych/doom infused rock ‘n’ roll. Some bands feel destined for greatness from their first moments; Kabbalah is one and their new offering commandingly intensifies that belief.

Spectral Ascent is out now via Twin Earth Records and available @ https://kabbalahrock.bandcamp.com/album/spectral-ascent

https://www.facebook.com/Kabbalahrock/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Roxin Palace – Freaks Of Society

Taking a moment to catch up on highly enjoyable propositions a technology crash meant were missed, we suggest checking out Freaks Of Society, the second album from Italian rockers Roxin Palace. Offering up thirteen slices of contagious rock ‘n’ roll armed with wicked hooks, juicy grooves, and anthemic dexterity, the album is very easy to find an eager appetite for. Its rousing incitement fuses sleaze and hard rock with equally tasty metal and heavy rock essences. They are not always flavours which ignite our appetite generally but it is fair to say Freaks Of Society just hits the spot, barely losing its potency across its tenacious body.

Formed as Modern Middle Ages in 2011 by guitarist Crown, formerly of Revoltons, and drummer Hell, once of Elvenking, the subsequently named Roxin Palace completed its line-up the following year with the addition of rhythms guitarist Slaver, bassist Garret, and vocalist Axel. The band were soon working on their self-titled debut album, its 2013 release backed by a growing live presence with the band sharing stages with the likes of Phantom X, Salamandra, and Jettblack over time as well as make a highly successful appearance at Metal Days (Slovenia) where they lined up alongside bands such as Obituary, Satyricon, and Manilla Road.

2014 saw major changes as Axel, Slaver, and Garret departed with Al and Gian coming in on vocals and bass respectively. Attention then turned to the writing of the second Roxin Palace album, its release coming via Sleaszy Rider Records towards the end of 2016, an arrival still drawing keen praise and fresh hungry ears its way.

Freaks Of Society opens up with its title track, a carnival of theatre with increasing portentousness and threat to its air and presence. Its dissipation opens the way for Monsters Love to bound in, initial melodic mists quickly speared by driving riffs and crisp beats. Al’s vocals are just as eagerly enticing, becoming more excitable as energy boils within the eighties flavoured charger. There is also a thrash urgency and aggression which adds to the fun, the song a strong start though soon and regularly overshadowed as the album reveals its adventurous enterprise.

The insatiable drive of Gangs Eraser has ears instantly alert next, the wiry grouchy bassline especially thick bait as the song brews a melody rich and tempestuous proposal. At times it is a seductive croon and in others a snarl of discontent, a union of contrasts which becomes even more tempting as its drama unfolds and infests the psyche before Thai Of Mine lays its salacious rock ‘n roll upon the senses. Like a mix of Mötley Crüe and L.A. Guns, the song climbs over the body like a wanton temptress and though it does not quite meet the heights of those sandwiching, pleasure is full.

Postatomic Hotel similarly has that familiar eighties groove, their melodic rock hues luring ears with ease though it is the chorus which seals the deal; its catchiness and tone pure flirtation. It is a quality which also lines the contrasting croon of L.A. Mist, its melodic tapestry the seed to fiercer sonic flames and dramatic weaves of energy and emotion. Both tracks captivate but still pale a little against the out and out stomp of Monkey Junkie, a growling, air punching slab of pure rock ‘n’ roll which enslaves within its first horny groove.

Similarly Rockers Of The Eagle has the passions lusty; Gian’s carnal bassline alone instinctive kindling backed by wiry grooves and flirty melodies as beats pound.  The great group vocal backing to Al is a constant strength within Freaks Of Society, and again strong enticement to get involved here with the Crown’s guitar weaving compelling strands of imagination to entwine it all.

Through the southern rock liquored Neighbourhood Stars and Fading idol with its whiff of Thin Lizzy and punk rock raucousness keep pleasure at a high while Freak? backs up their success, if without quite matching their heights, with its flaming theatre and emotion. It only has ears in its melodic thrall though, Crown’s web especially bewitching as it completes a trio which alone shows the adventurous and varied nature of the release as well as further glimpses at inspirations easy to suggest the band draws upon; Skid Row and Shotgun Messiah coming to mind.

The album is completed by firstly F.A.N., an antagonistic rumble pouring attitude and heavyweight metal belligerence into every rhythmic swipe and steely groove. With the bas s again pure carnal pleasure, the track takes favourite status before Little Lizzy completes the release with its stirring dirty rock ‘n’ roll with Al a blaze of vocal dexterity.

Certainly Freaks Of Society is not the most unique thing you will get your claws on this year but in many ways that is not the aim; Roxin Palace creates fresh rock ‘n’ roll with existing ingredients, infusing them with their own adventure which Freaks Of Society proves its highly enjoyable.

Freaks Of Society is out now via Sleaszy Rider Records through most online stores.

Overunit Machine/Roxin Palace Tour Dates

01-04-BOSS GARAGE-KRAKOW

03-04-T.B.A

04-04-T.B.A

05-04-MIKE’S PUB-CLUJ-NAPOCA

06-04-ROCKNROLLA-IASI

07-04-PRESA PUB & GRILL-BUCHAREST

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

Pete RingMaster 27/03/2017

Copyright RingMaster: MyFreeCopyright

Threatpoint – R.I.P.

threatpoint_RingMasterReview

Inescapably enjoying their second album Careful What You Wish For when being introduced to it and the band last year, we suggested that it was easy to see US groove metallers Threatpoint “making their presence a global one if not now certainly on a near horizon.” That album evaded the luck to make the bridge but now expectations of such success are rising again with its successor R.I.P., a release which eclipses the last in every department.

Formed in 2012, the Scranton, Pennsylvania hailing quartet quickly showed themselves a formidable and exciting proposition through debut album Dead to Rise in 2013 and a live presence eagerly devoured locally and further afield. Taking inspirations from an array of metal and heavy rock borne flavours for their groove metal seeded sound, Threatpoint merged familiar and increasingly inventively fresh essences in the following Careful What You Wish and it is fair to say that the latter side has grown yet again within R.I.P., that alongside imagination and sheer creative ferocity.

With newest member and bassist Matthew Van Fleet alongside founding members in vocalist Chris James, guitarist Alex Olivetti, and drummer CJ Krukowski, Threatpoint immediately absorb ears with the portentous lure of the album’s title track. Its initial coaxing is a dark harmonic drone courted by drama carrying atmospherics. From within the evocative draw, riffs and rhythms gather and surge hungrily through ears, quickly finding their assault bound in just as rapacious grooves. Death and thrash nurtured textures are soon fuelling the rousing starter, the raw ire loaded tones of James orchestrating the anthemic prowess of the chorus whilst Olivetti’s enterprise only blossoms across each invasive groove and melodic flame.

It is an invasively potent beginning to the release reinforced by next up Deadend Machineland. It too needs a mere handful of second before settling into a predatory confrontation equipped with its own senses stirring confrontation. Like a gunslinger, it stands sizing up the listener as James’ prowls the imagination, subsequently uncaging a blast of multi-flavoured metal with a good sense of restraint to emphasize its invention before Tombstones of my Enemies presents a riveting trespass of scowling riffs, intrusive rhythms, and a sonic web woven with melodic dexterity, all emerging from a great initial melodic haunting. As each song before it, the track reveals a new character to the Threatpoint sound, R.I.P. already outshining its predecessor in diversity while matching its raw intensity.

art_RingMasterReviewThy Will Be Done is a grievous groove fest littered with invasive hooks and sonic irritability around the equally fuelled growls of James while Light Bleeds Through the Black straight after is a sinister at times almost darkly lecherous protagonist of ears and imagination interrupted by predatory bursts of volcanic ferocity. Both crowd around barbarous basslines from Van Fleet and the wickedly swung beats of Krukowski, a union of dexterity as addictive as the ravenous enterprise around them. The fade out of the first is annoying but a minor gripe in one of the album’s major highlights, a height matched by its successor and the demonian seduction of Bury the Wicked where again lava-esque enterprise meets provocative malevolence.

Through the classic and thrash metal spiced theatre of Laugh Now…Cry Later and the carnivorous canter of Writings on the Wall, the band continues to enthral an eager appetite for the magnetic adventure of the album even if neither quite stirs personal tastes to the same lusty responses as those before them or  the outstanding One in the Chamber…One in the Chest which follows. Its grouchy growl alone whips up unbridled attention, its predacious bassline and similarly natured grooves just as masterful in enslaving the passions as the song twists and turns with inventive rabidity.

The murderous swing of Face Your Fear is the foundation to another pinnacle within R.I.P., a track which courts a host of varied metallic styles as it venomously struts around body and thoughts before making way for the equally gripping theatre of Angels with Broken Wings which features the striking vocal presence of Lauren Balogh, vocalist for DramaScream and SuperRadical; her union with James a major reason for the track sparking another wave of lust.

Completed by the thunderous charge and choleric tempest of Death Rides Again, the album hits a whole new plateau in its second half following a nothing but impressive and thoroughly enjoyable first. It is the spark for expectations that Threatpoint will finally find worldwide awareness for their ever growing and increasingly inventive sound. R.I.P. may be its name but the album is the birth of greater things and success for the band.

R.I.P. is out now across most online stores.

http://www.threatpointofficial.com    https://www.facebook.com/threatpoint

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright

Idlewar – Impulse

idlewar tour_RingMasterReview

Managing to make a strong and firmly enjoyable impression on the first listen and blossoming into an even more striking proposition thereon in is Impulse, the debut album from American rockers Idlewar. The trio from Orange County caught attention and plaudits with their first EP, Dig In last year; its sound and success though was just an appetiser for the rousing prowess of Impulse and its suspected zeal loaded critical and fan reception.

Consisting of vocalist/bassist James Blake, guitarist Rick Graham, and drummer Peter Pagonis, Idlewar have quickly shown a knack for creating boisterously infectious and creatively dramatic proposals bred on an expansive range of rock ‘n’ roll from hard and classic rock to stoner and even grungier essences. It is an ability certainly fuelling Impulse and its diverse collection of songs.

Mastered by Brian Lucey (Ghost ‘Meliora’, Black Keys ‘El Camino’, Arctic Monkeys ‘AM’) Impulse quickly grips attention and imagination with opener Stone in My Heel. The twangy riffs which touch ears first instantly have an endearing swagger to them, their invitation soon joined by the just as appetising groan and lure of Blake’s bass; both in turn courted by the swinging beats of Pagonis. Choppy riffs and sweaty grooves escape and entangle an already keen appetite for things as Blake’s gravelly roar of a voice adds a more classic rock hue to a song also twisting within the throes of noise, alternative, and darker strains of rock ‘n’ roll.

impulse-cover_RingMasterReview16The track is superb, the perfect introduction and quickly backed up by the stoner/blues sultriness of Soul. Like Stone Temple Pilots engaged in psych rock flavoured escapades, the song croons and prowls the senses; the grooves of Graham especially flavoursome before it all makes way for the lighter infectious stroll of Criminal. Again grooves and hooks create a web easy to get caught up in, the heavier rhythmic enterprise an additional cage keeping ears and enjoyment in close attendance.

All That I Got is a slow burner in comparison. Starting with a slow emotive cloud of melody and vocal which certainly intrigues but lacks the potency of earlier tracks, the track grows in heavy emotion and intensity, finding a richer presence though it never quite hooks personal tastes as firmly as the songs around it. The variety and range of songwriting it brings does add to the powerful character of the album, as too does Innocent with its rhythmic enterprise, Pagonis laying down a captivating bed of feisty and resourceful beats over which Blake’s bass snarls, and in turn the classic rock revelry of Glory. With a great line in R&B to its body, the track is another which really grows over listens.

Band and album are back in seriously engaging gear with the rhythmically carnivorous Apathy next, it a track predatory in riffs and spidery grooves as Blake leads with his potent tones. The bass is at its most bestial in tone on the album, an infectious threat cleverly tempered by the fiery craft of Graham. Providing a certain highlight of the album, it is eclipsed by another in the catchy hip swinging devilry of Damage. With hooks to incite bad habits and a growing blaze of stoner seeded roars, the song is the cause of addiction in four minutes of mouth-watering rock ‘n’ roll.

Impulse is completed by first of all Burn All This, another song which almost stalks the listener as rapacious rhythms align to sinister riffs with the strength of catchiness which shapes the whole of the album. Grungy yet lined with a great dark blues tone and moments as heavy as they are seductively mellow, the excellent encounter is followed and album closed by On Our Knees and its feverish rock ‘n’ roll. Incessant and rousing, it is a fine end to a great debut full-length from Idlewar. It has a raw edge with mixes well with the open craft of the band members and their lively imagination plus a suggestion that the band is still developing and has plenty more to creatively discover within themselves, something to eagerly look forward to whilst enjoying Impulse.

Impulse is released September 30th via PHD.

http://www.idlewar.com/   https://www.facebook.com/idlewartheband/   https://idlewar.bandcamp.com/releases   http://www.twitter.com/idlewar

Pete RingMaster 30/09/2016

Copyright RingMaster: MyFreeCopyright

Berserkers – Lock & Load

groupe_RingMasterReview]

French rockers Berserkers have a sound it is simply impossible not to find a healthy appetite for. Hard rock in character with captivating and open traces of seventies/eighties bred rock led by the magnetic enterprise of keys; it is a masterfully compelling tapestry of sound and lively adventure flooding the band’s new album Lock & Load.

The Bordeaux band’s sound is certainly at odds with expectations when approaching a proposal called Berserkers and a release titled Lock & Load but swiftly persuades as the 2009 formed outfit entangle ears and imagination in their flavoursome energy and enterprise.  Founded by bassist/vocalist Julien “Julius” Logeais and keyboardist Julien “Judy” Rosello, the band’s original line-up was completed by guitarist Julien “Pix” Lamy, guitarist Arthur Orsini, and drummer Leo Calzetta. 2013 saw the departure of Rosello and the addition of Hammond organ toting Valentin “Val” Sarthou with the debut Berserkers album unveiled the following year. Following its release, the quintet became a quartet with Lamy leaving to concentrate on another project, Lock & Load the first encounter from the foursome and a striking offering it is too.

The album grabs ears from the off, starting with a bang as Outlaw lures attention with a great bait of drums quickly joined by the glorious and distinctive flavour of Sarthou’s Hammond. Swiftly the full flavour of the band and album’s sound is coursing through ears, the songs bluesy and seventies spiced hard rock ‘n’ roll a swirling yet punchy kaleidoscope of sound. It is a dramatic opening to the album which simply captivates body and imagination with ease; virulent and aggressive funk/blues ‘n’ roll rather easy to breed a forceful appetite for.

5-album-lock-load_RingMasterReviewThe following Blind Taste is of the same ilk but instantly revealing its own funky swagger and melodic character led by Logeais’ fine vocals and the ever persuasive enterprise of Sarthou’s keys. A touch more restrained than its predecessor yet with an energy and zeal to its magnetic stroll, Orsini’s guitar adds extra sonic endeavour to the weave of grooves and melodies courted by robust rhythms before the outstanding Vampire Lady teases and taunts with its seventies blues ‘n’ soul hued dance.

The brooding tone of Logeais’ bass is one highly appetising feature of It’s Up To You next; it’s swinging shadowed bound presence even outshining the flavoursome weave of the Hammond and matched by the energetically boisterous swings of Calzetta amidst the flaming exploits of Orsini’s guitar. For personal tastes Lock & Load is at its peak across the first quartet of songs but still providing plenty to be highly pleased by from hereon in starting with The Foolish Man and its almost prowling gait and in turn the feisty romp of Rock Save The World which pretty up lives up to expectations cast by its title. The track is an unrelenting rocker; a powerfully infectious anthemic stomp even if its originality is less apparent than other tracks within the album.

The song’s rousing presence is followed and contrasted by the calmer waters of Heroes Are Back In Town though it too has an eager nature which gives the song real energy as vocals give it catchiness and keys charm. With Orsini’s craft on guitar highlighted in another great solo, the song is another which is thickly enjoyable if not quite matching those earlier tracks while Starlight City shows itself a tenacious and powerfully infectious proposition almost bubbling with the band’s flavoursome rock ‘n’ roll once more richly coloured by the inventive presence of the Hammond.

Completed by the rhythmically enslaving and melodically sultry Hangöverhead, a song bringing the album to an as potent and compelling a close as it started, Lock & Load is thorough and lingering enjoyment across a collection of songs which light ears and imagination. It needs little time to tempt and persuade while suggesting it is just the very tasty appetiser for bigger and bolder things ahead from Berserkers; something to definitely recommend seventies and hard rock fans check out.

Lock & Load is out now across most online stores.

http://www.berserkers.eu/    https://www.facebook.com/berserkersofficial

Pete RingMaster 21/09/2016

Copyright RingMaster: MyFreeCopyright

Welcome Back Delta – Sucker

WBD_RingMasterReview

As commandingly infectious as it is resourcefully muscular, Sucker is one of those propositions which just demands attention. The second album from British rockers Welcome Back Delta, the album is a spicy brew of classic and blues rock with a stoner/grunge scent to its captivating aroma. It embraces familiar flavours and textures but in a creative devilment and character all of the Welcome Back Delta making.

Hailing from Cheltenham, Gloucestershire, Welcome Back Delta emerged in 2011 and quickly made an impact on their local music scene. Since then they have toured the UK several times and supported the likes of Clutch, Nick Oliveri’s Death Acoustic Tour, And So I Watch You From Afar, Lionize, and Karma to Burn. 2014 saw the well-received release of debut album Shocker, a success sure to be eclipsed with style and strength by Sucker.

Band and album get straight down to business with opener Beast Mode where from an initial ear catching ear spun hook and a swiftly joining rally of beats attention is hooked, riveted as Clutch like grooves and great group vocals uncage their catchy and dirty exploits around the lead and enjoyable slightly grouchy tones of vocalist/guitarist Joe Kelly. With the brooding bassline of Phil Davies carrying its only steely nature to align with the potent lures of Rob Duncan’s grooves, the track is soon in command of ears and appetite with a rousing chorus to complete the persuasion.

The bluesy tendrils of the following Snake In The Grass keep the commanding start going, grooves a smouldering lure of classic and familiar blues infection luring the listener into another potent chorus of group vocals. Caged by the firm and magnetic rhythms of drummer Steve Roberts, the song strolls along with a swagger and melodic glint in an intoxicating combination sparking listener participation with ease before the heftier weight and growl of Thrones takes over. Again there is no lack of contagiousness to its boozy grooves and imposing presence as ears and imagination are ignited alike again.

cover_RingMasterReviewGood variety across Sucker is another potent attribute, the country blues drama of Arms Dealer, which features guest Damon T, providing a flavoursome turn in the album’s landscape while Dadgerous featuring Bison Steed wraps itself in a Kyuss meets Red Fang-esque roar. The track is outstanding, a virulent trespass of the senses which ignites the spirit and energies of those it touches.

Jeremy’s Iron rumbles and grumbles next, its heavy riffs and cracking rhythms colluding with more of the smouldering grooves and instinctive catchiness Welcome Back Delta conjures at will while The Magic Of Flight shows the band is as adept at serenading ears, the track a tantalising mix of darkly grained vocals and simple but suggestive melody courted by the shadowed air of bass. It is hard to say that either is overly unique but both tracks, as the album, simply tempt and persuade with a sublime touch and invention.

More of that country breeding infests the lively Black Tie next with the following Preacher entangling itself in a web of blues endeavour and though neither quite match up to songs before them, each leave satisfaction thick and ears hungry for more which the closing and fiery rock ‘n’ roll of Don’t Hold It Against Me, Unless It Gets Hard provides in fine style. With rampant rhythms and tangy grooves it leaves a lingering taste of the album and the inspiration of a swift return into the rousing triumph of Sucker.

Sucker might not be the most unique slab of rock ‘n roll heard this year but it is one of the most enjoyable so we dare you to take a punt on Welcome Back Delta.

Sucker is out now and available @ http://welcomebackdelta.bandcamp.com/

Upcoming Live Dates

11th November- HARD ROCK HELL Festival

26th November- The Exchange, Bristol (Supporting Planet of Zeus)

http://welcomebackdelta.co.uk/   https://www.facebook.com/Welcomebackdelta

Pete RingMaster 22/09/2016

Copyright RingMaster: MyFreeCopyright