Taco Mouth – A Deafening Silence

If you ever get the feeling that the spirit and feisty devilment of the old CBGB hey days was a distant memory than rush over to the debut album from Nashville bred rockers Taco Mouth. Uncaging ten tracks which has the body bouncing and spirit roaring, A Deafening Silence is a punch of nostalgia and fresh enterprise which pretty much had us enslaved from the first listen of its first song.

The heart of the band is vocalist/guitarist Erica Sellers and drummer Angela Lese, a friendship and musical partnership which goes back to 2011 and the former’s new band at the time, CatFight. Lese’s relocation from Kentucky to Nashville brought that outfit to an end but a regular pleading for her former band mate to join her led to Sellers moving and with three other girls, the formation of The Dead Deads. After several national tours and two full-length albums, Sellers and Lese left the quintet in the October of 2017, quickly forming Taco Mouth with lead guitarist Shawn Hammer (engineer of Chevelle, Conor Oberst, Cursive) and bassist Flip Cooper (Damon Johnson, Brother Cane) completing its line-up.

Earlier this year, the band released the W.G.A.F. EP, a very well-received taster of the band’s punk fuelled, pop infested, ebullient rock ‘n’ roll now making one virulent holler from within A Deafening Silence. With defiance and attitude wrapped in hook ridden contagion, the Michael Wagener produced album immediately sets about getting under the skin with opener You Say. Flames of guitar instantly consume ears, a catchy rhythmic trespass in close pursuit before Sellers’ vocals join the swift coaxing. Within seconds an underlying hook teases but captivation is truly set with the song’s irresistibly rousing chorus. Like a hybrid of The Donnas, Spinnerette, and Sleater-Kinney but urgently enforcing its own individual character, the song as the band’s sound and enterprise sets the tone, manipulation, and adventure of things to come.

Romero follows, almost unwinding its lures as guitar and rhythms stir with predacious intent. The dual invitation of Selles and Lese’s vocals accentuate its temptation until breaking into a calm but determined stroll, bass and drums continuing to challenge as they entice. A sixties pop adds to the raw seduction, a radiant reflection on the track’s rawer observational edge before Burn This City Down springs its own flirtatiously imposing canter led by flesh whipping beats alongside a great bass grumble. Again defiance and catchy exploits collude in a slice of pop ‘n’ punk which had the body and vocal chords worked like a puppet.

Taking its predecessor’s strong mix of pop and punk, Let’s Get a Little Bit brings it to an even richer and keener boil, the song a tenaciously devious proposal orchestrating body and spirit with primal yet imaginative incitement soaked in infectious enticement while Queen of the Stags has a rapacious lining to its individually conniving contagiousness. Both outstanding tracks resound with the band’s skilful mix of flavours and creative cunning, and the pleasure an already greedy appetite was keenly devouring.

If both tracks are scheming, Simmers is pure unscrupulous seduction, the track a slowly evolving temptress with feline moves and inescapable devilment where every moment builds on the one before with darker intent and greater magnetism before the galvanic punk ‘n’ roll of Fighting for Today explodes in ears. An arousing call to arms and battle cry against a certain political leadership but applicable to all, the track just commanded lust and participation for its melodic howl.

The melodic serenade of You Can’t Stop Me is just as compelling, its intimate echo and smouldering uprising irresistible with next up Katie casting a pop hued incitement for ears and instinctive involvement through a rowdy yet inescapably catchy nature awash with crafty hooks and creative antics.

The album concludes with Waiting for the Sun, a song swinging with hip grabbing grooves while invitingly taunting with imagination firing hooks. It is a track epitomising the strengths and personality of the album and the band’s sound, the ever enticing shadows of the rhythms and the seriously magnetic vocals equally adding to its strength and overall to a release impressing more and more by the listen.

This year has seen quite a few striking punk nurtured treats unleashed; A Deafening Silence just might be the juiciest one of them all.

A Deafening Silence is out now and available @ https://tacomouth.bandcamp.com/album/a-deafening-silence

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Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

Beth Blade & The Beautiful Disasters – Bad Habit

Gaining an increasing reputation and support for their hard rock nurtured sound, South Wales hailing Beth Blade & The Beautiful Disasters raise the ante with the release of debut album Bad Habit. It offers a lively and tenacious roar, already drawing comparisons to artists such as Halestorm, Joan Jett, and Heart, which swiftly has the body and appetite eagerly involved in its instinctive rock ‘n’ roll.

From Cardiff, Beth Blade And The Beautiful Disasters have quickly recruited and built upon an eager and loyal local following since emerging. The time since has seen them stomping across the UK with their own tours and with the likes of Marco Mendoza (Thin Lizzy, Whitesnake, The Dead Daisies) as well as sharing stages with others such as Ricky Warwick and Damon Johnson of Black Star Riders. Recorded with Nick Brine (Thunder, The Darkness, Bruce Springsteen) at the legendary Rockfield studios and Leeders Vale, and mastered by Pete Maher (The Rolling Stones), the crowd funded Bad Habit is a hefty poke at bigger national attention with success an easy to assume expectation.

Opener Hell Yeah swiftly has ears grabbed, its opening lure of riffs accompanied by the moody tone of the bass; instinctive attention inviting by them well before the fiery flames springing from Chris Gould’s guitar ignite with classic rock spicing. As rhythm guitarist Beth Blade brings just as tasty riffs into play, her vocals command even greater focus while giving richer strength to the song. Like a mix of Suzi Quatro and Cherie Currie, she stands bold with a tenacity matched in the infectious sound hollering around her.

It is a great start quickly matched by the album’s title track; a slice of foot stomping, chest beating heavy rock led by the swinging beats of drummer Sam Brain. Its forceful attitude is epitomised by the brooding tone of Nicko Goodwin’s bass, its menace tempered skilfully by the wiry melodic tendrils of guitar similarly coming at ears with a touch of discontent. Its rousing qualities are swift incitement to physical and vocal participation before Beautiful Disease offers its own potent blend of catchiness and predacious threat. Muscle and melody unite across the menacing prowl of a song which shows the band as adept at creating more composed and moody proposals as they are at flying at the jugular in spirit rousing charges.

Down And Dirty lives up to its name next, its bluesy grooves tonic for hips as rhythms and riffs surround the increasingly impressing tones of Blade with their grungy antagonism while Poster Girl For Pain reveals another aspect to the Blade’s songwriting and the band’s sound with its power driven balladry and emotive intensity. It is a slowly burning encounter compared to the hungry exploits of its predecessors but a temptation becoming more potent and irresistible with every passing minute and listen.

The heart bred snarl of This Bitch Bites fuels both vocals and music, Blade a spiky treat within the track’s quarrelsome nature. Again attitude soaks every strain of sound and intent escaping the excellent song, its defiance and combative contagion equally lining successor Hell In High Heels though its blues rock inflamed body has a ‘lighter’ and more keenly catchy nature which might not impress as addictively as the antics of the previous track but leaves pleasure in another lofty place soon reinforced by the classic rock ‘n’ roll nurtured romp of If You’re Ready To Rock. Carrying no real surprises, the song lacks the spark of its companions for personal tastes yet easily keeps enjoyment and feet firmly involved.

The album is brought to an end by firstly the heated beauty of Angel With A Dirty Face, Blade sharing a croon as magnetic and captivating as her rebel rousing deliveries elsewhere, melodies simmering and boiling up with equal elegance, and lastly through the ballsy, swagger loaded rock ‘n’ roll of Legends Never Die. It encapsulates all the galvanic and creatively vociferous qualities of the Beth Blade and The Beautiful Disasters sound and indeed Bad Habit itself in its bones, leaving instincts aroused and a hunger for more leading fingers keenly back to the start button.

Beth Blade and The Beautiful Disasters might not be the most unique proposition around right now in sound but for a fiercely enjoyable and raucous holler easy to get off on, they set a mighty example.

Bad Habit is out now @ https://bethbladeandthebeautifuldisasters.com/store

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Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Trucker Diablo – Songs of Iron

truckerDiablo

If The Devil Rhythm, the debut album from Northern Ireland rockers Trucker Diablo set your passions racing, than hold onto your gear sticks as the juggernaut has returned with second album Songs of Iron. Cut from the same template and loaded with the same high grade fuel of rock ‘n’ roll as its predecessor, the new fourteen track release burns another riveting expanse of intensive rubber on to the road The Devil Rhythm left ablaze for another irresistible contagious fury of rebellious rock.

Since forming in 2008, Trucker Diablo has been on an accelerated rise, the band consisting of four friends who united to unleash music they have a full passion for whilst employing experiences gained in the ranks of Joyrider and TILTED to full potency, making deep lingering marks by the day. It was not long after starting that the band was reaping acclaim and support with their live performances, the likes of Ricky Warwick, Ginger Wildheart, Joe Elliot, Damon Johnson, and Cormac Neeson endorsing their rising presence. Supporting and playing alongside bands such as Foo Fighters, Terrorvision, Anthrax, and Thin Lizzy in shows and festival as well as their own intensive touring has only reinforced their stature with The Devil Rhythm marking another impressive statement in their ascent last year.

Released through Ripple Music, Songs of Iron explodes from its very first second never letting up through to its final sizzling lick of300energy. Red Light On opens up the brawl with heated riffs and concussive beats beckoning the ear around the snarling temptation offered with intimidating power by bassist Glenn Harrison. It is an immediate hook to the senses and lays an inviting canvas for the impressive vocals spread and shared between guitarists Tom Harte and Simon Haddock. Thumping rhythms and big boned riffs seize the air with strong craft and energy to taking the listener on a contagious and commanding ride, a charge which makes no demands but incites a full involvement with its muscular intent. With melodies and barbed hooks, not forgetting the scintillating solo, as striking as the rippling sinews framing them the song is a pleasing start soon surpassed by the excellent Year Of The Truck.

From the first note the song gnaws in the ear with savage rapacious hunger, the riffs iron clad and as intrusive as any Meshuggah or Mastodon could conjure and lying somewhere in between the two in voice, ensnaring the passions with intensive persuasion whilst the drums of Terry Crawford cage all with crisp and potent invention. It is again the bass growl of Harrison which seals the ardour in tight, one of the highlights of the last album just as riveting and viciously seductive this time around in nothing but impressive attributes offered by all members on  Songs of Iron. Virulently anthemic and catchy, the track launches an irresistible call on voice and limbs for a full involvement and contribution towards its gasoline burn up, though all the songs have that power in varying degrees.

The southern rock toned stance of passion and enterprise, The Rebel steps up next to leave further irresistible inducement working on the passions. Loud whispers of ZZ Top and Black Label Society add their rich vapours to the track and single from the release, a song which with ease accelerates the heart rate, and beyond safety levels one suspects such its epidemic call. It is a staggering start to the album which is continued now into the heart of the release through the likes of Drive, the outstanding Not So Superstar and its dirty brew of scorching rock ‘n’ roll, and the melodic hard rock honed The Streets Run Red, whilst others such as the muscle bruising Lie to Me and the emotive ballad Maybe You’re the One bring further variety and depth forward. Admittedly not all the tracks ignite the same heights of passion as others but there is never a moment where satisfaction is left half-filled or the stirring skill and invention of the band not openly there to be hailed.

Further especially enriching highlights come through the crushing Bulldozer, where again that bass rips the senses to tattered remnants of their former self aided by corrosively greedy riffs and rhythms whilst the anthem bearing chorus and group harmonies light a melodic fire to sear the wounds, When’s it Gonna Rain with its seriously chunky riffs and southern heat, and best track on the album Shame On You. The last of these three has a swagger which like it’s delicious grooves is an addiction of toxic suasion, its lure permanent and deeply entrenched in thought and heart by its end, the delicious addiction cast by devil spawn riffs and rabid rhythms wrapped in a sonic furnace.

Completed by the excellent I Want To Party With You, a song giving you exactly what it desires, Songs of Iron is an exceptional slab of rock ‘n’ roll, all songs mentioned and left for your discovery pure adrenaline raising pleasure. There is no boundary breaking going on here just riotous rampage within what is one of the most exhilarating albums this year so far, and that is more than good enough for us.

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9/10

RingMaster 14/05/2013

Copyright RingMaster: MyFreeCopyright

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