Transport League – A Million Volt Scream

The fifteen years since first leaving Lucifer’s fires has not dampened the roar in the heart and throat of Transport League or the voracious swing in their feral enterprise, nor indeed the ravenous virulence of a sound which is always preying on new hellish flavours. The proof is all there in the viscera of their new album, A Million Volt Scream: a release which lures, embraces, and devours the senses with the greatest ravening intent yet from the Swedish outfit so that never has the well-established term upon the band’s music, Boogie From Hell, been more apt.

Emerging in 1994 Transport League embraced the sound of early Clutch with as they say “some hints of Cathedral and Corrosion of Conformity.” Swiftly it established its own ever evolving character and by the 2013 release of fifth album, Boogie From Hell, was the fuel to that enduring moniker. Even as the band has continued to explore new shades and avenues it has remained fitting to that declaration as shown by A Million Volt Scream. It is an encounter bred from a ferocious cauldron of mutually heavy metal and rock with just as healthy and hungry essences of punk, sludge, and alternative trespasses; infernal rock ‘n’ roll if you would.

A Million Volt Scream wasted no time with subtle persuasion, warning sirens allowing a moment to run away before its title track opener stalks with eager rhythmic instincts. That alone proves gripping bait but once the band’s renowned rapacious grooves uncage their swing, entanglement is inescapable. The track hits its stride with a devilish swagger, the vocals of guitarist Tony Jelencovich a masterful scowl within the unappeasable contagion. Rich imagination only adds to the temptation, the track’s Pantera meets Rob Zombie like breath twisted and ignited with industrial lined apocalyptic proclamation.

1200 Goddamned follows, the rhythms of drummer Mattias Starander again a potent and insatiable coaxing before the song uncages its full belly of riffs and grooves, the exploits of Jelencovich  and lead guitarist Peter Hunyadi mercilessly infectious and invasive just as is the former’s great grungy tones. Even with its eager swing, there is a riveting predatory edge to the bass of Dennis Österdal, his lines threat and temptation together much as song and sound around them across the release.

Fair to say with ears and appetite already hooked both only found a lustier attention as next up Monster Human leered in and began stalking their ground. Its menacing bounce and mischievous sonic glints swiftly stole subservience, another Rob Zombie-esque swing this time merged with a Rammstein scented industrial intimidation only adding to the captivation before relief at the departure of its fiendishness is swiftly stolen by the dark deeds and drama of Dawn Of Lucifer. The band’s already multi-flavoured sound is stretched again as the track’s alternative metal breeding reveals the seed of bands similar to Faith No More, Dog Fashion Disco, and Mushroomhead though emerging as inimitable Transport League alchemy. Simply put though, as to be honest applying to all tracks within the album, it is inventively yet instinctively bred rabid rock ‘n’ roll and proved unapologetically irresistible.

Vultures is next up, the song immediately wrapping grooved sonic wires around the senses then manipulating them like a puppeteer to its own carnal swing. Carnivorous in every essence, viral with just as forceful a zeal, the track is another esurient stalking and a major contender for best track honours while Vanished Empire brings its own creative enmity to bear with dissonance carrying craft and again a strain of rabidity to offer its own imposing challenge.

Facedown Bondage might not quite have ignited the same heights of delirium but with its southern rock irritancy and contagion aligned to groove metal embroiled contention it too proved thick pleasure to breed greed for as too Slave In Orbit with its low slung stoner grooves and funk metal intimation. As with all tracks though, it is the perpetual current of imagination which adds the unpredictability and individuality that seals already done deals.

The final pair of Creature Grunts and Rabid Horizon leaves nothing to be desired as A Million Volt Scream departs as impressively as it began. The first is another song which sparks thoughts of Mike Patton and co at certain moments as it hungrily strolls, its severe catchiness spun with intoxicating grooves and rhythms which manage to simultaneously punish and seduce. The final track is basically a slab of untamed rock ‘n’ roll, a beast of intensity and motion which even the dearly departed could not prevent swinging their bones to.

Their sound is indeed boogie from the inferno below though such it’s and specifically the inescapable temptation of A Million Volt Scream it is hard to tell if Transport League work for the Devil or he dances to their tune.

A Million Volt Scream is out now via Mighty Music; available @ http://targetshop.dk/transport-league and https://targetgroup.bandcamp.com/album/a-million-volt-scream-2

 https://www.facebook.com/transportleague/

Pete RingMaster 090/09/2019

Copyright RingMaster: MyFreeCopyright

Hitman – The Offering: Side 1

With their sights unerringly on giving heavy rock and metal fans a rousing sound to erupt with, Canada’s Hitman release their third EP in the shape of The Offering: Side 1. With Side 2 scheduled for release next year, the first four track encounter is an attention grabbing slab of stoner metal ferocity blended with classic and fresh essences of rock and metal. It is a mixture which has a familiarity as potent as the individuality it breeds and most of all a concoction which incites thick enjoyment as neck muscles keeps busy and the body bounces.

Hailing out of Halifax, Nova Scotia, Hitman emerged in 2011 and has earned a fine reputation for their sound, releases, and a voracious live presence.  The band was the brainchild of drummer Sylvain Coderre who linked up with long-time friend and vocalist Jordan Rose initially before the duo were joined by bassist Andrew Coutts. Subsequently the line-up was completed by guitarist Corey Norman. 2013 saw the release of debut EP, Whiskey Downfall; its successor, The Preacher, dropping the following year and sparking even greater awareness and praise of the band with a re-release in 2015. All the while gigs and festival appearances escalated their reputation; headlining the Maritime Metal and Hard Rock Fest in Nova Scotia and playing the Warped Tour in New York in 2016 major highlights. Now the band is aiming for broader attention with The Offering; intent easy to see breeding success.

 Their inspirations are said to include the likes of Black Sabbath, Corrosion of Conformity, Clutch, Pantera, and Down; influences you could maybe guess listening to the new EP. They are spices though which adds to its potency rather than defusing its individuality. You can debate whether it makes for a sound which is unique enough to make a truly major impact but as release opener Curtain Call proves it all makes for one seriously appetising proposal commanding attention. The first track initially unleashes a defined rally of beats which swiftly sparks grooved tendrils and rapacious riffs aligned to a great bass grumble. There is equally a grainy growl to the vocals of Rose which in turn ignites an even more potent snarl to the already captivating proposition. Short but a sweet snare of rock ‘’n’ roll with a sludge hued spicing to its stoner liquor, the track quickly and increasingly had ears and appetite gripped

There is no dismissing those Pantera/Down essences to the track though in some ways its heavy rock drawl reminds of now demised Northern Irish band Triggerman while the following Under The Weight openly wears its Sabbath influence especially when it makes its punchy entrance, rich riffs to the fore. Intoxicating grooves are swiftly woven as beats land with creative zeal, the track a magnetic web of enterprise where maybe surprises are understated but the freshness of sonic and melodic endeavour is all 80% proof fresh.

Next up, Nero is grooved entangled rock ‘n’ roll also proving very easy to be hooked upon, the track an inescapable lure of flaming guitar, bass predation, and vocal enticement. Its blues lining and sonic sighs add sonic firewater to magnetic rhythmic temptation, tempting escalated by the smouldering grizzled grouch of the bass and Coderre’s irrepressible exploits.

Enchanted Wizard/ Hail The Outro bring things to a close, its wiry tendrils leading to a hellacious outcry before once more grooves simply entwine and seduce ears. Classic metal instincts dance on the senses before the band springs a stoner bred canter, all the while embracing and evolving things with those initial essences and perpetually lighting up the imagination and the intensity of the pleasure found in the exhilarating tapestry.

It maybe only four tracks but side 1 of The Offering is a rich and thick morsel of rock ‘n’ roll. It may not be overtly unique but it is mightily damn good and we for one always have a hankering for that kind of sonic intoxicant.

The Offering: Side 1 is out now, available @ https://hitmanhalifax.bandcamp.com/

https://www.facebook.com/Hitmantheband   http://www.twitter.com/hitmanhalifax

 Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

The Blacktones – The Day We Shut Down The Sun

If a band name was ever perfect for the music it represents, The Blacktones is at the head of the field. The Italian outfit create a fusion of alternative/melodic metal and sludge thick stoner rock awash with the heaviest darkest shadows and emotions. It is invasive yet inescapably infectious as it snarls and ruggedly seduces in equal measure and especially magnetic within the band’s latest album, The Day We Shut Down The Sun.

Though in some ways feeling like a concept album, the band says The Day We Shut Down The Sun is “not a true concept, but every song represents a step by step journey to the losing of all the qualities of a human being. Following the tarots (starting with the pope, the fifth card) we represent the losing of faith, wisdom, genius, knowledge and finally, trough the Mage, we become the Fool, embracing the primordial chaos.” It is an alluring feel across the release bound in a thick collusion of hungry riffs, muscular rhythms, and melodic and vocal dexterity. Not always boldly unique, it is perpetually a proposition with individual character and enterprise which grabbed keen attention.

The band itself hails from Cagliari, formed in 2011 as an instrumental encounter by guitarist Sergio Boi and bassist Gianni Farci. Subsequently the line-up and creative intent evolved with the addition of drummer Maurizio Mura and vocalist Simone Utzeri, debut EP Distorted Reality arriving in 2012 before Aaron Tolu replaced Utzeri as frontman two years later. Their well-received self-titled debut album with guitarist Paolo Mulas bringing the band to a quintet drew potent interest with its release, as now its successor, via Sliptrick Records in 2015.It sowed the seeds for the richer and more rounded proposition of The Day We Shut Down The Sun and its more individual escapades.

Throughout the album, there are experimental darkly atmospheric intros, each counting down to the end of existence; the first in V – The Pope drawing ears and imagination into the waiting jaws of The Upside Down. Immediately a tide of sonic and vocal ferocity launches at ears, an instincts sparking groove infesting body and appetite within as rhythms pounce. Tolu’s vocals are just as rousing as the sounds around him, riffs adding a swing to their rapacity to match the tenacious endeavour of the increasingly contagious groove. Adventure and unpredictability blossoms as the song continues, bold sound and voice shaping one striking incendiary slab of metal.

The following Ghosts unveils a less imposing introduction but just as compelling with its suggestive intrigue and musical temptation. Down like grooves spread their lures from within the growing incitement, more aggressive traits emerging in all aspects but equally a tantalising melodic suggestiveness in guitar and harmonics which lures the imagination deeper into the ever present shadows.

The album’s title track makes an equally ear grabbing entrance, a predacious one as it prowls the senses with doom loaded rhythms amidst a slow tenebrific groove. Deep in its clutches you feel the lack of light, its thick weave a suffocating enveloping of the senses yet everything about it is contagious starting with Tolu’s ever enticing vocals. There is something certainly familiar about the excellent track yet plenty more fresh aspects in its trespass to demand praise carrying attention before Not The End backs its power up with its own pleasure brewing tempest. With a tinge of One Minutes Silence to it at times, the song twists and turns with an irritability in tone and sound as much a threat as it is a tempestuous seduction with stoner bred grooves and carnivorous basslines entwining for an even bigger lure.

Alone Together crawls over the senses, lumbering grooves and primal riffs enticing before dissipating for the melodic heart of the track to coax even closer attention. When they return with even greater weight and intensity as well as imagination, a lustful appetite was reeled in and only increased by the expressive and inventive journey taken while I.D.I.O.T.S. creates a web of stoner veins around metal antipathy to keep enjoyment just as intensive. Infectious and corrosive, the track is a great blend resembling Corrosion of Conformity meets Clutch and another highlight of the increasingly enjoyable album.

The Day We Shut Down The Sun is brought to a just as potent and mercurial conclusion by Nowhere Man and Broken Dove, the first a scorched and searing proposition as virulent in its calm predacious stroll as in its senses broiling blaze with its successor a more restrained but no less volatile collusion of sonic and emotional dissonance aligned to its own sonic furies. Both songs leave ears and pleasure entangled in their creative roars and each reinforces greater keenness in The Blacktones growth.

With a final pair of cards leaving the listener lost in the void, The Day We Shut Down The Sun is a release which should be checked out. It certainly grabbed attention first time around but really blossomed as an experience and pleasure thereon in.

The Day We Shut Down The Sun is available now through Sliptrick Records and @ https://theblacktonesband.bandcamp.com/album/the-day-we-shut-down-the-sun

https://www.facebook.com/TheBlacktonesBand   https://www.twitter.com/BlacktonesBand   https://www.instagram.com/theblacktonesband/

Pete RingMaster 14/03/2018

Copyright RingMaster: MyFreeCopyright

XII Boar – Beyond The Valley of The Triclops

zz6t_xiiboarband_1_RingMasterReview

Last year metallers XII Boar made a compelling statement that British heavyweight rock ‘n’ roll was in safe and eager hands with debut album Pitworthy. It was a slab of dirty, primal stomping announcing the arrival of the Aldershot hailing trio on the frontline of UK metal. Hindsight though, and the release of its successor, shows that the impressive encounter was just an appetiser for a bigger thunderous roar and charge of creative mischief, for Beyond The Valley of The Triclops.

Formed in 2010, XII Boar caught the attention of a great many with first release, the Split Tongue, Cloven Hoof EP. Unleashed in 2012, it thrust the band’s thumping invasive sound into broader attention to back up a growing live reputation. Since then, the threesome of guitarist/vocalist Tommy Hardrocks, bassist Adam Thomas, and drummer Dave Wilbraham have shared stages with the likes of Corrosion of Conformity, Crowbar, ASG, and Karma To Burn, made praise luring appearances at Bloodstock, Desert Fest, and Hard Rock Hell, and signed a film licensing deal with Troma Films editor Dylan Greenberg. In the mix was the release of the critically acclaimed Pitworthy, it all leading to the band’s finest moment to date, Beyond The Valley of The Triclops.

Recorded with producer Chris Fielding (Conan, Electric Wizard, Winterfylleth) at Skyhammer Studio, the new album sees the band’s Motorhead, Black Sabbath, High on Fire inspired blend of stoner, doom, blues, and southern metal find a new devil in its heart and revelry. There is a mischievous grin on its creative face, a fresh inventive debauchery which gives Beyond The Valley of The Triclops a diversity and adventure not heard in the already imaginative XII Boar sound before. The album opens with Prologue, a brief slice of rhythmic voodoo setting the feral landscape the album and first track proper, Beyond The Valley commands. From a delicious dirty bass groove with guitar flames in the air, the track strolls through ears with the infectious swing of winy grooves surrounding jabbing beats. The raw and grizzled tones of Hardrocks enjoyably growl, challenging as the track rouses ears and an already keen appetite for the band’s sound. It is an easy invitation for newcomers too, one already showing a new maturity and confidence in songwriting and sound whilst rousing the spirit in the individual XII Boar way.

zz6t_xiiboarbeyondthevalleyofthetriclops_1_RingMasterReviewThe Hustle leaps at the listener immediately its predecessor departs, fiery riffs and the sultry shimmer of harmonica coaxing attention as the song shows itself an old school meets stoner stomp with plenty of punk rock attitude and blues rock spicing. It is an epidemic of infectiousness as sturdy and intrusive as it is virulent and matched in success by the bluesy rock ‘n’ roll of Strange Kinda Lonesome. It too is a canter which whips up body and spirit, involving the listener with swift ease as Lemmy and co like influences make their presence known not for the first or last time in the XII Boar sound. There is a touch of Dr Feelgood to the song too, a dose of heavyweight R&B adding its flavouring even when the song explodes in a tirade of heavy rocking half way.

There is no time for exhaustion already resulting from listening to the album to recover as the outstanding El Mucho Grande flirts and roars on the senses straight after, the song a tapestry of twisting grooves and catchy hooks woven with fun and inventive relish as full of variety as the vocals.

A moment to catch breath is allowed as the narrator of the album is given thirty seconds to give his Welcome To Your Doom warning before Penetrator whips up its energies and grouchy aggression in a superb corruption of a track again openly wearing its Motorhead cape as it has body and vocal chords in league with its own in no time. There are no real surprises in a song which feels so good to throw body and soul into, that adventure given to the likes of the imposingly heavy Abyssal Lord with its spidery grooves and cantankerous nature and the country twanged Black and Blues to exploit. The first of the pair also seamlessly slips into some magnetic and sultry jazz funk shuffling while its successor is a smouldering fire of blues and country rock crooning given a weight and intensity which rumbles on the senses. Both tracks have an unpredictability and volatility which alone seduces attention and real enjoyment, an enterprise just as rampant within the predacious rock ‘n roll of Jupiter Aligns if not with the same strength of zeal.

Album highlights continue to arise as it nears its end, Beggars Roost one such potent proposal with its dark and imposing presence with the excellent Triclops concluding the release with a rhythmically gripping and sonically muggy stalking of the senses. The fact that neither track is arguably the strongest and most explosive things on the album shows the might and quality of Beyond The Valley of The Triclops as a whole.

You always hope to say that the latest release from a band is their finest moment yet and with XII Boar it has been a theme realised almost song by song as they seize UK heavyweight rock ‘n’ roll in their big salacious hands.

Beyond The Valley of The Triclops is out now @ http://xiiboar.bandcamp.com/

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

Pete RingMaster 29/09/2016

Growls and grooves: talking with The Devil In California

The Devil In California_RingMasterReview

“Hailing from the broad, cracked streets of West Oakland, California,” The Devil In California is a band uncaging rock ‘n’ roll which rumbles with attitude and adventurous enterprise. Since forming they have swiftly forged their own identity with a rousing hard/heavy rock sound which devours as it masterfully involves the senses and imagination. Currently working on their second album, we grabbed the opportunity to talk with the heavy rockers to explore The Devil In California past, present, and ahead.

Hi and many thanks for sharing your time 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?

Tony Malson – We are The Devil In California; formed in 2013. Our drummer Eddie had an ad out that attracted Jamie (guitar), who brought in Matt (bass) to jam and see what was up. Eddie gave me a call and asked if I wanted to check out the project. I loved the tunes and The Devil was born. Snake was added to the project after mixing our first tunes. The line-up was then complete. We all share a passion for heavy hitting hard rock with influences galore.

Have you been/are involved in other bands before?

Tony – I moved to the bay area in 94 and have been singing in Bay Area bands ever since. Bands like AngryInch, Fiksate, The Servants, Mavalour and played drums/sang in Insecto and Monte Casino to name a few; all an artistic pathway leading to The Devil In California.

Jamie Cronander – Most of us have played in quite a few bands. Some you’ve probably heard of. Some of us have side bands. Some rock bands, metal bands, industrial bands, tribute bands, even trumpet in a brass band. We prefer that the Devil be thought of in its own light.

Has past experiences had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Tony – Every musical experience I’ve had in other acts has contributed to how I approach writing/singing in The Devil. And I’m still exploring different avenues and genres to broaden my musical horizons; so much to learn.

Jamie – TDIC is its own inspiration thing. We draw influence from a lot of things, and most importantly from each other. You’d probably find that all of our other music, be it present or past, does not sound like the Devil.

What inspired the band name?

Eddie Colmenares – I came up with it when doing the initial planning.

Tony – Eddie came up with the name and I liked it right away; perfect for this band.

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

Eddie – There was. I really wanted to put together a heavy, hard rock band that had that southern, slide guitar vibe to it.

Jamie – Matt and I were working on a project that kept getting put on hold by the other members. We wanted to do something that was more heavy, old school, and southern influenced. Alice In Chains, Corrosion Of Conformity, Skynyrd, Pantera, Clutch, STP, Allmans, etc. We had plenty of time, so we started a couple ideas and were directed to Eddie’s ad almost immediately.

Tony – I think the idea of a swampy, heavy, melodic, hard rocking 5 piece was the idea from the beginning. I came in after Jamie, Eddie and Matt had jammed a bit so it changed a bit from there but we all have a similar vision.

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

Eddie – It’s a mix. First, we aren’t that old of a band, so nothing is ‘too much of the same’ yet. And we are moving up pretty fast – it’s a lot coming at us at once, which in turn drives us more.

Tony – I’ve always been very musically driven personally. My passion to play music and get that music out to the world hasn’t really swayed in the last twenty plus years. I’ve always got the same vibe from the band in that regard. But you can’t grow without change and we tend to evolve in a very natural upward spiral. Has our music changed? Yes. Does it still encapsulate TDIC? Absolutely!

Since those first days, how would you say your sound has equally evolved?

Jamie – Definitely an evolution, but a young one; we have some prettier stuff coming, and some harder stuff coming. We’ve only got the one record out. But if you dig it, fear not. The next record will be just as hard hitting and sing-alongy, but will not be a repeat of the first.

Tony – I’ve always enjoyed the band “process” of learning to play with new musicians and finding that absolute sweet spot where everyone’s talents, technical abilities, and musical emotions come together as one. This process takes years and is a constant evolution. And in my opinion it’s really coming together with The Devil.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

Jamie – A lot of it is that Snake joined later in the process of the first record. He still had a heavy hand in the songs on the record, but the structure was mostly in place. Snake and I work VERY well together, so now that we’re able to do the whole process of guitars together, I think the band is really blooming into something better as we become one.

Tony – Definitely more of an organic flow towards our sound and what feels good.

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?

Tony – Everything from Prince to Pantera inspires me. I’m a huge fan of the Seattle sound that was so instrumental in the 90’s. Alice in Chains have always struck a deep chord with me; Soundgarden as well for that matter. Chris and Layne were and are my top vocal heroes.

Jamie – Alice In Chains is a big common thing for all of us. Their ability to be as pretty and acoustic as they get or ugly and heavy as they get, is intense and the vocal harmonies…so important. For me personally; Corrosion Of Conformity, Pantera, Stevie Ray, Nirvana, Sonic Youth, STP, Allman Bros., CCR. They’ve all changed the way I think about the guitar.

Is there a process to the songwriting which generally guides the writing of songs?TDIC_RingMasterReview

Tony – In this band the riffs usually come first. We formulate the tune based on that then I begin to add lyrics and melodies. I prefer to wait until I hear a song and digest the riff before I start to head in a lyrical direction. You never know where inspiration will come from so you can’t fall in love with a preconceived idea.

Jamie – Usually it stems from me and Snake bringing in riffs we’re having fun with. We’ll hash them out at home a bit, record the ideas, send it to the guys on line, and then bang on it all together in the studio.

How about the lyrical side of your songs, where do you, more often than not, draw inspirations from?

Tony – My lyrics are largely derived from the life experiences of myself and those that surround me. Inspiration can take many forms. I’m always open to a new vibe or sound or riff. It’s kept me coming back for years on end. I love writing and recording new material.

Can you give us some background to your current release, Longer Ride Down?

Eddie – We only have the debut release out, so really, the background is “we formed, and wrote a record in a year”. We go back into the studio this winter for the follow-up.

Tony – It’s a hands down, kick ass, hard rockin’, heavy grooved, melodic, ear bender. If you dig heavy riffs with harmony and soul all wrapped up in emotion then you’re in!

Can you give us some insight to the themes and premise behind it and its songs.

Tony – I’ve always gravitated towards the darker side of musical tastes. The beauty in expressing that space is undeniable. It can be very moving and haunting at the same time. That being said, positivity needs to reign supreme in your approach to life as well as music. You usually have to traverse the darkness to see the light.

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?

Eddie – Oh lord, hahaha… they are final final final, and then we still change things. All songs are prepped long before we are in the studio.

Tony – We always do a pre-production round of recording before we do the final tracking. 99% of our changes to our songs happen in prepro. Then we are super close to the final product when doing the final version in the studio.

Jamie – We usually end up pre-producing songs in full three times at least. The first takes are to nail tempos, and see if we feel like they need anything, like additional breaks, leads, backups, etc. As for the finals, we record them just guitar, bass, and vox, lay drums over them, then redo the instruments over the drums.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Tony – We want you to walk away from our live show saying, “That was one of the best bands I’ve ever seen”. So our approach is filled with intensity and vigor. We all have a professional approach to our live show but realize that without a little danger and spontaneity it’s hard to take it to the next level.

TDIC_RingMasterReviewIt is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it?

Tony – We have made a good splash in the Bay Area. It’s not an easy place to play music as the people and crowds are so diverse. This diversity is what we love but it also lends to many different kinds of music being played out live. There is no “one scene” in the bay so you have to fight a little harder for your rock and roll piece of the pie; which only makes you a better act in the end.

Eddie – The San Francisco / Bay Area is a fickle place. If you want to do well locally, you better be really good out of the gate, and then keep it coming. Fortunately we have some great, loyal fans. We’re at that stage where when we are playing and I look out at the audience, I don’t even know 70% of the people. That’s awesome.

Are there still the opportunities to make a mark there if the drive is there for new bands?

Tony – Absolutely! There are always opportunities to take advantage of. No excuses. Get out there and attack the scene. Write good tunes, play a great live show, and leave it all on the stage. You will see results.

Eddie – Yes, but it’s a whole new paradigm now. Be ready to work your ass off if you want to do anything other than play your local bar. Nobody is going to come along and hold your hand these days. No label is going to show up at your local show and whip a contract out of their suitcase to hand you. That is absolutely over – doubly so if you are not in an “urban” act, or are a rapper. We do pretty much everything in house, and it’s a just as much a job as it is a band.

How has the internet and social media impacted on the band to date?

Tony – The music industry is an ever changing beast due to the internet and social media today. You have to get on board and ride that bitch to your benefit or it will leave you behind in an instant. There is always more to be done but we are benefiting from it for sure.

Eddie – I think social media was far bigger of a deal just a few years ago than it is now. The stream of having said that, at least 80% of our exposure is through some sort of social media interaction.

Jamie – The internet is basically the only way to discover music these days. If you’re not on FB, YouTube, Twitter, Instagram, and everything else, you’re not putting in the work. People do still buy physical CDs, but usually they’ve been watching your video before that.

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?

Tony – It’s a positive in the end. It has to be. You need to make it so and will it to be. Even a bad situation offers lessons towards a positive outcome. Ask questions. Investigate all the solutions. If you’re not failing in some arena then you’re not trying hard enough.

Once again guys, big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Tony – Thank you! And yes, our new album is in the works and due out this winter. We have some more touring this summer going down as well. Keep an eye out for some new videos and some surprises from The Devil. Let’s Rock!

Eddie – Thanks! And please stay tuned – more is coming!

All – Please follow us on your favorite social media site!

https://www.facebook.com/thedevilincalifornia   https://twitter.com/eldiabloencali

https://www.instagram.com/thedevilincalifornia   https://www.youtube.com/thedevilincalifornia

Pete RingMaster

The RingMaster Review 10/06/2016

Copyright RingMaster: MyFreeCopyright

Adrenechrome – Tales From Adrenechrome

Pic Credit Dave Saunders_

Pic Credit Dave Saunders_

Just like a blurring of reality and fantasy, the sound of Canadian metallers Adrenechrome is a muggy fusion of styles and flavours, and just like a drug addled climate, it provides an adventure which devours and permeates every pore of the senses and emotions. Taking their name from the a fictional drug in the film Fear And Loathing In Las Vegas, Adrenechrome cast a kaleidoscope of rigorous and virulent tempting as creatively progressive as it is thunderously rock ‘n’ roll, as predatory thrash bred as it is spatially grooved, and as imaginatively ravenous as it is simply seductive. The evidence is all there within new album Tales From Adrenechrome, a seven track encounter which from its classic comic like cover, created by Clownbaby and Tim Kehoe, through to its final suggestive note, is a compelling exploration of self experiences, fantasy, sci-fi, and classic literature.

Hailing from Ontario, Adrenechrome began in 2010, formed by veterans of the music scene with bands such as Gaswitch, Shimmy Rabbits, and The Doug Trucker Band in their histories. Debut EP Hideous Appetites emerged in 2012, inspirations from artists such as Pantera, Black Sabbath, Thin Lizzy, Metallica, Mastodon, High on Fire, and Children of Bodom colouring a sound which soon lured strong support and attention to the release and equally the band’s adrenaline driven live presence which over the years has included playing with Corrosion of Conformity, Green Jelly, Ninjaspy, and Manahan. It is a reaction and success sure to be matched and overshadowed by Tales From Adrenechrome as it spreads its creative rabidity from hereon; with it the band ready to breach and incite richer and broader spotlights.

Album Cover - Adrenechrome - Tales From Adrenechrome _RingMaster Review   The album opens with A Familiar Face, an immediate tempting of bold rhythms and melodically spun sonic enterprise woven into a warm instrumentally led tapestry. The track swiftly captivates as its hooks and grooves seduce as the bass swings and drums badger, a union which only captures ears and imagination with vocal harmonies adding just one more flavoursome texture to the album’s initial temptation.

Things quickly get rugged and heavy as Lockstep storms in next; its thrash breeding is full rabid evidence as vocalist Chris Friesen rides his own riffs and the raw flames of fellow guitarist Tim Kehoe. As becomes the norm, the track is soon evolving within ears. The fury of more extreme metal hues collude with heavy Mastodon resembling grooves and a Torche likened web of flavours as the licking of thrash seeded and groove metal honed flames continues. It is riveting stuff, the body and emotions involved in the devilment as easily as pleasure and an appetite for more, which the song continues to offer with its persistently twisting proposal and Black Brubeck continues with its superb jazz lit imagination and progressively sculpted inventive waltz. As avant-garde as something from a Trepalium or a Pryapisme, and as heftily compelling rock ‘n’ roll as a predacious roar from an Anthrax or High on Fire, the song is irresistible; a fascination with mischief in its heart and fiery passion in its soul.

As all tracks, God Sized Shadow is nurtured with the same fire of intent and character, it even more rapaciously dirty and intrusive than its predecessor but with, greater degrees, the same kind of cosmic air and aggressive volatility, the blackened shades of the latter especially potent. Bewitching and intrusive, with the excellent dark grouchiness of Mike Van Dyk’s bass and the lethally swung beats of drummer Matt Copeland gripping, the track is a primal yet worldly blaze with the rawness of a Triggerman and dark seduction of a Faith No More.

The Heart and The Feather instantly incites ears and thoughts as clean vocals impress within a hug of spidery grooves and sonic expression, Friesen becoming even more compelling as he mixes up his delivery with dirtier tones and rasping expression. Musically the song matches him, again that bedlamic quality a perpetual enticement of unpredictability and highly persuasive surprises woven in to a mix of fierce and richly spiced metal and heavy rock styles. Hips are soon swinging and imagination entangled in the proposition, a success just as easily inspired by Hideous Appetites, a manic appearing and skilfully conjured smog of ferocious enterprise and dynamic devilment; a ravenous beast of a song with melodic and antagonistic weaponry.

Completed by the cauldron of warmth and hostility that is The Lead Elephant, a track which majestically merges melodic tempting, sonic trespasses, and cantankerous metal ‘n’ roll within its tenacious and often enjoyably bruising tempest, Tales From Adrenechrome is a thrilling beast. There is no moment where emotions and appetite are not inflamed and pleasure thicker than the grooves it unleashes.

Grabbing a dose of Adrenechrome is a no brainer as far as we are concerned, Tales From Adrenechrome the release declaring a new band to challenge if not quite now certainly ahead those ‘giants’ mentioned.

Tales From Adrenechrome is out now @ https://adrenechrome.bandcamp.com/album/tales-from-adrenechrome and through most online stores.

http://adrenechrome.com/    https://www.facebook.com/Adrenechrome   https://twitter.com/adrenechrome

Pete RingMaster 28/11/2015

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