Desperate Machines – Complet_

It was back in 2014 when in a year of striking releases, American progressive/experimental rock band In Progress left their very potent mark with the album North Atlantic Echoes. The band was the creation of Jake Rosenberg and John Dillon and with a host of guests provided one increasingly fascinating and impressive adventure few rivalled at that time in the progressive rock scene. Since then the duo has seemingly been quiet, evading attention but obviously busy as they have returned with a new project in the shape of Desperate Machines and a debut EP which in distinctly different ways has made the same rich impact on our ears and imagination.

As the three tracks making up Complet_ reveals defining the Desperate Machines sound is never going to be a precise exercise with its tapestries and soundscapes of electronic, progressive rock, industrial, atmospheric and experimental essences and textures but an adventure which will keep imaginations busy and hungry if they herald what is to come ahead.

The EP opens up with Complete and as all tracks within the EP sees Kevin Moore (Chroma Key, OSI, ex-Dream Theater) guesting on vocals as well as providing lyrics. From the shadows the song looms up, its industrial breath springing animated beats and the instantly gripping gnarly growl of Dillon’s bass. Just a rush of seconds in and already the song is a web of flavours and textures, every subsequent twist indeed almost each second the gateway into fresh styles and bold imagination as the captivating tones of Moore rise amongst the synth, keys, and guitar enterprise of Rosenberg and Dillon. The gait of the track is funky, its breath dark with a Nine Inch Nails meets Deftones-esque melancholy and every moment as infectious as it is captivating, indeed haunting.

It is an effortlessly magnetic affair but is still slightly eclipsed by the magnificent Our War. Again from the start rhythms provide a manipulative enticement, melodies caressing and adding to the increasing urging of participation from hips and feet. Alongside Moore, Marjorie Boggs Vazquez adds additional guest vocals, further radiance in the mercurial but relentlessly magnetic encounter. As with its predecessor, every moment offers a fresh surprise with each twist as unpredictable in sound and invention as it is irresistible.

The release is completed by the original demo for Plan B, the song which is said to be the spark bringing Desperate Machines to life several years ago. From an industrial underground, a piano teases the imagination with its intimacy and touch, vocals soon alongside bringing similar intimation and fascination. A hint of a scent in both previous songs, the third strongly reminds of eighties band Comsat Angels and like many of that band’s tracks had us drooling in admiration and desire for more.

Though we had not realised it at the time, there was a gap without In Progress which was waiting to be filled. Rosenberg and Dillon have returned to do not only that but occupy many other areas lacking the imagination and sound which Desperate Machines brings with them.

Complet_ is out now @ https://desperatemachines.bandcamp.com/releases

https://www.facebook.com/desperatemachines/

Pete RingMaster 08/01/2020

Copyright RingMasterReview: MyFreeCopyright

Aren Drift Interview

For those who may not know who you are, introduce yourselves quickly.

Radka Nemcova – Vocals, Rhythm Guitar

Matt Plumley – Lead Guitar

Dominic Cahillane – Drums

Theo Corcoran – Bass

Describe your sound in as few words as possible.

RN: Progressive rock, international vibes, heavy melodic riffs, contralto vocals, cinematic sound.

DC: Vibrations

MP: Female fronted prog rock

TC: I’d say our sound is best described as heavy progressive rock with international influences, I’ve heard the word melodic chucked around a bit as well.

Who are your three biggest influences as a band?

RN: It’s hard to name just three bands as there are many bands we love but I would definitely mention Perfect Circle, In This Moment, Queen of the Damned soundtracks. (The first choice I would choose for the technical side and second two choices I love for the production side.)

What’s the meaning behind your band name?

RN: AREN is made of my initials (‘RN’ = phonetically ‘aren’) I used Aren D. as my artistic / musical pseudonym as no one was able to remember or pronounce my name haha. I chose the second word ‘drift’ because I like to drift and our music should make you drift too.

We came up with lots of different names but everyone liked Aren Drift so we kept it as a band name.

How did you approach our latest release in terms of writing and recording?

RN: Writing is my favourite part so it was just a fun bit for me. I love it. Recording was good but mixing was the difficult part of the whole process.

I am very creative person and I have very strong visions in music and art and I imagine things how they look and sound before they are actually written or filmed. Mixing itself is very creative process and we struggled to get the sound we wanted. However, it was a great learning curve and I’m already excited to apply everything we learnt into our next recordings.

MP: In terms of the recording, we were on a budget, four days in total for five songs, some unreleased at this moment in time. We pretty much had the parts written before we recorded, but somehow ended up re-recording most of the guitar parts at my home studio. When you are on the clock you don’t have time to mull that sound over and try different amps, settings, different guitars, you literally stick a mic in front of your amp and off you go. So that meant we weren’t quite happy with the sound we had. It was a big learning curve for us; we have plans to do things differently next time.

Do you have any personal favourite songs on the release?

RN: Snow Queen. I think the song determines Aren Drift’s unique style.

DC: Light Hole

MP: Sun Goes Down for me.

TC: I’d say my favourite song of the new EP is light hole, it’s one of my favourites to play live as well, but I do also really like “snow queen”.

Explain the meaning behind the album title.

RN: ‘Beneath The Surface’ – We want the listener to go deeper at all the levels while listening our music. Some of the reviews we received say that you need to listen the songs a few times until it fully reveals their potential. I was actually very glad to read that because that’s what I love about music.

The artwork represents what’s beneath your skin, inside of the Earth’s core, inside of you.

Tell us about the video for Snow Queen and its concept.

RN: Snow Queen music video was partly filmed in Czech mountains and partly in England. I wanted to produce something powerful and arty. A music video which captures a story as well as the feelings.

Sun Goes Down music video is solely my arty outlet.

I don’t want to say anything else. Just watch it J

Do they tie in with the themes around the song? If yes, why? If not, why not?

RN: It does. I don’t want to reveal everything. Let’s say you need to listen to the lyrics and watch the video.

Were they fun to shoot or proved to be quite a challenge?

RN: When we were shooting Snow Queen, I was two days in the mountains in -20°C wearing a dress. It was snowing and I thought my hands and nose will fall off so yeah… it was fun haha.

I believe everyone enjoys shooting the music videos. But post production is proper hard work. I believe the devil is in the details and I have very strong visions so I usually spend long time working on the post productions. I produced both videos myself in co-production with Ollie Dolling. It was great working with him. I’m already excited to work on our future videos.

MP: Definitely one of my bands highlights and the results were way beyond what I expected.

Do you have any live shows lined up at present?

RN: Follow us on Facebook. We are planning 2020 UK tour! All the dates will be there.

We were also booked at Concorde 2 in Brighton in June 2020 which will be an epic show.

In regards to the closer dates I would recommend you a gig at Black Heart in Camden, London on 20th September. We are supporting Esoterica. But if you want a ticket, be quick as the show might be sold out soon 😉

What are your favourite songs to perform live?

MP: Our new song Sirens, I love it and the response we had to it at the EP launch which was the first time we played it live, was very moving, loved it.

RN: I really enjoy playing Sirens. It is our new song and by my opinion it is musically the best piece which I’m very proud of. At the moment I’m playing with a thought to write trilogy for Sirens. I have whole concept in my head + the ideas for the video so let’s see if we can do something about that.

DC: Porcelain Dolls has a nice few changes where I can bring a few different styles in the song. For all out energy, Passion Kills is always the track I’m scanning the set list for.

TC: As I said, light hole is one of my favourite songs to play live, as well as one of our new songs called Delirious.

What are the best and worst shows you’ve played to date?

DC: I think it varies for each of us; I’ll leave it down to the fans

TC: I’d say the worst show I’ve played with Aren Drift was my first one with the band, I was slightly nervous, which is odd for me, and I just didn’t quite gel with the music! But our best show in my opinion was our EP release, the sound was great, the crowd was amazing and we were all playing at the top of our game!

If you could open for anyone, who would it be?

DC: Tool would be immense

RN: Deftones, Korn, Marilyn Manson, Perfect Circle, Alice in Chains, In This Moment

MP: Wolf Alice, lead singer is a girl and they rock, great live band from what I can tell on YouTube, I’d then get a chance to watch them in the flesh every night J

Oh yeah and Faith No More, they are still rocking, check out SuperHero from the Radio 1 sessions on YouTube.

Any comical stories from your time as a band you can share with us?

DC: Now that would be telling, shame on you. 🙂

Any closing comments?

Thank you for your support. We appreciate every single person who goes to the live gigs and support the local music in general. Thank you.

Check Aren Drift out further @…

https://www.arendrift.com/    https://www.facebook.com/arendrift/    https://www.instagram.com/aren_drift/

RingMaster Review 06/11/2019

Copyright RingMaster: MyFreeCopyright

Maziac – Forged

When a release instantly and impressively smacks you in the face and proceeds to tease, taunt, and fascinate thereon in you know there is something rather special in the brewing. Forged is one such proposition, the new album from UK based outfit Maziac devouring ears and attention from its first breath and only continuing to captivate with its eclectic body through every passing second.

Formed in 2017, the London residing trio of guitarist/vocalist Tony Best, bassist/synth player Tim Stokes, and drummer Marc Vachon have already faced potent fan and critical praise through their first EP, the Justin Hill (SikTh) mixed and mastered Parallel unveiled in the May of 2018. Its success alongside the band’s rousing sound and live presence has led the band to share stages with the likes of The Ever Living, Epsilon, Derange, On Hollow Ground, and Winchester; it all adding to their growing reputation. All previous acclaim though should be quickly paled by that destined to be garnered by Forged, one of the year’s brightest gems so far.

Again recorded with Hill, Forged erupts with an immediate predacious hunger, opener Symptomatic a tempest sweeping in and consuming the senses. Rhythms bludgeon as riffs dismantle the senses, Best’s vocals just as urgent and rapacious as a cyclone of djent/technical and alternative metal/rock disgorges its rabid temptation. It is a starting introduction which only continued to incite and thrill as the song reveals its craft and prowess. As quickly and continually proven, Maziac have a sound which enjoyably proves very difficult to pin down with references to others but certainly within its ferocious sonic kaleidoscope essences resembling bands such as Fear Factory, Deftones, The Contortionist, Between the Buried and Me, and Spineshank swirl.

It is a stunning start keenly and powerfully matched by the following Escapism. Relatively restrained in comparison, the track still prowls with a definite predatory intent; its rich body wrapped in melodic wiring as alluring as they are cutting. Best’s vocals equally have a calmer harmonic edge in a delivery as varied as the sounds around it, the band’s alternative rock instincts a thick colour to the inventive metal of the song. It is hard not to think of the track as a beast, stalking and preying on willing ears tempted by sonic plumage of inventive temptation.

Cortisol teased an already eager appetite right away with the rhythmic rapping of Vachon, his beats taunting attention as the guitar brews up its subsequent eddy of bold enterprise and melodic flaming. The song’s progressive nature shapes its imagination; rock ‘n’ roll contagiousness fuelling the animated gait of unpredictability. There is a touch of Voyager to the track as too Muse but once again, it emerges solely Maziac before Prisoners saunters in with its swiftly beguiling lures. A whiff of The Kennedy Soundtrack shades its beginnings, a Muse-esque hue adding to the mix as the riveting track unfurls its intrepid enterprise and adventure to challenge for best track honours.

The melodic intimation of brief instrumental Vicissitudes had the imagination conjuring ready for the far more feral but composed dynamics of Again. Once more progressive and djent elements collude in its buoyant design, Stokes’ bass not for the first or last time a rousing snarl of incitement in the midst of skilled melodic and sonic endeavour. It is fair to say that as potent tracks are on first listen, each following play only reveals fresh depths and textures for greater rewards as no better proven than here.

Deceptive of its title, Allure instantly embroils ears in a pestilential cauldron of metal but soon relishes the band’s melodic dexterity and the almost poppy catchiness that breeds. It is a thunderous encounter teasing with glimpses of the peace at the eye of the storm, never giving in to predictability or anything less than compelling while closing track, Resolution, casts its own experiment in texture and tone to bring the album to a fine close. In certain moments almost primal in its climate and in others like a melodic sunspot, the song just enthralled as another aspect to the Maziac sound and imagination is shared.

With Forged ringing in our ears it is easy to be excited about what is ahead for and from Maziac because as suggested, they have created one of the year’s finest moments so far.

Forged is released July 5th; available @ https://maziacband.bandcamp.com/album/forged

https://www.facebook.com/MaziacBand/   https://twitter.com/maziacband

Pete RingMaster 05/07/2019

Copyright RingMaster: MyFreeCopyright

Chandrian Kill – Bring Out Your Dead

Maybe there should be no surprise the craft and magnetism to the Bring Out Your Dead EP, the debut release from British outfit Chandrian Kill, but it still makes for a strikingly unexpected and attention entangling introduction. The band is the creative union of vocalist Nic Whitmore who previously fronted Number One Son and songwriter/guitarist Ted Clark renowned for his past creativity as part of Moesaboa and Life in the Making. Both men have been a potent part of the UK metal scene and are looking likely to continue so as Chandrian Kill.

Clark began writing for Chandrian Kill a couple of years back; in time contacting Whitmore and luring him back from his long break from music to develop and arrange the songs. This led to the duo entering the studio this past March to record the three tracks making up Bring Out Your Dead. Subsequently mixed and mastered by Brad Tuttle (Seventh Studios), the EP has emerged a riveting proposition with its weave of predacious melodic metal with the eager animation of alternative metal aided by more than a hint of the gnarly attributes of djent.

Bring Out Your Dead opens up with new single I Collide. Instantly voice and guitar link up in a rich melodic lure as darker rhythms keenly prowl. It is a warm enticement though swiftly showing its volatile nature as irritability surfaces through djent natured trespasses and rawer throated vocals. Similarly there is an increase of fire to the melodic enterprise as the pair creates a cauldron of contrasts and emotive intimation in the music alone, Whitmore’s ever alluring vocals sharing that internal conflict within the exploration of the external one perpetually working away through our lives.

It is a captivating introduction to release and band which is as powerfully backed by the calmer but even darker Filter Off. Its entrance is a sonic mist of sorts but soon spreading for the wiry melodic and rich vocal enticement of the track to involve ears and imagination. As with the first, shadows lurk and rise in vocals and sound as the track revolves its unpredictable spiral of emotive suggestion. The turns become more voracious and antagonistic as the song proceeds, each twist a new fresh proposal to get enticed by with an increasing appetite.

Remain Alive concludes the release, the track casting its own individually melodic flames within another tempestuous climate. Its turmoil though has a stronger temper in the melodic web of the song, keeping it relatively restrained throughout though it is always bubbling away trying to break free. It is a tension crafted by Clark which is emulated in the vocal dexterity of Whitmore, the pair creating a trespass as fearsome as it is seductive.

The first in a sequence of planned EPs, Bring Out Your Dead as forcibly pleasures as it mercifully captivates. The band’s sound has been referenced to the likes of Deftones and Stone Sour, and there are moments when Skyscraper (the great nineties rock outfit) flicker in thoughts, but truthfully Chandrian Kills have a sound individual to all and just as flavoursome as all mentioned.

Bring Out Your Dead is out now via Bar3 Records.

https://www.facebook.com/Chandriankill/   https://twitter.com/ChandrianKill

Pete RingMaster 10/09/2018

Copyright RingMaster: MyFreeCopyright

Hostile Array – Self Titled

With a sound delivering a punch as rich and inescapable as that of the heart and lyrical confrontation it surrounds, the self-titled debut album from US post hardcore outfit Hostile Array s one striking and impressive introduction. That forceful, indeed imposing attack though comes in layers of enterprise and imagination which equally enticed and ignited an always searching appetite for fresh, exciting, and individual.

Emerging in the initial weeks of 2017, Maryland hailing Hostile Array have already hinted at the potential of the album and gave a rich taster of their sound through a couple of singles. Their music is tagged as post hardcore but has real depth and adventure to its character embracing an array of metal and punk spices alongside inspirations cited as including Underoath, Norma Jean, Silent Planet, and Architects. Consisting of Brendan Frey, Garrison Frey, Hector Fernandez, Fredy Menjivar, and Andrew Markle, the band also has a ferocious lyrical intent and touch, songs getting their claws into political and social issues, corruptions, and ill-doings.

The album opens up with the outstanding Herd Instinct, the track one of those first couple of singles luring keen attention. Sonic intrusion and rhythmic baiting opens its tempting, a great grumbling bass soon in tandem with fury fuelled throat rasping vocals. Quickly though there is imaginative hints licking at ears, blossoming with melodic enticement and wicked hooks as the roar continues to harass air and social mentality. It is a cauldron which continues to evolve, metal bred textures coursing hardcore irritability; invention escalated by the potent landscape of clean and raw vocal dexterity.

Bastardized follows with its own ferocious incursion, snarling and blistering the senses from its first breath before sharing a more nu-metal natured breath with a touch of bands like Spineshank to it. Snapping and jabbing at ears, the track springs toxic contagion and intense discontent within an atmospheric melody stranded weave; seducing whilst preying on the listener before Wiretap uncages its own ferocious animus with instinctive catchiness and melodic suggestion at its core. There is a whiff of Deftones meets Architects to its growing body but to be honest as all hints offered to tracks, the Hostile Array sound absorbs and turns all in its own individuality.

Next up Devoid brawls and hollers within atmospheric smog next, it’s calm but portentous climate an emotive glaze to an inner volatile frustration while Migrant Myth is a net of metallic wiring around a blaze of unbridled displeasure. Both tracks invigorate their already resourceful landscapes with tenaciously adventurous twists and turns spun from unpredictable and contrasting textures. The second of the two is immense, too short but a thrilling trespass of persuasive enterprise igniting the passions for the following sonic and melodic fire of Newspeak; a track quickly burying itself in ears with emotional intensity and melodies as descriptive as the words they colour.

New single Warmonger is next, looming up from a distance with the animosity and skilled dexterity its title suggests. The throaty grumble of the bass and the composed bone splitting swings of beats incite the sonic flames and vocal voracity which climbs their irritability; they in turn like accelerant sparking melodic shimmers into senses broiling, emotionally burning flames.

Viciousness and tempting contagion shape up Calloused, it as body inspiring infectious as it is vocally and lyrically scathing with a tapestry of flavours and invention to accentuate both aspects. The song flows straight into the waiting jaws and feuding tendrils of Bluebird, it an equally accomplished and magnetic patchwork of ire led emotions and flavours woven into one fluid and riveting trespass.

Final track Disillusioned is a pyre of punk and metal malcontent and emotional grievance within a skilled bedlam of imagination and ferocity. It is a powerful striking last attack in a charge of nothing but; a truly memorable departure demanding a swift return to the album to face, endure, and thrill at its creative challenge and vendetta on world ills. There have not been too many post hardcore bred releases which have truly fired us up in the past couple of years but Hostile Array have not only provided such a treat but one which deserves to be considered as the best of the lot.

The Hostile Array album is released June 1st, available @ https://hostilearray.bandcamp.com/album/hostile-array

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

Pete RingMaster 29/05/2018

Copyright RingMaster: MyFreeCopyright

The Lightness Of Being – Diversions

Called Diversions, the new EP from UK rockers The Lightness Of Being is just that, a diversion from the bland and predictable in sound and life and one ear thoroughly compelling distraction it is too. Formed in 2010, the London hailing outfit has already uncaged a pair of attention stoking EPs to date but are surely poised to flare up on far bigger and broader radars with their new offering.

Inspirations are said to come from the likes of Queens Of The Stone Age, Mastodon, and Deftones but the three tracks within Diversions show they are influences immersed in the quartet’s own and still growing character of sound. Each song is individual to another and all cruising along the fine line between seduction and predation with relish and imagination.

The EP opens with Bottomfeeder and immediately nags ears with a line of controlled but lustful riffs punctured by just as eager beats. The vocals of guitarist/keyboardist Gabriel Lim rise up within the quickly delicious bait bringing with him menace and intimation which subsequently inspires a ferocious squall; it’s settling back down the spark to repeat the delicious cycle. Fresh drama blossoms by the minute though, new instinctive strains of rapacious enterprise as dark and threatening as it is captivating. There is also a touch of early Therapy? to the song which only adds to its striking presence and persuasion.

Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.

Closing song Refute took our favourite title, its blend of voracious punk ‘n’ roll and dark rock with grungier/alternative rock devilment quickly getting under the skin to incite and manipulate rock ‘n’ roll instincts. A host of flavours make up its swinging escapade, each a fiercely flavoursome spice aligning it’s almost garage punk instincts; just a shame it only lasts two minutes plus but a brief time which had us bouncing and growling.

There is plenty seemingly familiar about the sound of The Lightness Of Being but nothing less than fresh and individual to the band all the same. It is a great mix which makes Diversions a rich listen and the band ones to keep under close scrutiny.

Diversions is released 1st June.

http://thelightnessofbeing.co.uk/   https://www.facebook.com/TheLightnessOfBeing   https://twitter.com/TLOBmusic

Pete RingMaster 29/05/2018

Copyright RingMaster: MyFreeCopyright

Bullets And Octane – Waking Up Dead

Though a name familiar to a great many, attention on the UK side of The Pond did not particularly have Bullets And Octane as a concentrated spot on its radar despite some ear grabbing, appetising inciting releases since the band emerged in 2003. That was until the LA based outfit played a venue ripping tour over here last year with our own fine middle finger raising rockers Hung Like Jack supporting. It has sparked fresh interest and in turn real anticipation for the US rockers’ new album Waking Up Dead which we seriously expect to be embracing rigorous attention upon release. It is a beast of an album, rock ‘n’ roll in its most rapacious and rousing form and without doubt Bullets And Octane in their finest moment.

From the release of their debut EP, One Night Stand Rock N Roll Band in 2003, the St. Louis originating quartet has been on a hungry ride towards acclaim and attention. Their Gilby Clark of Guns And Roses produced first album, The Revelry started the growing appetite for their emergence, each of their subsequent seven albums escalating the temptation, including breakthrough album In The Mouth Of The Young, alongside a live presence which has seen the sharing of stages at shows and festivals with the likes of Avenged Sevenfold, Korn, Stone Sour, Flyleaf, Deftones, Unwritten Law, Gunfire 76, Social Distortion, Eagles Of Death Metal and many more over the years. Now we would suggest they are facing their biggest year and time yet with the release of the Brent Clawson (Wednesday 13, Hell or Highwater, The Knives) produced, recorded, mixed and mastered Waking Up Dead, a slab of devilry declaring that hard rock spun rock ‘n’ roll has never been healthier or more fun.

As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.

A raucously irresistible start to the album aflame with the wiry tendrils of Felipe Rodrigo’s guitar, the track sets the anthemic template for things to come and is quickly embraced by the album’s following title track. Guitar and mass incitement instantly draws ears into the almost as immediate blaze of the song, its pulsating stroll and fiery sonic flames surging straight to the instincts to rock out. There is a devious craft and imagination to the song though, predacious twists and tenacious clamours uniting in its spirit rousing exploits.

The calmer but no less lusty When We Were Young has the body bouncing again, it’s gripping hard rock nurtured canter almost poppy but all raw bustle and bite while Burning at Both Wicks jabs and snaps at the senses from its first touch, takes the listener on a bold hard rock infested ride thereon in. As the whole of the album, the songs blend the familiar with the boldly fresh in their individual escapades, each nagging to get under the skin riff by hook and hitting their target in swift time. It really was impossible not to offer up one’s own vocal and physical participation across the whole of Waking Up Dead as proven yet again by the simply captivating Fires. As its predecessor, there is a touch of Fall Out Boy meets Grumpynators to the track with a whiff of Turbonegro, a spicing which slipped through our ears like nectar.

All the same, every song within the album is stamped Bullets And Octane through to the core, the likes of the melodically aflame Fuck You Song and Murder Me Baby with its predatory prowl and salacious swing diverse proof. Neither track quite hit the personal spot as those around them actually but the fact they had us rocking and pressing replay with perpetually fresh lust shows the might of the rest of the album.

The final trio of tracks keep the stomping and thick enjoyment flying, Rolling Stone casting a ‘mellow’, in comparison to other songs, incitement which only needed a clutch of seconds to bypass inhibitions before Hostage seduced the body into a subservient sway. Even with its relative composure, the song is an insatiable rocker increasing its boisterousness and the listener’s involvement by the minute.

Heart Attack completes the release, the track maybe the best of the lot though it is hard to choose. Hooks and grooves ensnare as rhythms jab, vocals stoking up devilment and alone further involvement; the four prong rock ‘n’ roll attack as manipulative as it is simply balls swinging revelry. A great album deserves a thunderous end and Waking Up Dead certainly gets that though its whole body is a galvanic storm of rock ‘n’ roll; a tempest of pleasure we can only suggest, wherever you are, you should unleash your rocker instincts upon.

Waking Up Dead is released May 25th through Bad MoFo Records/Cargo Records.

https://www.bulletsmusic.com/   https://www.facebook.com/bulletsandoctane

Pete RingMaster 23/05/2018

Copyright RingMaster: MyFreeCopyright