Sandness – Higher & Higher

We cannot say that seventies/eighties metal and hard rock are flavours which light our fires too often but it is fair to say that Higher & Higher, the new album from Italian outfit Sandness ticked many boxes of enjoyment whilst embracing exactly those styles. It is a release which initially struggled to spark the imagination but song by song, listen by listen, grew to be a thoroughly engaging and pleasurable affair; not without flaws but inciting an appetite to hear more from and follow the band as they realise the open potential within the release ahead.

Hailing from Rovereto in southern Trento, Sandness started out in 2008; formed by teenage friends, bassist/vocalist Mark Denkley and drummer/vocalist Metyou ToMeatyou. Inspired by the likes of Mötley Crüe, Crashdiet, Poison, Hanoi Rocks, W.A.S.P., The Ramones, Rolling Stones, Black Sabbath and the likes, the band soon honed its eighties toned sound. A few line-up changes ensued before the current line-up was secured with the addition of guitarist/vocalist Robby Luckets in 2009. Subsequent years has seen the trio support the likes of Adam Bomb, L.A. Guns, and Tygers Of Pan Tang, play across their homeland as well as undertake several European tours and take the stage at the renowned Glam Fest in France. Two demos, Return To Decadence in 2010 and especially Life Without Control the following year, lured strong attention though it was debut album Like An Addiction in 2013 which really sparked a more global awareness of their sound. Now Higher & Higher, released as its predecessor by Sleaszy Rider Records, is stoking up a new wave of fans and though we might not be leading the surge, reasons are readily apparent as to why its fresh success in persuasion .

The album opens with You Gotta Lose, a track which failed to tempt the first time and still labours trying to convince. Opening with a blast of group vocals and predictable eighties riffery, the song soon reveals a snarl which grabs attention but one as quickly tempered by the again familiar harmonic wash of voices.  It is hard to pin down exactly what is lacking within the track other than it just does not appeal to personal tastes but it is a decent start swiftly left sounding pale as the album takes off starting with next up Street Animals. The second song similarly offers a recognisable melodic welcome but is soon spinning its own web of hooks and twists; some unique some familiar but a great fusion creating flavoursome rock ‘n’ roll. Without reading the influences on Sandness, they are easy to guess from this song alone and as suggested eagerly employed by the band in their blossoming character of sound.

The individual prowess of each member is just as open in the track and equally next up Hollywood. Prowling ears initially, it soon whips out some Billy Idol spiced hooks and other moments which are vaguely System Of A Down like in nature. As the album, it is a song which grows and seduces more and more with every listen, its increasingly imaginative nature richly engaging before the melodic croon of Promises in turn captivates. With an increasing fire in its belly inciting a great bass grumble, the song quickly establishes itself as a major highlight of the release, musically and vocally hitting a high.

Through the vocally unstable but ultimately enjoyable Sunny Again and the boisterous hard rock of One Life there is little not too like even if neither can live up to their predecessor while the short poetic instrumental of Light In The Dark captivates before Heat lives up to its name with some quite irresistible fiery grooves against another great grouchy mix of bass and drums, the former the persistent provider of potent bait across the whole of Higher & Higher. With its blues scented flames, the song is another peak in the album as too the power pop rock romp of its successor Perfect Machine. There are no major surprises but a stream of hooks and flirtatious tempting which has body and voice quickly involved and enjoying every second.

The album is at its best by this point, Monster Inside Me backing up the previous two with its own tenacious glam/heavy metal stomp and mix of imaginative features and matched in potency by the groove woven Play With Fire, its prime lures striking as the band revels in its eighties inspirations once again.

Closing with the hearty and increasingly volatile balladry of Will You Ever, a song like the opener it was hard to connect with personally, Higher & Higher provides an increasingly compelling proposition easy to suggest fans of eighties metal and rock especially take a close look at. Sandness is never going to be the first thought when choosing the soundtrack for our day but with Higher & Higher they are going to be considered more than many others bands, for others they will be a long term involvement.

Higher & Higher is available now through Sleaszy Rider Records @ http://www.sandnessofficial.com/shop/ and other online stores.

http://www.sandnessofficial.com/    https://www.facebook.com/Sandnessband

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

The Sick Side – Born to Kill

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Bracingly raw and with an attitude and character as mischievous as it is antagonistic, Born To Kill the debut album from Spanish rockers The Sick Side, is like one of those companions you know you should not hang out with as they will only get you into trouble but you just cannot resist the anarchic and brazen seduction. A brawl of hard rock and heavy metal with a very healthy fuelling of punk rock, the release is a potential soaked riot of fun, unclean rock ‘n’ roll from a band which breeding a keen appetite for is very easy.

Storming out of Montblanc, a town in the Catalonian province of Tarragona, the quartet of Xavi Granados (vocals /guitar), Xavi Nuez (vocals /guitar), Sergio Martinez (bass), and Joan Pérez (drums) equip their album with a middle finger driven sound and adventure which demands and commands attention. Formed in 2012 and conducting their first rehearsals and song writing exploits in a garage right next to a cemetery, the perfect landscape for the creation of their devilish brew of sound it is easy to suggest, The Sick Side spent the following year working towards and on Born to Kill. Recorded at the Más Allá Studios in Valls, the album is an instant ear grabbing and furious incitement of energy and tenacity. As mentioned it is a raw and rough around the gills encounter but one we suggest fans of filthy punk and rock ‘n’ roll will get a real kick out of.

The album’s first track Looking For quickly lays down a tasty indication of what is in store within Born to Kill. Though not the strongest track on the release, its snarling vocal led weave of sonic enterprise and thumping rhythms within a caustic wall of riffs is a flavoursome appetiser for bigger things. Essences of Judas Priest like metal, Motorhead bred antagonism, and melodic toxicity collude from within the song to add further bait to the not remarkable but solid opening, an entrance backed forcibly by the Turbonegro like She Is A Whore which follows. As the first song, the craft and imagination of the band is captivating bait within the caustic rock ’n’ roll shaping the proposition, but there is a brighter spark of energy to it which sets up ears and appetite perfectly for the next step forward which comes in the fiery shape of Hanging Around.

The album’s third track has feet and emotions hooked from its opening lure of bass and a swiftly aligning roll of beats. Both Granados and Nuez share the vocal lead across the album, a mix and variety which only adds to the unpredictable nature and adventure of songs, and as shown here when those vocals come in hand in hand with a spicy blaze of guitar sculpted sonic design it works a treat. The hints of punk which whisper in the opening pair of songs is a broader and louder anthemic roar here too giving a great simplistic balance to the skilled and inventive veining of guitar endeavour alongside. Ramones meets Crashdiet; the track is a contagious stomp pushing the album up yet another notch with ease.

Both the heavy rhythmic stride and imposing presence of Jenny and the tangy blues shading of Alice hold ears and appetite firmly bound in catchy intriguing persuasion. The first of the two has a more serious nature to its character, parading a less rebellious and slightly more composed weight to its presence whilst its successor toys the senses with a blues garage rock spicing, both adding variety and fresh adventure to the album. Each also has glimpses of a more Billy Idol like glam punk spicing at their hearts, just whispers but proving more colouring to their resourceful and pleasing offerings.

Things continue to grip body and thoughts as Lights Are Always Bright romps with pop punk devilment, well pop punk caked in scowling vocals and riffs which collude with unpolished barbed littered hooks. It results in a tightly grabbing contagion which is emulated by a song called Track 1, where again heavy rock and melodic punk unite to create an abrasing confrontation with searing heavy metal veining alongside attention holding craft from the band. Both tracks keep things moving along enjoyably before the devilry of A Crime Against Humanity with its distinctive vocal delivery and addictive rhythms, steps up to forge another peak in the presence of Born To Kill, a new level reinforced by the album’s title track and the outstanding War. With a touch of hardcore punk teasing in the first, and heavy metal rabidity colouring the brilliance of the second of the three, the band leave the third to add the juiciest onslaught of the album. War is a belligerence of riffs and rapier like beats from its first breath, the band uniting them and the subsequent roar of vocals and bass predation in a thrash inspired stalking of the senses with a nice feel of Testament to its voracious heavy rock tempest.

   The final two songs of Lady Pheromon and The Sick Side impressively and easily ensures Born To Kill ends of a high. The first is an addiction forging slice of punk rock with another chorus to swiftly succumb to whilst the latter stomps around with stirring attitude and a punk metal swagger helped along by another excellent dark bassline courting a potent weave of riffs, hooks, and acidic grooves.

The two tracks make an enjoyable and ruggedly persuasive end to an outstanding introduction to The Sick Side. The album is unpolished and hostile, organic and ready to tear your head off, exactly as all dirt smothered rock ‘n’ roll should be from a band which can only grow and develop an even more striking and dangerous nature…something to eagerly anticipate on the evidence of Born to Kill.

Born To Kill is available now as a name your price download @ http://thesickside.bandcamp.com/releases

https://www.facebook.com/pages/The-Sick-Side/535224796532994

RingMaster 19/01/2015

Copyright RingMaster: MyFreeCopyright

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Boiling energies and contagious storms: an interview with Rikki from Sister

Rikki

Swedish metallers Sister has built and earned a strong reputation for their raw and voraciously energetic sounds as well as live performances which leave a swarm of other bands in the shade. Creating a mix of punk and sleaze rock with horror punk and metal bred tendencies, it is a contagious and at times anthemic brew which is increasing in potency all the time, as proven by the band’s brand new album Disguised Vultures. The release is an encounter which increases infectiously and addictively the more time you allow its persuasion,  proving the Stockholm quartet a band very hard to ignore or not find a sweet spot for. To learn more about the band we had the pleasure of talking with bassist Rikki, at the same time finding out about the new album, the band and horror punk, touring and much more…

Hi Rikki, welcome to the site and thanks for agreeing to talk with us.

What was the spark which brought Sister to life and did you have an immediate direction you wanted to explore?

Sister came to life in early 2006 and I joined one year later. There were a few years with all intentions of being a band reaching high but at the same time making all the mistakes and being all about having a good time all the time. Maybe one year before the debut album Hated, that was released 2011, we felt that we were something to be reckoned with without putting much effort into it and started thinking of what we could do if we make something real out of it. I think it pretty much was at that time all the things fell into the right places.

1743529_10152244327941694_138724050_nWe called your sound and album in our review of your brand new release Disguised Vultures, ‘Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting’. How would you describe the Sister incitement to newcomers?

You got the raw and contagious there and I like that he he. I would add a high energetic live act. We are a band that love being on stage and that’s our place in this world.

What are your most potent inspirations as a band and as an individual?

We are all about all kinds of music. From bands like Misfits and Guns n Roses to bands like Lynyrd Skynyrd and Roky Erickson. We get inspirations from everything around us. I find inspiration in everything I like and respect.

We mentioned new album Disguised Vultures earlier, your recently released second album; how were the feelings on the eve of its release and since?

Last album was a big chaotic process since we signed with Metal Blade and had to write songs, record and release an album in a pretty short time period. This time we had a lot of time getting everything done and deciding how to go through with it. Like the first time, we finished in the last second this time as well though. It has to be done that way I have learned by now. The songs were written one year ago so it feels great to finally get them out.

There seemed to be a rather strong anticipation and now a hungry appetite for the album, was this something even with your confidence in its potency you expected?

It’s the way it should be. Would be pretty boring the other way wouldn’t it. We just go for all the stuff we want to achieve with an album or whatever we are doing at the moment. I knew this album would be the perfect follow up to Hated and the new album really feels like a step in the right direction.

How do you see you music and style has evolved between Disguised Vultures and its predecessor?

I loved the fact that we recorded the drums, bass and rhythm guitar live this time. It was a thought that appeared very early, maybe shortly after the last album was released. That next time we’ll do it live in the studio. I think we achieved a more organic sound and it’s a much rawer and heavier sound than the last time. I think also it’s a more diverse album as well. On the debut it was all about fast punk songs. We are exploring more grounds this time.

sister 2Did you approach the new album differently to Hated, were there lessons learned first time around you could utilise and build on?

Yeah make sure you have time haha. Actually it could be a good thing to do an album without having the time to think about everything. It becomes very honest. But if problems turn up you are pretty fucked. We’ve learned a few things about being a band and to record the last couple of years as well. Not much but a few hehe.

You may disagreed but it seems like earlier releases, Hated and before that the Deadboys Making Noise EP, certainly lyrically and in sound may be too, embraced expectations with a typical horror punk provocation. Disguised Vultures feels like in both aspects Sister has moved on to try to evolve and sculpt its own identity. Has this been something you have given a focused attention to look at or it has been just an organic progression in your writing?

I actually have no idea when the horror label people put on us even took place. We have never written songs about horror movies or stuff like that. We write music about real life not after life haha. I guess when you look in a certain way people try to put you in the genre that they think is the closest one. We have always considered ourselves being a band that like a lot of different music genres and we have since the EP just decided not to think about genres and just play what we want. It is always different depending who you talk to. Some say we are sleaze, some say horror, some say just pure punk music. I consider us being a bit more confusing genre wise than just being just one of those.

Tell us about the recording of the new album. Did you have a deliberate intent with it and its sound?

Our friend Martin Sweet produced it and Linus Nirbrant did the mix together with him. The mix process took the longest to get right since we really knew from the start what we wanted. We were very much, like always, involved in all parts of the process. We knew what we wanted to do and how to do it and since we have worked with Martin earlier we know each other very well. He got us from the start.

Do you write songs and have them worked out fully before the recording process or a band which likes to create predominantly in the studio environment?

Everything was written half a year before we entered the studio. You always make a few changes in the studio but the main stuff was already written this time. On the first album we changed more while recording than this time.

How does the writing process within Sister play out generally?

Someone has a song which is taken to the rehearsal. Usually there is a melody or a half-finished song and then we pretty much finish the song in there. It can be very different from song to song but usually it’s like that.

Are you more often than not a put the lyrics to music band or vice versa?

It can be either way.

There is a definite anthemic and stand up against the wrongs of society etc. provocation to your songs lyrically which transfers to sister 4the music on the album, but how much do personal issues, reflections, or experiences also inspire your songs?

Cari and Jamie have written the lyrics on this album. Some songs are pure angst about things and some more complex. The song Disguised Vultures for example is about the clash between the world on tour and the world back home. On tour playing in front of big crowds and then being back home without any money and all that. It can be two very different worlds.

Disguised Vultures like its predecessor has been unleashed on Metal Blade Records; they seem like a rewarding home for Sister?

Yeah it’s been good. Their reputation and arms reach out over most parts of the world and that can be very good for us of course.

The band has toured and played around Europe extensively over the years, as well as playing at some prestigious festivals; the biggest highlights for you so far?

Playing the big stage right before Mastodon on Sonisphere Madrid 2012 was a highlight of course. I can get used to doing that stuff haha. The tours with Hardcore Superstar, Crashdiet and Wednesday 13 have been really good as well. We have played in northern Europe a lot since the EP (Germany has been like a second home country hehe) so it has been great playing in Italy, Spain and France the last couple of years. Our first two tours in the UK were done last year and were awesome as well. Hope to be back there real soon!

Is there any particular country or nationality of fans which unite and ignite to Sister over all others?

It’s been real good all over Europe the last few years. Northern Italy has always been crazy. Manchester and London on the UK tours have been awesome. Paris was really great, Berlin as well. Hard to pick a favourite.

sister 3What does Sister have in store for 2014 now the album is out?

We are in the middle of discussions about some real cool stuff tour wise. We’ll see if it can be done. It would be big! The booked official stuff is a release party here in Stockholm in the middle of February and some shows in Sweden and Finland. We just want to hit the roads soon!

Big thanks for chatting with us; any parting thoughts you would like to leave the readers contemplating?

Likewise! If you haven’t been to a Sister show, make sure that you do when we’re around! And check out our album Disguised Vultures!

Read the Disguised Vultures review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/21/sister-disguised-vultures/

www.sisterofficial.com

Pete RingMaster

The Ringmaster Review 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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Sister – Disguised Vultures

Sister1

    It is easy to declare that on Disguised Vultures, the new album from Swedish metallers Sister, there is very little new going on but you can just as comfortably announce that the album is a refreshing and imagination teasing slab of sleaze punk inspired metal which for the main thrills and ignites satisfying urges within feet and emotions. Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting, band and album create a provocative brawl where wantonness and salacious attitudes are encouraged and sonic bruising recommended.

    The ten track release follows debut album Hated which like its successor was unleashed on Metal Blade Records. Since forming in 2006, Sister’s sound has certainly evolved, if not dramatically, since first EP Deadboys Making Noise in 2009. Even more so their craft and adventure has spread from just horror punk type scenarios to maturer enterprises taking on greater conciseness and potency on the way as evidenced enjoyably by Disguised Vultures. Tours and shows with the likes of Hardcore Superstar, Wednesday 13, Crashdiet, Fozzy, and U.D.O. as well as festival appearances between albums has only strengthened the stature and awareness for the Stockholm based quartet’s sound whilst earning them a reputation as one impressive irrepressible live encounter but you feel that Disguised Vultures just might be the key to turn the lock of greater recognition even if it leaves expectations fed rather than starved predominantly.

    The band go straight for the jugular with opener My Enemy, its first breath a roaring blaze of punk infested scuzz which Coverthough immediately hitting full on between the eyes suddenly steps into what could have been its intro. A sudden chilled ambience littered with samples intercepts the imagination at this point whilst a ravenous heavy bass tone prowls inviting in rampant predatory rhythms which soon add their menace to the emprise. It is an intriguing and inspired start which arguably song and album never replicates again preferring to reinvent and twist existing flames of invention. As bass and rhythms enslave the ears and a sonic wind from the guitar shapes the landscape as the song hits full gear again, vocals and sounds slip into a more regular and predictable encounter. Nevertheless it is a rousing and compelling confrontation which uncages the same antagonistic belligerence and contagion found in Murderdolls and even more so the early and solo work of Wednesday 13.

    The impressive start makes way for the first single from the album Sick. With heavy metal melodic taunting and sinew driven rhythmic barracking leading to one of those anthemic choruses which you fight but always succumb, the song is an easily accessible and pleasing stomp offering nothing to be slack jawed over but providing a full and tasty meal for the appetite to eagerly embrace. Combined with its predecessor the album has already taken a tight grip which is sustained by both the title track and the next up Arise. The first of the two lacks the spark of the first two but romps with a juicy groove coring fiery riffs and melodic enticement whilst more restrained rhythms frame good group vocals and the rasping lead of Jamie. It is a decent enough track to settle down with but soon surpassed by its successor. Loaded with addictive barbed hooks which dig deeply and an infection soaked chorus driven home by again vocalised anthemic temptation, the song is three minutes of insatiable horror punk wrapped in sleaze rock, not ground breaking but quite irresistible.

     Another pinnacle of the album arrives with We Salute ‘Em, a heavy duty rapacious brute of a song which from its intensive weighty entrance steers the senses through a volcanic and quarrelsome tempest of scarring riffs and spiteful rhythms under a melodically cast sonic sky. Adding little twists and sparks of imagination to its absorbing body of sound, the track is another to seize and hold the imagination long past the departure of the album, something not all songs such as Naked and DMN can boast. Before them though Sister sets free Slay Yourself, a punk infused treat with a causticity which is as inciting and magnetic as the sonic storm around it. The next up Naked is a power ballad which though well-crafted just does not spark any hunger for itself unlike other songs. It is strong and skilfully presented though making a break from the rioting but soon has thoughts looking at what is next.

   From the again okay DMN, a predictable yet enthused growling fury, (Stop the) Revolution pulls the album back to its earlier heights. A rhythmic enticement opens up the persuasion and instantly has focus glued to its bait, a trap which never relents right through the whole of the song. A gnarly carnivorous bass predation is equally as seductive, combining with the drums for a dramatic canvas upon which sonic endeavour and melodic flames provide more potent adventure. The best track on the album it is punk metal at its best and the perfect lure into the band.

    The album closes with Please Kill Me, a song which feels like a filler more than anything. Certainly it does not live up to the strengths and exciting toxicity which marks the rest of the release but it cannot deter Disguised Vultures from being a fun album to play with. It is not going to provide you with anything startlingly new but for strong, pleasing, and enduring anthems of horror punk sleaze you could do a lot worse than Sister’s new tease.

Disguised Vultures is available now in North America and on the 24th of January in Europe.

www.sisterofficial.com

7.5/10

RingMaster 21/01/2014

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ToxicRose – Self Titled

Toxicrose_band_20

The self-titled debut EP from Swedish rockers ToxicRose may not hold many surprises but it does offer plenty of bruising fun and sleaze soaked enterprise. Combining an energetic blend of hard rock and melodic metal the band unleashes a sound which parties with the essences of Crashdiet, Alice Cooper, W.A.S.P., and Motley Crue to the fore.

Formed in 2010, the Stockholm quartet of vocalist Andy and drummer Michael (both ex- Lipstixx ‘n’ Bulletz), guitarist Tom (ex-Gemini Five), and bassist Goran (ex-Sexydeath), took no time in combining their ‘veteran’ experience to create sounds drenched in eighties hard and glam rock, bringing it all up to date for a full and vibrant encounter.  They have garnered quite a buzz around their presence since which their first release can only enhance and drive forward. Admittedly their chosen genre is not one which excites our hearts here but it is hard not to find enough to be enthused about with the EP and find richly pleasurable.

Released via City Of Lights Records, the EP opens with the powerful and magnetic A Song For The Weak. Big thumping rhythms ToxicRose_cover_12and striking riffs  soon capture attention whilst the whispers of keys brings a warm and gentler caress from within the muscular engagement. The vocals of Andy are aggressive yet welcoming to match the array of guitar skill from Tom, his sinewy riffs and melodic invention impressive and engaging. The band look the part for a glam/hard rock band and as this song proves they sound the part too. There is nothing openly adventurous to discover but it is an infectious riot of accomplished invention and invigorating sound which can only be enjoyed and applauded.

From the strong start the following Set Me Free takes a similar path to its predecessor whilst matching in appeal and quality. The striding rhythms and towering riffs command the ear whilst the melodic wash of the keys and sonic teasing of the guitars leave their contagious mark on the senses. The bass of Goran is a pulsating shadow to the song bringing extra flavoursome to its compelling presence. Arguably the track is too much like the first to reach the same heights but still makes for a satisfying companion which gets the job done.

Follow Me offers a slight symphonic breeze from the keys, the track allowing them a more noticeable place in the energetic storm. It is a pleasing difference and adds something extra to a song which brings diversity to the previous tracks. Again the musicianship and songwriting is spot on ensuring another song of epic melodic stature and heated craft. Whilst not igniting the same depth of pleasure as the first pair its open originality to those same songs makes it probably the more rewarding on the record.

The release is completed by Black Bile and Fear Lingers On, two songs which are less accessible and immediate but with deeper depths and surprisingly more anthemic appeal. It is unclear who provides them but again the keys make a great feature on the pair whilst the heavy and intense rhythmic and melodic aspects of the songs share front spot throughout, the track switching focus between the two attacks seamlessly. The second of the two is the heaviest most formidable song on the EP and for that is our favourite especially with its scorched sonic flaring and ear chewing riffing and hungry energy.

As mentioned glam/hard rock is not the genre to bring great pleasure here but we would be lying if we declared that ToxicRose made the time with their release not enjoyable or unworthy. It may not ever be used in the same sentence as best or favourite by us but the EP will certainly find a happy acceptance whenever it finds itself before our more brutal personal tastes.

For fans of the bands mentioned and the likes of Hardcore Superstar, Crazy Lixx, and Faster Pussycat for sure.

http://www.toxicrose.org

RingMaster 11/01/2013

Copyright RingMaster: MyFreeCopyright

Peepshow: Brand New Breed

For all those with a fervour for the likes of Black Veil Brides, Duff McKagan’s Loaded, Backyard Babies and CrashDiet then new rock n roll rebels Peepshow will be right up your eager veins, even more so if you like a good twist of the likes of My Chemical Romance, Wasted Sinners and Motley Crue to spice things up. Juices dribbling from the corner of your anticipation?…then the new album from the band, Brand New Breed is ready to satisfy.

Brand New Breed is the follow up to the self released and acclaimed debut album from the Scottish quintet of vocalist Johnny Gunn, guitarists Rusty Gill and Dagan, bassist Hex, and Hammy on drums. From its success and praise the band moved on to supporting the likes of Duff McKagan’s Loaded, Backyard Babies, and CrashDiet, an obvious natural and ultimately successful fit. The latter of the three bands were so impressed that they had Gunn co-write three songs for their most recent album Generation Wild.

Having to date not heard their debut, we have been reliably informed that Brand New Breed moves their sound on to a fuller and more mature level without losing their eager and irrepressible energy and attitude. Less antagonistic and more melodically driven too has been mentioned especially with the addition of keys to their sound bringing a slightly more symphonic and expansive feel. What is evident is the new album is an insatiable feast of rock music which leaves no one in doubt of the adrenaline driven energy and craft it is borne from.

From an atmospheric awakening intro hailing something striking and formidable approaching, which many bands are now employing in differing styles it seems,  the album erupts with the first single from the album Let Go, an impressive and irresistible opener to excite and rile up senses and emotions. Its electro start does not quite reveal the energised attack to follow though the band soon put that right as the fine vocals of Gunn lay satisfying upon the ear. There is a slight Wednesday 13 edge to his vocals though the smoother bulk of his delivery sets him apart and ahead of most . With riffs pumping up the blood with great power and the rhythms of Hammy firm without being combative it is an instant highlight to the release.

Live Free Or Die swoops in straight after with equal satisfaction.  With pure anthemic power and a muscular hard rock vein the track leaves one struggling not to join its call. The keys sway within the stiffer aggression adding acute warmth to the insistent song. The track chugs like a veteran rock song whilst bristling with fresh and youthful exuberance making an infectious pleasure something the description and result can be placed upon the following excellent Trouble. Arguably the best song on the release it lights up the ear with sharp melodies and an acidic solo that leaves sparks in its wake.

Peepshow is unafraid to and are skilled at mixing things up in sound and delivery too, with the likes of the stomping classic rock fuelled Only A Dream,  power ballad Feed On Me, and the full emotive slow burner Irreversible, showering the ear with strong and varied creativity. The third of these is a masterful display from Gunn, he is a vocalist that will light up many songs and hearts over the time to come.

With more powerful songs like Suffer, the outstanding and contagious title track with a bass from Hex to make knees buckle, and the belligerent Waking The Dead, bringing the album to a close it fulfils all needs from the senses from start to finish. Muscular without being destructive and catchy without losing credibility, Brand New Breed is a fine and pleasing album that will find an eager swarm of hands and ears heading its way upon its release on May 28th.

Peepshow does  not make the kind of music that gets first choice on our daily playlist but with Brand New Breed they might just change that.

www.peepshowonline.co.uk/

RingMaster 15/05/2012

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Skarlett Riot: Villain

If you have not come across UK rock band Skarlett Riot yet that will soon change with the release of their new EP Villain on March 19th. Bristling with formidable sounds, confrontational attitude, and a bearing of its fangs, the release is mighty; a deeply gratifying feast of heavy and explosive riffs fuelled by instinctive melodies and barely controlled energy. Villain stomps all over the senses and then goes back to give them another kicking after reviving them with its invigorating charm and infectious sounds.

Formed in 2010 Skarlett Riot has already garnered fine praise and acclaim for their live shows and debut EP. Their sharing of stages with the likes of Taking Dawn, Crashdiet, Glamour of the Kill, Black Spiders, Forever Never, Deaf Havana, and Francesqa and recent successful appearance at the Tramlines Festival set them as a band to watch something Villain strongly confirms. With a sound that takes the essences of the likes of Paramore and Halestorm and twists them into a stylish rod of melodic prowess to fuse with the bands aggressive and intense rock n roll, the band are about to make a powerful statement with the EP, an affirmation and declaration of intent and power from one of the best emerging UK bands.

The release goes for the jugular from the off, the opener doing exactly what its title says Party Hard. The song walks into rather than storms the ear, its nicely crafted and free flowing guitars from Danny and Skarlett stroking and badgering the senses eagerly. The vocals of Skarlett are impressive, her commanding and quarrelsome delivery perfectly riding the tremendous pummelling of Lukes drums and the belligerent bass lines of Tom. The song gains momentum as it progresses to set a strong start to the release.

Read My Lips soon takes things further though, with pulsating riffs that dazzle as the bass plunders the ear with menace. The song is an easy infection for the ear, an defiant anthemic muscular track that marks the band down for much greater things ahead. The songs hooks are irrepressible and its heart captivating, a great song that sets a high bench mark for the rest of the EP.

Luckily it is up to it with You’re The Enemy and Villain more than capable of keeping the wave of intensity and irresistible engagement going. The first is a guitar delight; a darker and more venomous track the riffs are challenging and the solo creates sparks from its wonderful scorching of the ear as it explodes. Villain rivals Read My Lips for best track on the release with the grumbling bass from Tom prowling around the striking drums and incisive guitars deliciously. As on every song Skarletts vocals rage with a passion and controlled attitude that takes the music into other complimentary avenues to its mighty intensity. If there was a dispute you would put your money on her, she steers the thunderous sound the band creates skilfully, the quartet as a whole masterful in merging the brawly sound to their melodic artistry.

Villain is a great release that all rock fans need to check out. Skarlett Riot are as mentioned emerging as one of the finest new rock ‘n’ roll bands in the UK, this EP suggests maybe the best.

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Ringmaster 13/03/2012

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