Eyemouth – Cut

Apr24

We will admit straight away that we are not sure if our words can do justice to and truly convey the creative realm and dark majesty which breeds the sound of Swedish band Eyemouth but they can certainly reveal the striking and thrilling effect their new EP had on ears and the imagination.

The Cut EP is quite simply superb, an adventure into the compelling world of one of the world’s truly unique propositions. We first came across and were seduced by the rarefied invention of Gothenburg hailing Eyemouth through their third and fourth EPs, Noera Genesis and The Flood. Each provided a journey into the unknown as captivating as it was disorientating, a creative adventure continued through debut album A Newly Planted Grain in 2017 and the Spiral EP two years later. We shamefully admit we managed to miss both encounters and can only say it has to have been to our major loss going by the magnificence of Cut.

Eyemouth consists of Marcus Lilja and Joakim Åberg, the band deriving in 2014 from the demise of Estrange and includes Dark Abstract in its member’s history. As suggested it is hard to accurately expose the creative palette to the Eyemouth sound. There is an electronic breeding which entangles with classic, atmospheric and psychedelic nurtured rock as well as a dark folk and occult scented imagination at play but that still only conjures certain aspects of a sound at a new high within the new Eyemouth offering. With four tracks making up its body, each a tale in sound, word, and intimation, Cut is pure fascination which entangles ears as it dances with the imagination; emotions just as easily caught in its dark and at times demonic embrace.

The EP begins its captivation with A life of its own, the track emerging on a sonic shimmer which within a few breaths is already casting a sinister edge to its atmospheric expansion. The magnetic presence of the band’s vocals is as potent as ever, again a harmonic dexterity accompanied by a more primal fringe. As the sonic winds build, a compelling cacophony of sound and suggestion brews, darkness a cloud of emotive intimation within the rich array of diverse ethnic instrumentation, including the bagpipes of Per Stjernkvist, making up the fixation.

Stay quiet is all there is to it follows, shaman drumming enticing attention with controlled but magnetic resonation as again darker hues erupt and interrupt the track’s emerging climate that itself tenebrific. Similarly vocals bring a fusion of shaded and darker intimation. All the while, the track wormed into the psyche like a hungry threat to eventually brew and erupt in a throbbing infestation aided by the guest drums of Håkan Aspnäs, before folk lilted vocals accompanied by an infectious canter rise up within the senses enveloping atmospheric corruption.

Both tracks are sheer captivation for ears, attention and a premise evoking imagination; all swiftly seduced again by At the opening of the gate. Stygian hues once more immediately challenge thought, the declaration of vocals soon escalating the creative weave as melody kindled and electronically summoned sounds share virulent flirtation. With those vocals just as magnetic and another spectrum of instruments colouring the instinctive imagination, the song simply enslaved and in quick time, emerged one of the best things heard here in recent years. As within every track, every second brings a seed for unpredictable enterprise and pleasure with every syllable another spark for the listener’s thoughts.

The album closes out with To open up the skin, a Tartarean glimpse upon the real world seemingly under scrutiny and manipulation of otherworldly protagonists. Melody and harmony unite in a warm comforting hug within a portentous sonic incantation, the crepuscular atmosphere darkening and becoming more leaden and overwhelming until the final melodic sigh.

It is a magnificent end to a glorious release which again we suggest is like nothing you will have explored before. Eyemouth have teased and warranted the biggest attention for a far while now, the Cut EP now demands it.

Cut is out now; available @ https://eyemouth.bandcamp.com/album/cut

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

Pete RingMaster 18/04/2020

The Outfit – Viking

Apr9

Two years ago, US rockers The Outfit had us greedily devouring a debut album which merged familiarity with fresh individuality. It was a seriously rousing incitement which ensured an eager anticipation of what would follow would lie in wait and now erupt with the release of sophomore album, Viking. It had one striking release to follow and build upon so ripe intrigue surrounded us as we leap into its sounds. In some ways, the ten track encounter is more of the same but in many more traits another attention gripping roar that is bolder, eagerly boisterous, and far more unique.

The quartet of brothers Mark (drums) and Matt Nawara (guitar), Andy Mitchell (vocals/guitar) and Mike Gorman (bass) have relentlessly reinforced the success of their self-titled first album, their live presence and reputation alone pushing the band towards major attention with the past year seeing them sharing stages with the likes of SOiL, Accept, Flaw, and Saving Abel. Mixed by multi-platinum producer Ulrich Wild (Breaking Benjamin, Static-X, Deftones, Pantera, and White Zombie), Viking is another mighty jab at widespread recognition, a rampant release easy to see a fresh horde of new fans charged up by their inspiriting sounds.

Viking opens up with the band’s new single, Come Alive and immediately imposing and inviting rhythms are bound in guitar cast wiring. It is a fusion continuing to trespass and light up the air as the familiar infectious tones of Mitchell venture into a lyrical dimension bearing passed loved ones. With rich melodic lacing around the track’s muscle, the song is instantly recognisable as The Outfit with its seeds and strengths bedded in classic and hard rock across the decades.

That classic breeding is even more pronounced in the following Midnight Moses; a soulful and hearty incitement needing mere seconds to entice ears and involvement. The bass casts an earthy rumble throughout the song, beats and percussion dancing on its spine as the guitars again spring a web of melodic and sonic enterprise. As the first, the track is pure contagion effortlessly drawing voice and movement before Believe calms the air a touch with its emotive flame across another catchy landscape. As with all tracks in varying degrees, it feels like a familiar friend in part and fertile originality in plenty more ways, the striking Carnival in turn emphasizing that feeling with its voracious surge and esurient holler not forgetting a groove which entwines ears like a sonic succubus.

One of the album’s major highlights is followed by another in the melodic siren that is Bleed in the Dark, a slice of seduction carrying dark shadows as magnetic as the honest reflection of its words and harmonic lighting. A track which touched with certain intimacy, it is matched in craft and potency by the album’s title track; Viking almost sneaking up on the shores of the senses on a sonic wave before plundering ears and appetite with predacious riffs and equally hungry grooves. From menacing rhythms to vocal arousal, the track drove under the skin consuming all with a contagion again wholly unique to the band.

Sirens almost stalks the listener with its bluesy grooves and devious prowl, embroiling them in a web of steely grooves and compelling endeavour while Little Bit serenades ears with similar gusto and enterprise if less intensity. As within all tracks, the band’s hooks and melodies instinctively tempt as Mitchell’s creative thoughts and words tease the imagination, a combination just as potent within its successor, Wolves. The track is a beguiling moment within the mighty lure of Viking, an evocative and thought rendering proposal which wraps around ears like a lover to spark insecurities and emotions within a melodic kaleidoscope which just seduced as it cast our favourite moment within the album.

The album ends with Sitting Here Alone, another song which provoked intimate emotions whilst stirring the senses and body with its intrepid almost predatory character and dynamics.

It is a fine end to another glorious moment with The Outfit. The band’s music embraces a host of rock flavours and a few from outside the genre uniting them all in rock ‘n’ roll which simply brings the day alive.

Viking is out now through Pavement Entertainment across most stores.

http://theoutfit.rocks/ https://www.facebook.com/TheOutfitrock/ https://twitter.com/theoutfitrock

Pete RingMaster 03/04/2020

Cruel Juno Interview

Feb12

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

When I moved back to my old hometown in Texas a few years ago, I couldn’t find a local band to join. So I thought I’d ask the musicians on some of my favorite albums if they’d be willing to record with me remotely from their home studios. Amazingly, they were interested, and CRUEL JUNO was born. With Italian guitarist Luca Princiotta (DORO, BLAZE) and Sicilian vocalist Gandolfo Ferro (Heimdall) signed on as special guests, I produced the first single, “Swallow My Medicine” – and then went in search of additional artists to work with, such as Fabio Lione (RHAPSODY, ANGRA, VISION DIVINE), Oliver Palotai (KAMELOT, EPICA), Gian-Andrea Costa (DREAMSHADE), and Jasio Kulakowski (KOBRA AND THE LOTUS). And there’s still more people I’d like to work with! I sometimes think of the project as “My Avantasia,” since it’s more of a collection of guest musicians than a band.

Have you been/are involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

I’ve only done the typical bar band scene, playing clubs and parties. The rest of the guys, of course, are kick-ass pros, and it’s their music that I’m listening to most of the time, which is influencing what I’m writing…Creates a bit of a circle really.

What inspired the band name?

I am a huge fan of Heimdall’s concept album “Aeneid” – which is based on the epic poem by Virgil. (That’s how I discovered Gandolfo Ferro, who lends his amazing voice to most of our songs.) The name CRUEL JUNO is a direct reference to the Aeneid, and is also meant to honour Gandolfo and Luca being from Italy/Sicily.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

I had an idea for both the sound. I wanted CRUEL JUNO to be straight up full-throttle hard rock. Loud at any volume! Drum-wise I play single bass, and it was a very purposeful decision. I want the songs to sound wild through the music itself, not because I’m just slamming double bass underneath it. I want each song to sound like a car swerving down a narrow road.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Well, I’m running low on great monsters – although I’m currently wrapping up collaboration with Jasio Kulakowski (KOBRA AND THE LOTUS) to do one about Medusa.

Since your early days, how would you say your sound has evolved?

I am open to the ideas that each musician brings to the table. “Wound Too Tight” – our most recently finished song – was the first song I’ve done with Oliver Palotai on keyboards. His contribution really transformed the song – adding a melody that didn’t previously exist and just beefed everything up. The song evolved simply by having him on board. And now with the Medusa collaboration, Jasio is taking the song in a much different direction than what I’d originally written. I love that about the song-writing and production process – the song takes on a life of its own as other people bring their own ideas and insights into it. Medusa will sound like nothing we’ve done so far.

So it is all pretty much organic as things change and evolve?

It happens naturally. There is no deliberate effort to make changes. Instead it’s simply a result of what happens when various combinations of ideas and people are brought together.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

I interviewed session drummer Victor Indrizzo for the December 2013 issue of Modern Drummer. He plays for Alanis Morissette, and on a good percent of the pop music that’s on the radio. That interview, though, was life-changing for me. He laid out his blueprint for playing with a click, using backing tracks, working in a studio, etc., and overall opened my mind to a whole new way of making music. None of this music that I’m making would exist without Victor.

Is there a process to the songwriting which generally shapes songs?

Preparation is key. I record my own acoustic drums, but I have to know what I’m going to play for it to sound good. And so I start with EZDrummer2 in my DAW (Reaper) and I sequence what I intend to record, note for note, by painting each note into the piano roll. This lets me listen to what I’m planning to play and see how well it actually fits. Once I have a perfected sequenced file, I will remove EZDrummer2 from the FX, but keep the MIDI I sequenced, so that I basically have a drum chart (or map) of what I need to record – it simply won’t generate any sound. And then I can place my laptop where I can easily view it while playing, open the MIDI in full screen, and I basically have a self-scrolling drum chart that I can watch while I record my acoustic drums. It’s a process that works really well!

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

For the most part, I follow Helloween’s model of writing cool metal songs that are not evil. Wound Too Tight, for instance, can simply be a song about a mummy, or for someone looking for a deeper meaning, it can be about someone struggling to understand the purpose of their existence, contemplating suicide, and choosing to live. I don’t like getting preachy, though, but the message is in there for people who like to look for one.

Give us some background to your latest release.

Our first EP, “Playing With Monsters” was released January 10. Available on Spotify and everywhere else online. I also have a very limited number of CDs. People can email us through http://crueljuno.com/ if they’re interested in a CD.

Give us some insight to the themes and premise behind it and its songs.

When I started out, I wanted to tie all of our songs together, not as a concept album, but using a general theme. I mentioned our first song, “Swallow My Medicine.” It had an overall Jekyll/Hyde feel, so I decided that each song would represent a classic monster: Jekyll/Hyde, Dracula, Frankenstein, and the Mummy. The monster theme also provided a great way to have quality music videos. I’d edit old monster movies and set them to our music. They’re fun to watch, and it’s really the only affordable option when musicians are spread all over the world. – Although for the new mummy single “Wound Too Tight” released mid-December, there was really not enough footage of mummies in any old mummy movie, so I had to shoot my own video. I bought a spandex bodysuit mummy costume and filmed myself in front of a tomb backdrop. It was all going OK until the zipper broke midway through the take. Ever worn a spandex bodysuit? Let me tell you a secret: They’re just like Cinderella. You have until the twelfth stroke of the clock to get home before you’re naked, because those suits will literally just peel off your body once the zipper fails. The suit was ruined, so I had to reuse the first half of the take I’d filmed, making the mummy video I filmed genuine B-Movie material. Rock and Roll!

Here’s the links to our brand new “Wound Too Tight” lyric video on Facebook and YouTube:

FB: https://www.facebook.com/crueljuno/videos/2433587356904085/ and YT: https://youtu.be/9p8JXWTxpCI

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We record one song at a time, from our home studios, in our spare time. It’s the only way I can afford this project. I pay the musicians, and then pay for mixing and mastering. It all adds up. And I never add it up! Don’t tell me the cost! LOL

Tell us about the live side to the band?

CRUEL JUNO only exists as a recording project. We are spread across the world, and the various guest musicians are all involved in their own much larger projects.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

Reaching people is the hardest part. I know that there are large numbers of people who would be interested in this project if they knew we existed. For instance, my “vampire” song with Fabio Lione reached about 6,000 people. That same week, he released his first single with Turilli Lione Rhapsody, and they had over 100,000 views within a few days. I can’t help but think that those 100,000 would have also listened to his song with us if they’d known about it. And so I am not aiming locally or regionally at all. I need a way to let global audiences know when their favourite musicians are recording a single with us.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Our audience is 100% through social media. I don’t necessarily like their rules, though. Facebook does not like posts that send people outside their platform. And so if I try to promote a YouTube link, Facebook will downplay it. I end up having to upload the video within Facebook, which results in zero traffic to YouTube. So if you look at our video counts on Facebook, we’re doing pretty well, but our YouTube clicks are abysmal. It’s a nut I’m still trying to crack. If you have the solution, let’s talk!

Once again a big thanks for sharing time with us; anything you would like to add?

This project is unlike any other that I know of. I’m an ordinary guy who decided to hit up the people on his favourite albums to see if they’d be willing to jam with him. So for all of you who are banging away on your drums or grinding on your guitar in your bedroom wishing you could jam with your favourite band, I’m here to tell you, it is possible!

Check Cruel Juno out further @

http://crueljuno.com/ https://www.facebook.com/crueljuno/ https://www.youtube.com/channel/UCLSvLBp3Ds-9bzGNhDKeaQg/featured

Pete RingMaster 12/02/2020

Mr. Strange – Contact

Feb7

Even with the familiar uniqueness that comes with the Mr. Strange sound each album from the Isle Of Wight band has sought to explore new flavours and a fresh creative character and successfully so to date. That eclectic adventure and imagination was shown in its glory in the band’s 2019 best of album, WTF. Now the UK outfit has their sixth full-length poised to provoke the imagination, evoke the body, and interrupt complacent thoughts; an intent which Contact succeeds in with almost effortless ease.

The brainchild of vocalist/songwriter/keyboardist Mr. (Saul) Strange, the band has not only released some of the most striking and contagious releases over the past decade or two but become one insatiably devoured live proposition. Completed by bassist/guitarist Ant Strange, and drummer Damian Strange, it is this live side which is at the heart of Contact, Mr. Strange wanting to bring its spirit to the album as, in their own words, they wanted to “make a record that actually sounded like a band, rather than a producer with a laptop.” Listening to the album it is clear across its multi-flavoured adventure that the intent found success though organically or instinctively the trademark electronic prowess and theatrical production touch of their fertile imagination still found an eager place. The combination works a treat as from maybe the expected industrial/electro rock which fuelled their previous acclaimed releases the band has launched its uniqueness across a fresh and rich tapestry of new eclectic styles.

The album opens with Alien and the introduction to the arrival of a visitor to this complicated planet but as across the album it is a premise which can be just as firmly translated to any misfit, freak, emotional extra-terrestrial feeling out of place in this world. It is a secretive emergence, a calm glide into view which breaks into a rhythmic stroll before an inimitable Mr. Strange like carousel lit saunter takes over. The narrative of the vocals is soon as magnetic as the sounds lighting its observation, the unsurprising catchiness of the band’s swinging electro meets psych rock incitement infesting ears and body alike.

It is an irresistible start to the release which the album’s following title track taps into just as eagerly. A cinematic sample triggers a sizzling groove across a manipulative surge of rhythms, the song proceeding to grow its web of tempting laced with funk, surf, and glam rock spiced threads, the track a quickly and increasingly contagious affair with keys dancing on the electric wiring and around rousing vocals to escalate the addiction.

Jungle intimating rhythms open up Animals next, tribal and primal instincts escorting our infestation of the natural world as a fusion of King Trigger, Thompson Twins, and Talking Heads essences unite to glorious, enthralling effect though the song is soon eclipsed by the feral rock ‘n’ roll of Piggy. Punk, electro, noise rock all collide in its attitude exhorting roar, the track as predatory as it is seductive within a galvanic roar of sound and voice.

The enthralling Play the Game is next up, another track which almost stalks ears and attention. Its twisted psyche and fuzzy breath is lit up by Mr. Strange’s vocal prowess and a surrounding harmonic elegance, dark and light colluding in the embrace of shadow wrapped self-reflection while Rumours steps in with an Oingo Boingo crossed with Marilyn Manson swing which breeds an only richer and broader tapestry of flavours and enterprise. Both tracks were under the skin in no time, their unpredictability as potent as their eclectic weave of sounds though again two great tracks found themselves outdone by a third as Paralysed stomped in with bold tenacious beats and rapacious riffs while a ragtime nurtured piano teases. It proved intoxication as thick as the call at the heart of its lyrical declaration, the album continuing to hit pinnacle after pinnacle.

The Pursuit of Something Better emerges next as sinister as it is irresistible; guitar and synth joining together in pure temptation as vocals add their similarly potent coaxing. With a breath akin to something like Wall Of Voodoo meeting Gary Numan in the shadow of Skinny Puppy, it is haunting arousal which also applies to its successor Southbound for different reasons. A slice of classic meets desert rock with a Queens of the Stone Age instinct, the track is a heavily stepping, creative limb swinging incitement again impossible not to boisterously participate in.

Both To The Center and Finale make for captivating proposals, the first a melancholy scented dark psychedelia lit croon which becomes more robust and fiery by the minute; its subsequent gripping declaration imposing and dramatic while its successor offers a tantalising and sublimely alluring ballad as crystalline as it is again melancholy coloured, and unapologetically infectious.

Contact concludes with Hello! (Epilogue), a grinning piece of creative kindling with a great ICP meets 12 Stone Toddler mischievousness to it that as, its predecessors, had the body swaying and appetite licking greedy lips.

As most of their albums, Mr. Strange had us hooked from the off with Contact only seeing us more hungrily dancing to its tune thereon in but it is a whole new beast from the band and even with those references to give you a clue is as unique as anything you are going to find out there, as contagious, and quite likely as irresistible.

Contact is released February 14^th with pre-ordering available now @ https://mrstrange.bandcamp.com/album/contact

http://www.mrstrangemedia.com https://www.facebook.com/Official.Mr.Strange

https://twitter.com/MrStrangeTweets https://www.youtube.com/user/MrStrangeMedia

Pete RingMaster 06/02/2020

Rainium – Sounds Of Berlin

Dec5

Having thoroughly enjoyed their new single, the offer from Rainium themselves to check out their debut album was easy to take up. So with thanks and help to guitarists Rainer Krenzke and Jay Parmar we did just that and discovered in Sounds Of Berlin another of this year’s pleasures.

Rainium is an Anglo/German endeavour created by Krenzke in 2017. With a swift link up with vocalist Michael Voss (Mad Max, Casanovo, ex-Bonfire), the emerging project was soon the host of new songs, demos, and a line-up subsequently completed by bassist Marco Tardanico (ELA) and British lead guitarist Jay Parmar (Eden’s Curse, Iron Knights, The Inner Road). Musically, Rainium weave a sound bedded in a fusion of classic and hard rock and alive with individual craft. As that first single and its title track revealed, the album revels in a blend of familiar and wholly fresh ingredients though across a dozen tracks Sounds Of Berlin quickly and firmly unveils a far richer adventure of sound and enterprise.

The brief attention luring invitation of ET (Et Toujours) leads eagerly into the waiting arms of Two Friends which welcomes ears with big swinging beats amidst rapacious threads of guitar. Quickly it opens up a web of melodic threads and vocal incitement, both as persuasive on ears and body as the continuingly infectious rhythms. Edging on the side of snarling, riffs drive the song’s catchy stroll whilst the melodic prowess of Krenzke aligns with Parmar’s skilled intricacies and invention until it all rousingly unites with the anthemic incitement of the band’s combined vocals.

It is a potent start to the album which the band’s current single wraps itself as it shares its own individual enticement. From the enclosed theatre of the subways, Sounds Of Berlin hits its catchy stride with a boisterous appetite, setting up classic rock nurtured riffs and hooks in a catchy and tempting embrace at the same time. Tardanico’s bass throbs magnetically under the song’s skin as Parmar’s stylish weave wraps a body teasing with almost industrial hued flavours at times though its chorus is pure eighties rock natured.

In The Dead Of Winter strides in next, confident in its temptation and indeed it takes mere seconds to get under the skin as rhythms pounce and vocals hook. It is a wicked start which softens a touch as its equally contagious chorus shares keen energy, the cycle just as virulent the second time around. With Parmar again enthralling in his craft and enterprise, the track lays down a strong best track claim before Farewell slows things a little but adds greater intensity and emotion in its metal infused canter. Melodically haunting as drama lines every moment entangled in the emotive intimation of the guitars, the song makes for one of the album’s most absorbing moments.

Another big highlight of the release comes with Right Here Right Now, a song which starts with almost predatory intent as its initial riffs strike but soon simply seduces attention as the instantly captivating tones of Ilo Schnittchen (Isle Of Rock) nestle in the melodic embrace of the song. With rousing eruptions in the heart of the temptation, the track proved increasingly irresistible and firmly one of our favourite moments.

Both Just The One with its open nineties rock seeding and the wild almost salacious antics and suggestiveness of Gypsy had the body bouncing if neither could quite rival the success of its predecessor while Wake Up stakes its own claim on one of the album’s major moments with its prowling intrigue and drama. From the compelling throaty lures of Tardanico’s bass to the subsequent almost new wave nurtured melodic captivation which wraps the imagination, the song enthralled and embroiled us in its gentle swing.

With Parmar’s steel strings as poetic as ever, it is a fine close to the collection of seriously engaging and forcibly memorable songs though Sounds Of Berlin still has the pleasure of three bonus tracks to please ears with. The first is another version of Right Here Right Now which sees Schnittchen and Voss in more of a duet across its highly magnetic body, its treat followed by an instrumental demo of In The Dead Of Winter and a demo take of Just The One.

From the moment an idea, which was to become Rainium, escaped Krenzke’s imagination it has been three years of inspiration, passion, and endeavour from all members, traits shaping and fuelling a release we can only suggest needs a lusty checking out.

Sounds Of Berlin is available now.

http://rainium.com https://www.facebook.com/RainiumBand https://twitter.com/jayparmarguitar

Pete RingMaster 05/12/2019

Puppet Kings – The Mountain

Mar6

Praise and enjoyment came rather easily a couple of years back for the Very Cool and Groovy EP from UK rockers Puppet Kings and both have bubbled up just as keenly again as the duo release its successor in the shape of The Mountain. Offering four tracks revelling in the hard/classic rock bred, broadly flavoured sound which has already marked the band out, the new EP equally hit the spot very nicely.

Originally formed in Brighton but Clapham based for the past few years, Puppet Kings consists of Tomas Cochrane (guitars, bass and vocals) and Harry Lehane (drums and vocals). It is a pairing which swiftly sparked and has increasingly earned a potent reputation and eager following through their rousing live presence and just as stirring releases starting with debut EP Timebomb of 2015 and Very Cool and Groovy two years later. With each release, the band’s sound has grown in adventurous maturity and bolder imagination; a blossoming still on going with The Mountain.

The band’s sound is a mix of the familiar and individually fresh which has already produced songs which boisterously leap from the speakers with open dexterity and instinctive energy. The last EP offered up tracks which grabbed appetite and memory with ease but none as masterfully and tenaciously as The Mountain opener, The Message. The track teased and tempted the passions from its first breath, a throbbing bassline the main culprit but soon joined by the equally captivating throes of guitar and vocals alongside the skittish beats of Lehane. Their lure only escalates by note and riff, exploding in a manipulative roar within a chorus which just commands participation. Everything about the track is a rousing incitement, from its devious stroll and virulent bounce to the vocal prowess and lead of both men, the song pure rock ‘n’ roll motivation.

Such its mighty roar and success, the following three tracks sit in its shadow but fair to say there is little about each which fails to bring added pleasure to the EP. Mountain Song is the following encounter, a blues tinged groove emerging from sonic air to spark another body trespassing, keenly infectious canter. Again the vocals play a big part in any tempting but similarly guitar and rhythms imaginatively shape a song which settles rather enjoyably in the ears.

Age Of Austerity is next up, a coaxing melodic tendril luring the listener into a shadowy but just as inviting embrace of inventive infectiousness. At various times, Puppet Kings has been compared to bands such as Foo Fighters, Guns N Roses, Alice in Chains, and Royal Blood some of which echo the spicing within another compelling track but as it and the EP overall confirms, the band’s sound is becoming more individual to the pairing by the release.

Fellow UK duo, The Sea does come to mind at times across The Mountain, they another outfit unleashing honest and passionate rock ‘n’ roll and the closing roar of Bag Of Bones epitomises the power of those traits. Slowly but firmly rising to its feet with melodic and emotive intensity wrapped in blues rock nurtured grooves, that passion fuels every syllable and seductive fiery chord which erupts, charging up the track’s animated fervour and fire.

It is a fine end to another inescapably enjoyable outing with Puppet Kings, a band which just gets more compelling by the record.

The Mountain is out now.

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

Pete RingMaster 06/03/2019

Beth Blade And The Beautiful Disasters – Show Me Your Teeth

Jan26

Show Me Your Teeth is a romping stomping slab of hard rock; a tenacious roar of defiance, attitude, and hungrily rousing rock ‘n’ roll. It is also the new album from UK rockers Beth Blade And The Beautiful Disasters proudly hollering out all the reasons why the band is riding a tide of success and plaudits.

Fan and critical acclaim are no strangers to the Cardiff bred quartet with previous debut album, Bad Habit, luring high praise and attention. Around and following its success, Beth Blade And The Beautiful Disasters have shared stages with a host of major artists such as Electric Boys, Dan Reed and Danny Vaughn among a great many and appeared on the KISS Kruise last November with the likes of KISS, Ace Frehley, Bruce Kulick, The Dead Daisies, Vintage Trouble, The New Roses as well as played Monstersfest with Dan Reed Network, The Dead Daisies and Tygers Of Pantang. The last year also saw the band concentrate on writing and creating Show Me Your Teeth, an offering which as potent and enjoyable as its predecessor was, leaves it waving from its wake whilst suggesting 2019 will be even busier for the foursome.

Show Me Your Teeth builds upon all the striking elements of that first album with relish whilst bringing its own individual enterprise and adventure to the fore. Swiftly it reveals the growth in the writing and imagination of the band and their prowess in casting boisterous riffs, inescapable hooks, and anthemic old school classic rock nurtured temptation; this fronted by the electrifying and hearty tones of Beth Blade. It is a bolder affair with a breath suggesting the band has completely lost the shackles of trying to please and impress people and just go with their own hard rock passions and instincts. Certainly inspirations such as Halestorm, KISS, and Black Stone Cherry can be heard but Show Me Your Teeth embraces all familiar hues to its very own vociferous heart and roar.

The album opens with the outstanding Secrets and fair to say as its opening lung full sees Blade fronting up ears we were hooked. From there with the fuzz of guitar for company, she continues to coax the song to its feet, an air of menace surrounding its emergence before erupting in a contagious, attitude driven infestation of punk and hard rock. That raw edge continues to fuel its confrontation and rapacious catchiness whilst vocal harmonies seduce around the stirring tones of Blade. The track soon proved irresistible, increasing its enslavement as a delicious predacious bass growl and devious hues of unpredictable imagination became more vocal.

Such the first’s rousing and impressive tempting, the album’s following title track had a hard time to match its presence but with a teasing blues lilt, melodic wiring which just wrapped around eager ears, and the already predictable vocal dexterity and talent of Blade here was little to relinquish full attention to before Give It All You’ve Got shared its old school spiced rock ‘n’ roll. As the previous track, there was a strong familiarity to the encounter but equally an energetically passionate heart within just as open craft which manipulated and scooped up an already seriously contented appetite.

There is something of an early Pretenders-esque scent to next up On And On at times which combines well with its blend of nostalgic and hungrily fresh enterprise while You And I is a web of guileful hooks and melodic adventure around vociferously candid vocals which easily set another lofty peak in the album’s landscape.

From that incitement of controlled yet raucous persuasion, melodic calm accompanies emotive intimation hugs ears within successor Crazy. It is a simmering heart though as flames erupts around reflection and melancholic beauty. The track never erupts into a full blaze but boils over with stirring cunning as it too sets a major highlight within Show Me Your Teeth before I Ain’t Got Nothin’ (If I Ain’t Got Rock N Roll) provides everything you would expect from its title as it swiftly pulled our rocker instincts and animation into play.

Across the likes of Lost In You and Into The Light, the album only continued to tighten its hold even if neither track quite flattened the inhibitions of song and listener as those before them. Even so both are a tantalising and thickly satisfying fusion of melodic wine and barely restrained rowdiness which just hit the spot though the following 1974 soon eclipsed both with its virulent stroll and creative temptation. Its sound unsurprisingly echoes the rock ‘n’ roll era of its title’s decade but adds mouth-watering hues of punk and power pop which take it to another level of greatness.

Who Do You Love Now? with its own multi-flavoured mix of styles and decades is just as expert in persuasion and adept at casting a spell of enterprise and sound; another seriously captivating moment set down and one more than matched by the muscular, predatory almost grumpy stomp of album closer Jack And Coke. Inescapably enticing riffs and grooves collude to enslave ears, each seemingly knowing personal wants in rock ‘n’ roll whilst the song growls with infectious savvy and anthemic irritability.

As it started, Show Me Your Teeth ends with one of its most inspiring and thrilling moments and with so many more in between it is an album which we can only forcibly recommend. It is classic and hard rock, it is punk and pop rock all bound into one roar; quite simply rock ‘n’ roll at its and most electrifying best.

Show Me Your Teeth is out January 25^th.

https://bethbladeandthebeautifuldisasters.com/ https://www.facebook.com/BBATBDofficial/ https://twitter.com/BBATBDofficial

Pete RingMaster 26/01/2018

Silver P – Self Titled

Oct22

Providing a debut album easy to suspect most heavy metal fans will find plenty within to spark an eager appetite, Silver P is the solo project of guitarist Pugnale, alias Roberto Colombini. The self-titled release though also embraces a host of rock and metal flavours to its creative heart providing an even wider range of ears a rich and intriguing experience.

Creating Silver P early 2017, Pugnale approached drummer/sound engineer Antonio Inserillo with a clutch of songs a few months later, persuading him to get on board with the emerging project. Finding a singer was a more difficult issue but eventfully Alex Jarusso was enlisted to the Italian band’s line-up, in turn becoming a quartet for the album with bassist Alessandro Cola. Their sound takes inspiration from the likes of Airbourne, Dio, and Megadeth but finds its own if not unique certainly distinct voice within a first album released through Red Cat Records.

The Deep Breath Before The Plunge opens up the release, its dramatic instrumental landscape a firmly magnetic intro to the release. The imagination easily ran with its epic and growing theatre of intimation and sound before Fields Of War erupts from its portentous air with an armoury of infectious riffs and rhythmic confrontation. The classic/eighties metal influenced delivery of Jarusso soon erupts from the battlefield and though it is a general vocal flavouring which we generally find hard to embrace as a style, his presence and prowess only adds to the track’s heavy/classic metal nurtured appeal and enjoyment.

Pugnale’s guitar craft and enterprise is another potent feature and provides even more attention grabbing enticement within next up Road To Hell, his grooves wrapping round ears with infectious intent as the rhythms of Inserillo and Cola rap and throb with flirtatious aggression. Growing into a definite best track contender it is swiftly rivalled by the blues rock lined strum of Memories; a track with a whiff of stoner rock and grunge to its relatively calm but increasingly tempestuous climate

Thrash and alternative hues colour the metal heart of The Net, wiry grooves luring quick pleasure into a just as enjoyable web of heavy and classic metal smelted invention. It is a trap as unpredictable as it is familiar in certain ways and another song adding to the album’s best passage of tracks though A Shade In Light with its opening feral riffs and nagging grooves within predacious shadows is as attention enslaving as anything around it. It never relinquishes that hold either as its dark trespass and melody woven predation continues to captivate.

Out Of This World follows and also ensures a compelling engagement with ears and appetite. It too has a darkness to its body and air which is disrupted and seared by bewitching sonic flames and melody hot tendrils and it is maybe no coincidence that for us the truly standout tracks are those bred in the shadows.

The thrash poked chug of I8 is old school metal/hard rock at its most wild and frivolous but built on open craft and adventurous mischief which seems to get more daring by the twist while Straight At The Heart closes things up by uncaging a rock ‘n’ roll holler not too hard to have body and spirit bouncing with.

Generally classic/heavy metal is a flavour others will appreciate more than us here but we cannot deny that Silver P, band and album, pleasured and captivated before getting under the skin in many ways.

Silver P is out now via Red Cat Records across all worldwide digital stores.

https://www.facebook.com/SilverPugnale

Pete RingMaster 18/10/2018

The Senton Bombs – Outsiders

Oct19

It is fair to say that any news of something new from UK rockers The Senton Bombs has us licking our lips in anticipation. Four spirit rousing previous albums among just as potent singles and EPs has fuelled that reaction with each encounter building on the exploits of its predecessor and pushing the Blackpool hailing quartet to the mass recognition and attention we with so many feel they deserve. The band’s impending fifth and new album, Outsiders, continues that trend sparking excitement in appetite at the prospect of something special whilst taking the band’s songwriting and sound to another level of prowess and adventure.

Perpetually varied and flavoursome in its styles and character, the band’s rock ‘n’ roll has eagerly evolved and grown up across their albums. With every offering The Senton Bombs has pushed it and themselves to new areas and adventures but all the time reinforcing the recognisable individuality of their music. With Outsiders, the band has aligned their ever ready punk ‘n’ roll instincts with southern and classic rock scented endeavour on the hard rock side of their sound; the result, a rousing and raucous collection of multi-flavoured and variously delivered anthems as familiar to the band as they are unique.

The album erupts into life with its title track, Outsiders entering upon punchy rhythms and sonic stabs as the ever enticing vocals of bassist Joey Class open up their declaration. With attitude and defiance at its core in sound and word, the track prowls with a swinging hard rock swagger lit by the flames and enterprise of guitarists Damien Kage and Johnny Gibbons. The throaty throb of Class’ bass resonates throughout, adding a darker threat to it all as the bold swings of drummer Scott Mason descend. It is a controlled but dynamic start to the release, an ear and attention grabbing statement of intent swiftly backed and built upon.

The band’s new single, Who We Are, does both with relish and tenacity straight away. The devilishly earthy stroll of the bass instantly had imagination and appetite hooked, its inescapable lure aligned to the perpetually lively dynamics of Mason’s rhythms. Both continue to arouse and manipulate as guitars and vocals join the song’s incendiary holler; a union brewing a delicious slab of punk ‘n’ roll as virulently catchy as it is rapaciously invasive.

From one major highlight of the release to another as Violet Black follows unleashing its own rock ‘n’ roll trespass. With each album Class has developed his vocal presence, almost developing a two sided proposition. Here he returns to the grainy delivery which partly trademarked the band’s sound from day one and is always a welcome essence to their creative diversity. The track itself is a boisterous slice of punk rock with a blues rock lining and hard rock virility.

If the previous track is headstrong, I Am Ablaze is an insatiable hell-raiser of sound and rowdiness; an anthem epitomising the band’s live sound as much as its rebel rousing heart. Raw and feral yet skilfully woven to create a hellacious roar the track is superb; The Senton Bombs at their rabidly infectious best leaving next up Reckless Youth a tall order to match. That it does though by revelling in the calmer side of the band’s attack, growing from a melodic shimmer into a contagious stroll led by the inspiring swings of Mason. Reflecting on times past as youths into the seeds of the band stirring things up today, the song is a bold smoulder compared to the fires that are its companions but just as magnetic and riveting

Across the irresistible country blues rock scented saunter and vivacious swing of Bury The Hatchet and the mellow southern surf kissed croon of Remind Me Of The Moon, the album simply blossoms in its variety of sound and imagination while Dead Revolution immediately had body and spirit addicted to its Misfits laced darkly hued rock ‘n’ roll. As ever hooks escape the band with instinctive agility, riffs and rhythms offering their own spiky bait to get hung up on as vocals lead the way. Similarly the individual craft of Kage and Gibbons masterfully gets under the skin alongside the equally devious antics of Mason and Class’ bass.

Video is a track which would fit as perfectly within the confines of previous encounters such as Chapter Zero and Mass Vendetta; a trademark rather than formula Senton Bombs song easy to devour greedily before Under Offer hits the spot dead centre with its fifties scented modern punk infused rock ‘n’ roll. Reminding of another band deserving mass attention in Canadian outfit The Black Frame Spectacle, the track is a stomping viral temptation.

Wake The Maker brings the album to a close with its classic/hard rock melody shaped howl and though it did not personally excite as those before it, the song is a richly satisfying conclusion to an album which we can only suggest is the finest offering from The Senton Bombs yet.

Global attention is long overdue for the band we strongly suggest but maybe about to be seriously poked by Outsiders, a release and title which sums up the band’s sound and presence within rock ‘n’ roll and the individuality which will always make them stand out and excite.

Outsiders is released November 5^th via Regolith Records.

https://www.sentonbombs.com/ https://www.facebook.com/thesentonbombs https://twitter.com/thesentonbombs

Pete RingMaster 16/10/2018

Chasing Dragons – Faction

Oct18

There is no doubt there has been plenty of eager anticipation for the debut album from British rockers Chasing Dragons, especially since the release of their last EP, Faction: Prologue, a couple years back. It was a kind of teaser for the band’s first full-length, unsurprisingly called Faction, which built on their earlier offerings and successes whilst peering into a whole new landscape of sound and imagination, indeed intimation now fully explored and expanded within the new encounter where we would suggest, the Chasing Dragons sound has come of age.

The time since the last EP has also seen the Leeds outfit truly establish themselves on the UK live scene with a big reputation to match, Chasing Dragons sharing tours and stages with the likes of Stone Broken, The Qemists, Skid Row, SikTh, InMe, Diamond Head, Aaron Buchanan and The Cult Classics, Courage My Love, Skarlett Riot, Theia and many more. Featuring nine new songs along with re-recorded versions of the three tracks from the Faction: Prologue EP, the album swiftly ignites attention and imagination with opener Factionless. Part intro part full intimation, the track stretches up from its initial arousal on the ever striking tones of vocalist Tank. Like a flame within unsettled atmospherics, her potent presence is a rich lure and spark for the outstanding piece’s subsequent shadow bound predacious stroll. Portentous yet virally inviting, the track masterfully erupts before making way for the melodically inflamed How The World Went Black. Guitarist Adam quickly spins a web of metallic temptation woven with melodic rock enterprise whilst the track bites through the determined beats of Katie, they courted by the dark rumble from Murf’s bass. Progressive hues emerge as the song evolves, technical craft lining its invention as all the while Tank radiates with her powerful and impressive delivery.

Amongst the band’s influences stand artists such as Halestorm, Avenged Sevenfold, and Bullet For My Valentine, all open spices to the band’s individual recipe as proven again by the melodically vociferous roar that is Parasite and the dramatic exploits of Like Gravity. The latter is a tempest of textures and flavours carrying a volatility which accentuates its warmth and elegance rather than devours them. As many tracks, it is a proposition which grows by the minute through new twists and avenues, all unpredictable and each an imaginative turn along the track’s magnetic journey.

Through the equally tense Bareknuckle Lover, the mercurial attack of the track as alluring as it is resourceful, and the lively emotive roar of For Kingdom For Glory, Chasing Dragons continue to add fresh adventure to their release. The second of the two in some ways promises more than it delivers, certain inventive moments not exploited as much as personal tastes wished yet is still a gripping snare of sound.

The calmer climate and croon of This Time Is Ours allowed a breath as it simply enthralled though it too has a sprightly nature which eventually catches fire with Adam casting another striking blaze veined with mazy temptation before the riveting Devil In Her Eyes wound eager attention around its tantalisingly creative fingers and in turn The Connection takes ears on a saunter through gothic lined shadows and emotionally suggestive caresses before subsequently erupting into a furnace of muscular sonic theatre. The second of the trio is especially irresistible, every moment a clever thread into the next unexpected and virulent turn of the song though then pretty much matched in glory by its successor.

As the classic seeds of the similarly impressing I’m No Devil (I’m Just A Girl) catch fire within its metal/heavy rock drama and Whitehorse teases and fascinates, the album continues to reveal new aspects in sound and craft; the latter’s haunting opening passage an especially mouth-watering incitement for ears and imagination which hints at new corners and corridors for the band to explore ahead.

We Are The Wall concludes the release, the track a ravenous onslaught of sound and intent driven by rapacious rhythms and coloured by wiry grooves and rich melodies as Tank for a final time powerfully incites thoughts as she potently roars.

It is a fine end to an equally ear-catching album which as suggested declares Chasing Dragons at a new level in songwriting, sound, and performance, a plateau teasy to suspect the metal/rock world will be unable to ignore.

Faction is available now across most online stores.

Chasing Dragons November 2018 Faction Headline Tour

2nd – Manchester – Satan’s Hollow – support Ward XVI, Soul Desire, Fear Me December

3rd – Croydon – Croydon Rocks Fest

4th – Southampton – Joiners – support Novacrow + TBC

6th – Norwich – Brickmakers – support The Killing Culture + TBC

7th – Birmingham – Hammer & Anvil – support Novacrow + TBC

8th – Nuneaton – Queens Hall – support Novacrow + Simai + Fleer

9th – Stamford – Mama Liz’s – support Synthetic + Black Hawk Down

10th – Wakefield – Black Mass – support Novacrow + The Sourheads + Seas Of Scarlet

https://www.chasingdragons.co.uk/ https://www.facebook.com/chasingdragonsuk/ https://twitter.com/xchasingdragons