The Kut – Valley of Thorns

The Kut by Canz Rickman

There is no doubt that the recent release of new single Mind Games stirred up a fresh hunger in an already in place appetite for the eagerly anticipated debut album from The Kut, in us and a great many others. Truth is we had already been hooked on the band’s contagious punk grumble ’n’ roll through their previous EPs but the new track’s fresh adventure and imagination brought fresh intrigue and pleasure to devour. It ensured that Valley of Thorns was leapt upon with rude eagerness and the fuse to further pleasure lit.

The album brings live favourites, some of which already known from those previous encounters, and brand new creative provocations; a union providing one rousing and increasingly impressive, dare we say essential slab of rock ‘n’ roll. Within its striking body it roars and seduces, attacks and coaxes, all the time infesting and manipulating ears, body, and imagination in a way which reminds of punk rock in its seventies prime but is all modern fire and attitude.

The Kut is the alter-ego of multi-instrumentalist Princess Maha and live a sonically ferocious trio completed by the moodily infectious basslines of Stella Vie and the swinging beats of Diana Bartmann. With their reputation growing by the year since emerging in 2010, The Kut has exploded upon venues across the UK and Europe and earned rich praise playing festivals such as Download, Camden Rocks, Nice N Sleazy, Rebellion, Hard Rock Hell, Glastonbudget, and Strummercamp. Support and acclaim has been rife across the media, radio and written press alike, and last year saw the band become a finalist in the Rock category of the UK Songwriting Contest 2017 as well as being a current Semi-Finalist of the International Songwriting Competition. It has been a busy and successful time which the release of Valley of Thorns can not only escalate but nurture The Kut as a household name.

Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.

The album’s stirring start continues with the rebellious rock ‘n’ roll of Hollywood Rock N Roll, a virulent slice of anthemic temptation which had us bouncing and roaring in no time with its Babes In Toyland/ Spinnerette-esque stomp. The latter of the two is a band which often frequents thoughts across the album, its snarls and instinctive catchiness reminding of the band even in a sound which is pretty much distinct to The Kut.

The following No Trace swings in like a predatory temptress, grooves writhing around ears with an almost salacious touch as dark hues of bass growl and beats firmly strike. It is a scuzzy affair, the songs body a muggy grunge trespass contrasted by Princess Maha’s harmonic vocal caresses which offer their one lining of danger. It too has a haunted sigh to its croon which just enslaved attention before I Want You Maniac grips ears with initially a gorgeous low slung hook and subsequently its infection loaded swing. A tinge of L7 lines its tenacious enterprise, a whiff of Hole its encroaching shadows; the song a volatile sonically visceral encroachment just impossible to have too much of.

The blossoming diversity within The Kut’s sound is superbly shown in next up Love In The Rush Hour, the song a collusion of harmonic kisses and predacious intent. It strolls with the inherent swing which effortlessly springs from the band’s invention but aligned to a caustic glaze of guitar amid fuzz twisted riffs; an entangling of contrasts which is as compelling as Princess Maha’s vocal temptation who at times can be described as being like the UK Brody Dalle.

I Am Vain is dirty rock ‘n’ roll with attitude flowing from every pore but as naturally infectious as anything within the album; its punchy nature spawning its own unique hooks and skilled enterprise while the mellower climate of Alekhine’s Gun breeds a prowling volatility which erupts in sonic flames and vocal abrasions; its irritations and discontent erupting and spewing rancor before simmering down back into the song’s relative calm. Though neither track quite match the heights of those before them each leaves ears and appetite greedy for more whilst revealing new shades in The Kut’s adventure.

A calmer air is brought by X-Ray Eyes too though unsurprisingly it has an inbred growl which fuels bold rhythms and its suggestive character plus an increasingly addictive catchiness which has song and the body bouncing as the first contemplates and the second submits to its moody enslavement. Its success though is soon eclipsed by that of Bad Man. A multi-flavoured rock ‘n’ roll virulence, the track is like a boiling cauldron spiced by the punk juices of Bikini Kill, the dark rock ‘n’ roll of  Jess and the Ancients Ones, and the infectious agility of Sleater-Kinney; it all brewing up into another individual Kut intoxication.

The album is completed by Mario, a raw pop ‘n’ rock encounter as beguiling as it is aggressive. Throughout the album another band which at times comes to mind is seventies outfit The Photos through the pop hues open within The Kut’s sound. Here alone there are coincidental echoes in its infectious traits which only add to the fun.

Being already hooked by their earlier releases, we were always likely to head into Valley of Thorns with a favourable disposition but swiftly it outshone anticipation heights, the new songs alone suggesting The Kut is ready to grab attention from the biggest names in attitude soaked rock ‘n roll.

Valley of Thorns is released via Cargo Records / Criminal Records on 13th April in the UK and Europe and May 18th in the US.

Forthcoming Tour Dates

TBA April Album Launch Party, London

26.05 Strummercamp Festival, Oldham

27.05 Nice n Sleazy Festival, Morcambe

02.06 Camden Rocks Festival, London – 2pm The Monarch

30.06 Rat InFESTation 2, Facebar, Reading

06.07 Amplified Festival, Gloucestershire

07.07 The Cotswold Inn, Cheltenham

14.07 Wemstock Festival, Wem

22.07 Tramlines Fringe, The Royal Standard, Sheffield

2/3/4/5 August: Rebellion Festival, Blackpool

http://thekut.co.uk    http://facebook.com/thekut   http://twitter.com/thekutgirlsrock   http://instagram.com/thekutofficial

Pete RingMaster 04/04/2018

Famous Underground – Self Titled

FU1

Canadian rockers Famous Underground is the return of ex- Slik Toxik frontman Nick Walsh, a band soaked in the hard rock essences of Guns N Roses with plenty of additional and varied metallic coaxing. The vocalist was no stranger to acclaim with his outfit before it called in a day in 1995 and listening to their engaging and energy fuelled debut self-titled album, it is easy to imagine Famous Underground following suit. Consisting of thirteen inventive and accomplished slices of muscular rock ‘n’ roll, the album offers rebellion to its air and riotous enterprise to its body and though arguably it is not climbing over fences into new pastures of sound it is a constantly satisfying and incendiary encounter.

From spending ten years fronting Revolver, Walsh with long-time bassist/musical partner Laurie-Anne Green began working on songs seeded in the breath of their original band, 2011 seeing the pair starting Famous Underground and recruiting like-minded but variously inspired musicians to realise their vision, people who in their independent previous projects have garnered critical acclaim and supported the likes of  Mötley Crüe, Def Leppard, Kid Rock, Black Sabbath, Billy Talent, Yngwie Malmsteen, April Wine and many more. Guitarists Rick Corvese and Darren Boyd join Green, Walsh, and drummer Desche Sparboom in creating an album which seizes attention from its opening seconds, the Walsh produced and Darius Szczepaniak (The Black Crowes, Sacrifice) mixed release an honest and unafraid to challenge rock rampancy with open views on the human condition.

Opening track Wasteland instantly stands toe to toe with the listener, staring them down as attitude drenched riffs snarl and prey FamousUndergroundCoveron the ear with contagious potency and craft. Soon into its stride with the rhythms of Sparboom jabbing and punching with cantankerous hunger, the vocals of Walsh scowl and prowl over the melodic flames and within the ensnaring web of riffs. It is an easy to climb on board riot of energy and sound which is unfussed with breaking down barriers but intent to inspire full pleasure and passion, which it does with ease. It is an impressive start soon matched by the following Overdrive, another predatory snarl of a song with the bass of Green deliciously laying down a carnivorous temptation behind the anthemic strikes of guitar and expression fuelled vocals. There is a familiarity to both songs and sound but equally they hold their own individual presence though with a persistent GNR feel there is at times a Megadeth aspect to the sturdier moments of the album.

Such the power and excitement of the first pair of tracks there is a slight slip from its initial plateau across some of the consequent songs, though Dead Weight, the easy on the ear yet finely crafted Love Stands Still, and the emotive ballad Forever And A Day leave a welcome glaze on thoughts and appetite, the third of these with an anthemic call from within its smouldering melodic embrace.

Necropolis swaggers up next to rival the first two songs as best the album has to offer, its jagged riffs and crisp beats teasing the ear with eager teeth whilst vocals and sonic blazes ignite its sinister corners with their impassioned shards of excellence.  It is soon backed up by the equally stirring intensively fuelled Wheel Of Misfortune and the sleaze rock gem Mommy Is A Junkie, both tracks firing up the senses and already seeded hunger further for band and release.

After On Broken Wings, another accomplished ballad but a song which fails to leave any lasting imprint on thoughts, the album offers a strong climax to its main body with firstly the riff heavy and melody sculpted Bullet Train followed by the heavy footed and infectiously captivating Hell To Pay. They enthusiastically seal the deal on a richly pleasing and fully enjoyable release.

Ending with a couple of bonus tracks in an acoustic take on Dead Weight and alternate version of On Broken Wings, the album provides a balanced meal of prime rib rock ‘n’ roll with a rich dressing of melodic invention. Famous Underground seems sure to invite in the success its members have already felt elsewhere and maybe much more.

www.facebook.com/famousunderground

7.5/10

RingMaster 11/06/2013

Copyright RingMaster: MyFreeCopyright

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Mystery Blue: Conquer The World

MysteryBlueBand

Classic metal has never found an easy welcome with personal tastes here but if it consistently sounded as irresistibly fun as the new album from French power metallers Mystery Blue does the genre would have received open arms far more often. Conquer The World, the new and seventh album from the Strasbourg quartet, is quite delicious. It cannot be claimed it is transforming the heart of classic metal/rock or even directing the genre to new avenues nor offering anything particularly new, but it does leave a deepest of satisfaction and pleasure seldom found in the majority of similarly soaked releases anywhere. It is just a great energising enjoyment which has the heart racing and fist pumping, simply rock n roll at its stirring invigorating best.

Mystery Blue was founded in 1982 by guitarist Frenzy Philippon and found a strong recognition within the hard rock/metal sound of the time. Their self-titled debut album of 1984 and its successor Circle Of Shame two years later found good success and acclaim as did gigs alongside the likes of Motörhead, Def Leppard, Saxon, Vengeance, H-Bomb, and Satan Jokers, but it was followed by the splitting of the band. 1996 saw Philippon resurrect the band with vocalist Nathalie Geyer, bassist Dany Ohlmann, and drummer Vince Koehler completing the new line-up. The album Spirit Of Your Song came out to a good response, with the successive releases Metal Slaves, Claws Of Steel, and Hell & Fury marking the band with ever increasing acclaim and recognition. A couple of bassist changes led to Matt Gabnai joining the band in 2011 and the foursome entering the studio to record Conquer The World with Uwe Lulis (ex-Grave Digger, Rebellion). Since returning Mystery Blue has gone on to share stages with bands like Paragon, Rebellion, Wolf, Adx, No Return and more as well as impressively gracing many festivals, and alongside their albums especially the new one released  via Road Show Productions, has found a place to the fore of current classic/power metal.

The title track bursts into life after an initial barrage of inciting drums which then fades away making one wonder why and their mystery_blue_conquer_the_world_highpurpose though all is forgotten as soon as the song itself emerges powerfully from the rhythmic mists. It opens with a charged and heavy grind of riffs and the enthralling vocals of Geyer. She has a classic delivery which sweeps over the ear like a mix of Doro and Toyah, and once a handle is found with it is a great aspect amongst so many on the album. The song itself is a ‘traditional’ sounding track which does everything right without pushing its limits for an easily accessible and pleasing start to the album.

Things leap another level with the following Innocent Crime and Running With The Pack. The first song matches the opener in energy and irresistible washes of catchy hooks and enthusiastically driven riffs whilst bringing a more complex structure to the songwriting. It ebbs and flows seamlessly whilst all the time creating a pulse racing energy to envelope and reward the listener whilst the second is a different chunkier and sinewy encounter. The bass growls with deeper resonance whilst the rhythms slap harder with more malice behind the enterprising guitar play. With additional vocals from Andreas Babuschkin of Paragon finding a great unity with those of Geyer, the song is a thrilling and contagious instigator to heart, voice, and limb, and one of the biggest highlights.

It is closely matched by the likes of the excellent Evil Spell where Geyer at times wonderfully wrings notes from her throat alongside her great melodic castings, the thrashy Cruel Obsession with its crushing almost psychotic breath, and Road Of Despair. The last song is a thunderous runaway colossus of bloodletting riffs and bone cracking rhythms cored with a ravenous bass conjuration and infectious vocal squalls. It is a magnificent track stealing top honours amongst many impressive rivals.

The album does lose its grip a little with Ticket To Hell and the power ballad Keep On Dreaming due to personal preferences in regard to their classic metal intent, but even then it is still hard to pull away from their company. Conquer The World is an outstanding album which thrills and raises the heart rate from start to finish with mischievous imagination and irrepressible passion. It is a must check out for not only classic rock and metal fans but for all those with an ear for crusading unbridled fun.

www.mysteryblue.com

RingMaster 02/01/2013

Copyright RingMaster: MyFreeCopyright

 

Derek Buddemeyer: Afterthoughts

   Afterthoughts is one of those albums which needs numerous plays to explore its many diverse corners of sound as well as the thoughts and emotions it incites during its engagement. The release from rock guitarist Derek Buddemeyer unveils a little something more within its expanse of instrumental pieces with each encounter whilst lighting different imagery each time too and though it is not always as consistently successful, it is a rewarding and enjoyable engagement which is easy to return to and often.

Originally from Kansas City, Missouri, the musician moved to San Jose, California at an early age and found musical influences which included The Beach Boys, Hall & Oats, and Barbara Streisand. As a young teen, Buddemeyer then discovered the likes of Van Halen, Def Leppard, and Stryper, inspirations which led him to buying a guitar at 15. Another move this time to Southern California drew him to the sounds and skills of George Lynch, Steve Vai, Warrant, Scorpions, Skid Row, Metallica, Megadeth, Testament, Anthrax, and many more. Taken by the heavier and rawer sound, as well as the melodic imagination borne from such artists, he evolved his own blend of melodic hard rock with sinewy veins and pop metal warmth. Debut album Afterthoughts, which is released through the Jerry Dixon and Erik Turner of Warrant owned Down Boys Records, is the vibrant result of his inventive ideas and honed craft, a release which breathes with enterprise and rich and full sounds.

The album starts with a storm of a track in the mighty Wicked Little Sister. The track immediately fires up the heart with flesh grazing riffs, insatiable energy, and a melodic teasing which smoulders with skill and sonic manipulation. It is an adrenaline soaked piece which is unrelenting in its purpose and inspiring in the open invention driving its course. Amongst the ten tracks which make up the release there are a trio which stepped to the fore instantly upon first listen, the opener heading that impressive first thrill.

The album is a varied little pleasure which investigates and ventures into numerous premises and soundscapes of sound. From the metal rush of the first song the album strolls into the progressive and metal expression of Breathing In The New, the powerful guitar adventure an invigorating and expressive heat supported by electro showers of sound. Then the title track takes over, it another of the great  pinnacles within Afterthoughts. It is a symphonic wrap with emotive keys and a brewing epic atmosphere which surges thoughts and senses through a striking escapade of melodic elegance and lush imagination. Whereas the previous songs were guitar driven this song is a delicious weave of keys and sonic beauty which leaves one basking full of content in a flush of strings and dramatic grace.

As the likes of the magnetic New Groove with its gentle and sunny coaxing of the ear, the classy and refined Morning After, and the fiery Lift Off with its burning temptations, reveal their creative and distinctly individual gaits, the album is a continuing captivation. Occasionally as with the brief presence of the last of these three songs, it feels like a track is written with the thought of soundtracking a cinematic moment so often depart without a defined climax but it only adds to the imagery incited during their usual dramatic breaths.

The third of the previously mentioned greatest heights attained by the release closes the album up. Sandstorms is an immense piece of writing which seduces the senses with its Eastern promise and intrigue setting imagination. Completed with coarse riffs and snarling guitar rubs shadowing the majestic melodic whispers, the track is an evocative delight.

For personal tastes and no other reason, there are moments on Afterthoughts which do not quite rise up to spark the same enthused ardour as at other times, like the mechanical rhythms and shallow electro  drizzles in some places, but it is a minor niggle in the overall quality of the album and does not deter from offering the recommendation to check the album if you are looking thoughtful and inventive instrumental melodic rock.

https://www.facebook.com/DerekBuddemeyerFanPage

RingMaster 20/11/2012

Copyright RingMaster: MyFreeCopyright

Monument: Rock The Night EP

Heavy metal especially the old school classic kind and The RR has never really seen eye to eye, the likes of Iron Maiden, Def Leppard, and Saxon igniting more discontent than pleasure. It is personal taste of course and as open to all as we are it is makes it rare for the genre to offer something up for us to find appetizing. One of those rarities comes in the shape of the Rock The Night EP from British classic heavy metal rockers Monument, a little treat which without any chance of making our end of year best of lists left more than a pleasing impression and satisfaction behind it.

Formed by vocalist Peter Ellis (ex- White Wizzard, The More I See), the London based quintet do not hide their influences and inspirations, combining all into a riotous and compulsive sound of their own. Their new release does not break into new avenues or rip up the rule book but simply brings the feistiest heavy metal party you can wish for right to your door. Completed by guitarists Lewis Stephens and David del Cid, bassist Jim Ramses, and Matt C on drums, the band seem intent on giving a new life and freshness to the near corpse like state of NWOBHM, something which would normally give nothing but chills this way but Rock The Night EP actually manages to make it almost seem an appealing prospect.

The title track erupts in the ear with an immediate intent to excite and fire up the senses, soaring screams and raging riffs instantly taking over the ear. The song is an insatiable charge of energy and metal passion which leaves no pore or synapse devoid of melodic enterprise and charging intensity. The guitars reign on the track leaving one glowing from their fiery display of forceful riffs and enticing invention whilst the solos leave one drooling, which maybe is not surprising as the song features a guest spot from Judas Priest guitarist Richie Faulkner. The vocals are as expected from Ellis, expansive and highly charged with strong group harmonies adding their enthusiast companionship. Arguably the song offers nothing new except fully energising sounds which have not been this enthusiastic in the genre in a long time, then again not being fans we may have missed plenty of similar moments?

Whereas the opener leaves only hi octane energy and enthusiasm in its wake the following Carry On is a more expected composition. It is hard to call it predictable as again the guitars and vocals are nothing less than impressive whilst the rhythms of Matt C take instant charge of the ear with their powerful and commanding tight grip, but it fails to excite quite as openly. With surging riffs and plenty of chugging ready to link the scorching melodic play, the song is enjoyable without stoking too many fires something which cannot be said about Midnight Queen.

Best song on the EP, the track is addictive from first note to last, the Ozzie like vocals playing well amongst the brew of sinister melodic enterprise and menacing sprawling energy. From the vocal and additional harmonies through to the expressive guitar work the song captivates but it is the bass of Ramses which steals the thunder. Steely with the hunger of a predator it brings a dark shadow and breath all of its own, surely a pact with the devil at play which spoils over in the following Fatal Attack. There is a plethora of good things on the release but his presence is the highlight.

As said the bass continues to ignite greater heights on Fatal Attack, it is as if Ramses has been unleashed and he is making every moment count but the song as a whole is nothing less than thoroughly pleasing. It has a snarl and bite which is distinct from the other songs on the release to make it alongside its predecessor and the title track. One of the strongest moments on Rock The Night.

The closing Blood Red Sky continues the strong and gratifying pleasure surprisingly incited from the release and though it slips a little against the previous duo of songs still holds the imagination and ear with ease.

     Monument with the Rock The Night EP laid waste to expectations to replace them with surprised pleasure. If this is the new state of heavy metal maybe there is a home here for it after all.

Facebook – www.facebook.com/monumentuk

RingMaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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Hard Riot: Living on a Fast Lane

If you are looking for some good and honest hard rock with a strength and appeal that refuses to be ignored then you can do a lot worse than taking a listen to the debut album from German band Hard Riot. Released via Pitch Black Records Living on a Fast Lane offers up eleven slices of very satisfying rock ‘n’ roll that hits the spot without venturing into distinctly new realms. The release though carries an exuberance and vitality that the more one gives it attention the more infectious it becomes.

Formed in 2006 in Heilbronn the quartet of vocalist Michael Gildner, guitarist Andreas Rockrohr, bassist Mario Kleindienst, and Carmine Jaucci on drums, are open with their influences proudly using them to flavour their own ideas and creativity. The album offers up large doses of the likes of AC/DC, Def Leppard, Scorpions and at times Van Halen but there are also other spices that peer out from within their sounds, varied rock elements that bring thoughts of Metallica, Aerosmith, and Staind. This goes to make an album that consistently engages and welcomes the ear even if it offers no real surprises or startling originality. For impressive and enjoyable rock music though Living on a Fast Lane fits the bill easily.

2009 saw the band release their self-financed 5-track EP The Hidden Truth to good acclaim and last year the band ventured into the studio to record their debut album with producer Vagelis Maranis. With the band signing to Pitch Black at the beginning of this year and the release of this fine album coming this week  there is a feeling and promise that the band should gather up a much stronger deeper response and fan base than ever before.

The album offers a good variety within its walls, the band at ease and skilled whether bringing a power ballad like Tears In The Rain or dragging the senses to their feet to rock out with the likes of the southern rock tinged opener Get Ready. The production ensures that each element of the band is heard to its fullest ability but also seamlessly fits side by side to makes songs that eagerly connect. It is fair to say that hard rock  is not the favoured genre of choice here at the RR, but there has to be a full admission that Living on a Fast Lane had voices loud and limbs air playing on more than one occasion.

Standout tracks include the great stomp fest Hellfire Rock where drums and riffs light up the inner rocker from the very first note and the excellent No Surrender. The first is infectiously anthemic and one of the songs where an avoidance of joining in is impossible. It scoops one up with an irresistible explosion of power riffs and melodic invention around compulsive gang choruses and pulse racing energy. The second of the two though with a fuller classic metal intention is similar in triggering a full response from the listener. The song is hungry and eager to provide a feast of hard rock elements and sounds that though expected are brought with a skill and urgency that can only please.

The album has a strong flow and consistency making sure there is never a moment one is looking to move on early. The likes of the slow and well crafted Nothing But You and the impressive metal veined Hard Way Down providing more highlights whilst the bluesy Black Widow is a supreme piece of rock music. It as elsewhere does not break down doors into new pastures but is simply siren like even for those that leave hard rock as a choice low down their preference list.

Living on a Fast Lane is a great release offering all the elements that makes a good and easily returnable to rock album. No it is not startlingly unpredictable or inventive but it is one of the most satisfying and eagerly digestible releases so far this year and makes Hard Riot a band to investigate.

RingMaster 08/03/2012

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Trucker Diablo: The Devil Rhythm

The album title might be The Devil Rhythm but whether the horned one could handle this juggernaut of a release from Irish rock band Trucker Diablo is very debateable. The release is an unrelenting brake off, throttle down, explosion of rock n roll. It twists, turns and writhes through every essential rock sound and ideal to emerge a fully accomplished and most of all a deeply exciting pulse racing slab of joy.

Trucker Diablo started laying down sizzling rubber from its formation in 2008, the band simply four friends coming together to make the music they loved. Of course the fact the members had already made a mark and gained strong experience with previous bands Joyrider and TILTED could only have gone to add something extra to their new band, an extra that helped grab local attention and acclaim immediately and soon further afield. The band also leap to the attention of the likes of Ricky Warwick (The Almighty/Thin Lizzy) who also features on one track on the album, and Joe Elliot (Def Leppard) to name two, with their infectiously catchy and robust rock sounds.  Now with the re-release of The Devil Rhythm through Ripple Music, the album initially a self release in 2010, there is an over powering air and belief that this is their time.

The quartet of guitarist/vocalists Tom Harte and Simon Haddock, bassist Glenn Harrison, and drummer Terry Crawford, create a strap it on and get down type of rock n roll, their sounds an irrepressible and potent thick mass of eager hungry riffs and courting seductive melodies all wrapped in to an infectious and captivating bundle of essential sound. As they march through the ear with arms open the songs are like long time buddies that you already know and love but each offering something new and stirring every time you welcome them in, the opening track Drink Beer, Destroy, an immediate evidence. The track waves from afar at first with an eager distant riff before driving and rumbling forward with a parade of powerful riffs and hearty forceful rhythms fuelled by an insatiable energy, and already The Devil Rhythm sounds like an album with the biggest enthused heart heard in a long time. With a delicious snarling bass line and guitars that whip one into a frenzy the song is sheer musical gold, a treasure one never wishes to leave alone.

Juggernaut continues the powerful onslaught with a fusion of thunderous riffs and vibrant melodic enterprise. Featuring Warwick, the song teases with more guzzling riffs and rumble strip shaking rhythms whilst the melodic sing-a-long chorus sweeps up all into appliance and in joining in. The song as with a lot of the album does not offer anything blindingly new but it is hard to think without a very long and probably fruitless deliberation of many bands that bring it on as brilliantly as Trucker Diablo.

Every song goes straight for the heart with little resistance before them. From the southern tinged Big Truck, through the punk rock flavoured Stand Up and Fight, on to the Buckcherry come eighties feeling Dirty Love, and the Seetherish sounding When Angels Die though that band has never sounded this mighty, songs never fail to engage fully and gloriously. Trucker Diablo is a hard rock band as a base but they add so much to send their sound up to heights and power most bands can only dream of. The key of course is that for all the power the band generates and energy they consume the ear with their craft and insightful use of melodies and textures is second to none and adds a depth to their music and songs like Rattlehead and Never Too Late To Sin (featuring Matt Fitzsimons) to name two more that sets them apart.

The Devil Rhythm is simply one of the most gratifying pleasures heard in a long time and proof that well written and enthusiastically driven rock n roll takes second place to nothing. Trucker Diablo will be massive, no question, it is just a matter of if it is this month or the next…

RingMaster 02/04/2012

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