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

Bloodclot – Up in Arms

Pic Rick Rodney

Bringing together the highly recognised talent of certain individuals from various acclaimed bands does not always guarantee something special but in the case of Bloodclot, it feels a given such the instinctive union between its collective. The band is the coming together of Cro-Mags vocalist John Joseph, former Danzig and Murphy’s Law guitarist Todd Youth, drummer Joey Castillo formerly of Queens of the Stone Age, Danzig, and Eagles of Death Metal, and Mondo Generator frontman and ex- Queens of the Stone Age, Kyuss bassist Nick Oliveri. Together they confirm that given with debut album Up in Arms, a physical and lyrical roar of hardcore defiance.

Unleashing twelve ravenous slices of punk rock with more inescapable hooks than found in Leatherface’s pantry, all fuelled by raw irritability at the state of the world today, Up in Arms is a crowd uniting battle cry. It fuses familiar essences with the fresh appetite and invention of a quartet seemingly destined to come together at some point. Everything about it is as organic as it is rabid, as challenging as it is rousing; taking no prisoners but rewarding those who it devours time and time again.

The album’s title track crashes in on the listener first, springing from an invasive sonic mist with a slavery of guitar and rhythmic predation as Joseph pokes and stirs the senses with voice and word. Castillo’s beats are rapier sharp and imposing, Oliveri’s bass carries an infectious brooding whilst Youth’s riffs and hooks ensnare across four eventful minutes.

It is an ear gripping, appetite inflaming beginning which only kicks up a gear with the following Fire, a belligerent brawl of punk ‘n’ roll instantly chaining ears with a  virulent hook as rhythms jab and incite. If the Angelic Upstarts was merged with Sick Of It All, this could be their anthem while Manic infuses an even greater physical psychosis and unforgiving attitude to the torrential gait of its predecessor in its own addictive multi-flavoured rumble.

Through the sonic call to arms scourge of Kill the Beast and the Dead Kennedys scented Prayer, new twists of sound and invention force themselves through ears, each with a virulent strain of spiky hooks and body twisting grooves, while their successor has things bouncing like a dervish. Siva / Rudra is a contagion of enterprise as cantankerous as it is exotically seductive marked, as all three, by Oliveri springing basslines as funky as they are carnal. Alongside, Youth’s riffs and grooves come as primal as they are compelling whilst Joseph squeezes every ounce of uncompromising adventure and emotional incitement out of tone and syllable.

Soldiers of the New Babylon locks metal and punk together in its prickly vent, a testy proposition woven with nagging riffs and a magnetically throbbing bassline before Kali throws all those attributes into an insatiable maelstrom of punk rock temptation, taking best track honours along the way. Barely seeing the one minute mark, the track is irresistible but swiftly rivalled by the crabby assault of Slow Kill Genocide, the catchiness moment within Up in Arms and arguably the most choleric.

Pure punk rock truculence shapes the breath-sapping antics of the following Slipping into Darkness, Oliveri spawning his most addictive moment within the album bound in the searing flames of Youth’s guitar as vocals and beats vent their animosity with Life as One backing up its triumph with its mercurial but always commandingly imposing tapestry of quarrel and imagination.

The album is closed by You’ll Be the Death of Me, a slab of rock ‘n’ roll taking big chunks out of the senses as it excites with its Lard-esque espionage. Addiction has never been more vicious and seductive within three and a half minutes, certainly in recent times, as that spawned by the outstanding finale to one of the year’s biggest treats so far.

Produced by Zeuss (Hatebreed, Revocation) and mixed by Kyle McAulay at NRG, Up in Arms transcends being just a great release from another so called ‘super group’, it has given hardcore a fresh new breath and snarl which we can only hope is the first of many gales from Bloodclot.

Up in Arms is out now on Metal Blade Records across most stores and @ https://bloodclot.bandcamp.com/album/up-in-arms

https://www.facebook.com/bloodclotofficial/   https://www.instagram.com/Bloodclot2016/

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Shit The Cow – The one with the devil

STC_RingMasterReview

The one with the devil is the fifth EP from “scrapyard rockers” Shit The Cow but our introduction to the Swedish quartet and boy are we kicking ourselves for that. The six track incitement is a furore of creative theatre and raw energy treating ears and imagination to an often ferocious and always compelling mix of alternative and hard rock with as forceful punk, stoner, and garage rock infusions.  Hindsight shows that it is a mix which has primarily fuelled the band’s previous exciting releases in their various characters of sound but is at a new pinnacle within this latest encounter.

From 2012 EP volume/cow, Stockholm based Shit The Cow has uncaged a sound which infests the imagination but as shown by our recent discovery of them, thanks to the band themselves, maybe not always awareness. Certainly subsequent EPs, Salt of the earth (2013), Rissna (2014), and 67p have drawn plaudits and a host of new fans but it might just be, with deserved luck, that it is The one with the devil which ignites real attention.

Produced by Ron Haven, The one with the devil swiftly grips ears and induces raw hunger with opener Warcow. At a few breaths over a minute in length, the song is a rampaging surge of infectious caustic punk pop; like a lustfully dirty blend of The Dickies and The Super Happy Fun Club, all fuzzy guitar and irresistible hooks driven by thumping rhythms. Vocalist/guitarist Peter Söderberg sits astride the surging drive of the track, his great vocals backed and surrounded by the guitar/bass enterprise of Daniel Kjellberg and Erik Rosenberg, the pair apparently sharing instruments across the EP. Short but ridiculously infectious, the song has ears and psyche enslaved in little time before the EP’s title track lays down its potent bait.

art_RingMasterReviewOne With The Devil has a slightly slower stride to its gait but a more imposing weight and tone as it as good as prowls the senses. A glorious hook within a superhero essence captures the imagination as swiftly as the magnetically firm beats of Robin Lindqvist court the instincts to rock ‘n’ roll. Like Eagles Of Death Metal meets Helldorado yet not, the song is pure rock alchemy, a primal solicitation of the passions snarling away with increasing potency

The following El Chupacabra has a similar template to its character, stalking ears as engaging vocals and imagination entangling grooves collude with nagging riffs and rapacious rhythms. Featuring the backing female vocal charm and beauty of someone apparently called Alex, the song is a tempestuous, almost volcanic fire of raw intensity and melodic seduction which tempts and insists on attention as repetitious beats and niggly riffs core the whole bewitching affair.

There is something familiar about next up The Villain, an essence we have not yet pinned down but only adds to the intrigue and enjoyment of the exciting encounter. Again a wealth of flavours and textures are woven into a song by Shit the Cow, those female vocals alongside Söderberg icing on another irresistible slice of multi-faceted rock ‘n’ roll.

The band whips up another punk infested gen with IGGY next, the track a stomping beast of insistent beats and antagonistic riffs aligned to a bass growl to drool over with band vocals which ignite the spirit and indeed the vocal chords. There is a Jello Biafra air to the song, more Lard than Dead Kennedys maybe but very tasty all the same though ultimately song and sound is little like anyone else’s.

The EP is closed by an alternative version of Warcow; a quite delicious and haunting seducing with Alex on vocals courted by a host of portentous sounds and melancholically enthralling keys. The song is quite wonderful, a stunning end to a riveting and exhilarating first listen, for us, to Shit The Cow, the source of a new musical lust we are sure we will not be alone in having.

The one with the devil is out now across most online stores and @ https://shitthecow.bandcamp.com/album/the-one-with-the-devil

http://www.shitthecow.com/   https://www.facebook.com/pages/Shitthecow/325694852733   https://twitter.com/shit_cow

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Chainflower – Self Titled EP

chainflower band

There is a blaze brewing in alternative rock, an incendiary storm even if their self-titled debut EP is anything to go by, and it goes by the name of Chainflower. How intensive their assault on the rock ‘n’ roll scene will be we will see as it seems more a side project tight now than an on-going rampage, but with offerings like the two songs making up their first provocation, we are in for a gloriously uncompromising ride however things pan out.

Chainflower features guitarist and songwriter Kelly Wheeler, a veteran of the L.A. music scene who has played with members of Jane’s Addiction and Tool. He has also lit ears and appetites with his bands SexTapes and Ultraject, the first which featured long time Guns N’ Roses member Chris Pitman on lead vocals now on hiatus. Also bringing the Chainflower roar is vocalist Erika Renee who had previously performed with previous musical partner, A.H.M.A.D. The pair united when Renee sent Wheeler a video clip of her performing at the Whisky a Go Go, the guitarist looking for a singer after Ultraject’s previous frontman left the band. Though he was looking for a male voice, Renee more than impressed and a meeting/audition was set up. The rest is history and Chainflower the outcome.

Chainflower     Swiftly a powerful live protagonist, the band entered the studio with producer and engineer Doug Grean (Stone Temple Pilots, Velvet Revolver, Scott Weiland, Sheryl Crow, Cyndi Lauper) to record the tracks making up the new EP, and the outcome is one ferocious blaze of compelling rock ‘n’ roll which straight away stirs up ears and appetite through its first track, The Fever. A spicy stroking of guitar sets the song in motion, quickly followed by a thick explosive air and the vocal might of Renee. There is an immediate intensity to the sound and weight of the song, as well as a dirty seduction which flows through every riff and enticing bassline. Punchy rhythms make their potent impact across the song too but it is the gripping and powerful tones of Renee which steal the ears and passions. As much as its verses come in a heavy smog of sonic enterprise and energy, the chorus of the song expels a swagger and virulence which easily induces a physical involvement from the listener, its lures like a mix of Spinerette and Stone Temple Pilots with an infectious dash of Eagles of Death Metal. The song is an irresistible proposal, intimidating and invigorating in equal measure and equipped with a healthy dose of antagonistic seducing.

The same description applies to outstanding second track Dissolve In The Sky, though its body has a more welcoming energy until the raw crescendos and expulsions of brawling riffs and bracing intensity. Blues rock flames across the encounter worm under the skin of the song and into the imagination too but not as deeply as the soaring roars of Renee or the addictive enticing of clanging guitar, piercing hooks, and forceful rhythms. Essences of darker rock bands Jess and the Ancient Ones hint away during the track, another appealing additive in the simultaneously caustic and contagiously enticing encounter.

We can only hope that Chainflower is a more active proposal than an interim between other exploits because introductions like their debut release only breed a real hunger for more.

The Chainflower EP is available now @ http://chainflower.bandcamp.com/releases

https://www.facebook.com/Chainflowermusic/

RingMaster 28/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Kayleth – Space Muffin

KAYLETH_band

Everything about Space Muffin, the new album from Italian rockers Kayleth is a spatial adventure; from the eye catching cover and lyrical exploration to the space rock coloured climate gathered over a stoner rock sculpted landscape, it is a flight through other worldly explorations. Equally that stoner and metal induced breeding gives songs and release a contrasting grounding which makes it as intensely imposing as it is celestially fascinating. Space Muffin, a fluffy name offering a slight deterrent before a note is heard, and Kayleth draw on recognisable influences it is fair to say, Kyuss and Orange Goblin for example. It is an open spice though which the Verona quintet entwine with again familiar space/psych rock seeded imagination to conjure something seriously compelling. The album might not be the one to really challenge your expectations but definitely it is a proposition to turn pleasure and a hunger for more up to the highest setting.

Formed in 2008, Kayleth has persistently lured an increasingly potent attention their way through their releases which started with Not Yet in 2006. Initially their sound was rigorously stoner-esque, with In the Womb of Time and Rusty Gold of 2008 and 2010 respectively, thick enticements of the broadening emergence of the band. Their sound has been on a constant evolution even from those early releases, but it was after The Survivor was released in 2012 and through the addition of keyboard player Michele Montanari that the band went on a new exploration into space/psych rock territories, investigation taken without leaving behind the stoner canvas which had already garnered the band increasing acclaim. The band and songs within Space Muffin seem to revel in this new horizon of imagination in their songwriting and sound, discovering like its premise, a new world to play in.

The heady heights and atmosphere of Mountains opens up the release, its muscular presentation an immediate wall of rugged riffs and pungent rhythms within a web of spicy grooves. Behind it the keys of Montanari seduce away, not making a major declaration yet but coaxing behind the scenes as the excellent grainy vocals of Enrico Gastaldo join the widening scenery of the song. Guitarist Massimo Dalla Valle matches the increasing lure of the keys with tangy grooves and acidic melodies, both aspects uniting in rich warmth as the bass of Alessandro Zanetti rumbles within their midst. Completed by the feisty and imaginative beats of Daniele Pedrollo, the song stomps and swerves with irresistible contagion; turning as the keys bring their interstellar KAYLETH_coversuggestiveness into an exotic temptress.

The excellent start is continued by Secret Place, a track loaded with an energetic stride driven by virulent grooves, rampant rhythms, and the potent vocals of Gastaldo. That Orange Goblin essence is a busty flavouring here but equally you can easily suggest a touch of Eagles of Death Metal to the vivacious appetite and energy of the song. It is ablaze from its first second and even with some clever twists and teasing from keys thereafter, never loses its lustful voracity. Imagination sparking invention is just as evident too and even more dramatic in the following Spacewalk. With samples and an on-going narrative offering a space flight with almost Robinson Crusoe like undertones, the track takes to the air with a magnetic shimmer and gentle melodic seducing. Thrusts of intensity led by caustic riffs and heavily swung drums pierce the beauty of the ambience drifting across the track, the burst bringing intermittent and eventually sustained tempestuousness to the bewitching encounter.

Both the intimidatingly sturdy Bare Knuckle with its mouth-watering rhythmic shuffle and sonic flaming against the charming ambience of the keys, and the soulful Born To Suffer have ears and imagination wrapped up in their designs and melodic colours. The first from a contagious ruggedness slips across sultry climes of sonic and provocative textures whilst the second with a blues toned melodic croon smoulders and entices with captivating charm before sparking with classic metal seeded enterprise. Neither quite matches their predecessors, though Bare Knuckle makes a thick challenge, but both leaves senses and thoughts riveted before Lies Of Mind flexes its striking musical and inventive muscles for a bruising and infectious slab of space rock toned rock ‘n’ roll. As most songs there are plenty of twists and unpredictable surprises employed, without going overboard, leaving ears and emotions greedy and equally a quite inescapable anthemic tendency.

   Try To Save The Appearances also has a broader rock ‘n’ roll character to its heavy persuasion, stoner and psych rock colluding in a tempestuous and wholly tempting charge which at times, as elsewhere on the album, has hints of Monsterworks to it as well as that of Karma To Burn. It is a glorious incitement leaving just the instrumental elegance and heated soundscape of NGC 2244 to bring the album’s flight to a tantalising close.

Space Muffin might have a weak title but within its walls it is one thoroughly enjoyable and invigorating adventure. Kayleth’s album does not truly surprise too often but leaves ears blissful and satisfaction over flowing, thus a release to heartily recommend.

Space Muffin is available via Argonauta Records now @ http://www.argonautarecords.com/shop/music-/47-kayleth-space-muffin-cd.html

http://www.kayleth.com/

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Witchrider – Unmountable Stairs

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With a sound somewhere between Queens of The Stone Age and a pact between Nirvana and Soundgarden, nodding to the former more often than not, Austrian rockers Witchrider are poised to present their debut album Unmountable Stairs. It is a fiery and rigorously captivating proposition which merges familiarity with raw invention, culminating in a release which does not leave a blaze in its wake but definitely a smouldering and lingering temptation which persistently increases to leave appetite and satisfaction bloated.

Hailing from Graz, Witchrider began in the November of 2012 with initially the name Desert Mountain but soon decided the current name was a better fit for their music, the title taken from “riding the witch”, a another term for sleep paralysis. The band wear their inspirations from the likes of QOTSA and Eagles Of Death Metal openly but employ them in their own scuzzy recipe as evidenced on the new album and the band’s previous self-titled EP of last year. Initially a trio of vocalist Daniel Dorninger, guitarist Hans-Peter Leitner, and drummer Michael Hirschmugl, the band enlisted bassist Bernhard Weigl for their live shows who subsequently became a full-time member and makes up the quartet unleashing the colourful treats upon the Fuzzorama Records released Unmountable Stairs.

OCD starts things off, looming up on ears from a distance with sultry fuzz lit riffs and caustic melodies. A loud breath of Josh Homme and co is unmissable but it only adds to the intrigue and drama which comes with the song. Firm beats and a bass rumble brings shadows whilst the vocals of Dorninger, as the music, are not that far removed from a Homme like delivery and texture. The raw air to the song equally brings an imagination awakening aspect whilst the scorched slightly warped grooves and hooks throughout the opener, just hold ears and passions in their grip. It is a tasty contagion that has hunger for more bordering on lustful, so it is good that the following 1 For 5 is just as raucously compelling and virulently infectious. A bulging bassline matched by resonating beats provide an irresistible skeleton to the fusion of noise and stoner rock, swiftly hints of the likes of Melvins and Kyuss converging on thoughts as the song spreads its flames of sonic enterprise. Bedlamic at times, the track provides another twist and aspect to the sound and invention of the band, the two ridiculously addictive opening songs closely related in structure but individually striking.

The pair of Black and new single I’m Outta Breath keeps things boiling nicely, the first sending sonic shards through ears and across a feisty mesh of again heavily QOTSA influenced rhythms and riffs, before acidic scythes of sound aligned to potent vocal harmonies and melodic exploration express their tantalising narratives. It is a fascinating if less than explosive encounter which still easily grips attention before its successor strides in with an instant creative and addictive devilry. Riffs and hooks need little time to start reeling in the imagination and passions, whilst soaring blazes of guitar light the insatiable temptation of the song. Though it is one of the songs seemingly more intent on being catchy and enslaving its recipients it is also one of the most original and unique in sound, and if any comparison can be raised it is that of Australian band Voyager.

Its infection whets the appetite all over again ready for the scuzzy tempting of Far From You, a proposition cored by a pungent throaty bassline and a Nirvana-esque sonic scowl. With an additional hue of blues causticity, the track hits the spot without sparking additional lust before the melodic climate of SP immerses ears in its enticing graze of sound courted by mellow vocals. It also lacks the something extra which ignites the single but matches it on being something more uniquely different to Witchrider in sound, whilst both tracks parade encounters which still only add to the increasing potency of the album.

   The Cabin strolls in next with a dramatic air to its persuasion and wonderfully toxic sound, bass and riffs stalking ears with lustful intent for another helping of addictive pleasure. It is a sinister outing with a portentous breath to even its melodic fire whilst its predatory nature is a giveaway even under the erosive atmosphere of the excellent track. It’s almost theatrical narrative in word and sound is emulated by The Fog, the song also employing a gait which prowls with a devilish glint in its manner but with an even slower and heavier lumber. Additional attention reveals the real difference to the two songs which a casual listen misses, and both tracks create a haunting psychedelic landscape of intrigue and creativity which apart or together sparks imagination and pleasure.

Next the album’s title track strides through a Sabbath-esque terrain with Black Tusk like structures, across which spicy harmonies and wiry grooves lay out their mystery and incendiary temptation. As the album it is a slow burning but undeniable grower which makes the fullest seduction over time unlike Witch-Hunt which steals ardour and acclaim on the first examination of its tenacious enterprise over a sinew boned canvas. Marked by rutting riffs and beats inside a caustic wash of sonic enticing, the track flirts with the same spicery that flavours most songs but turns it into its own, not necessarily unique but definitely riveting trap.

The album is completed by the bluesy Styx, a track which as enjoyable as it is never quite convinces to the same depths as others songs upon Unmountable Stairs. Nevertheless with a presence which to these ears would be like Josh Homme plays the Kinks, it is a fine end to an increasingly impressing and fun release. The album as a whole announces that Witchrider is a band with all the invention and imagination to make a big impact, especially if they can or want to evolve a truly unique sound, the one thing reining in Unmountable Stairs from being a startling debut.

Unmountable Stairs is available from November 14th via Fuzzorama Records @ http://www.fuzzoramastore.com/en/cd-s/witchrider-the-unmountable-stairs.html

http://www.witchrider.com/

November sees Witchrider on tour with Truckfighters, with dates at…

Nov 10 – Brudenell LEEDS; Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW; Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov 15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.

RingMaster 03/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

WITCHRIDER move ‘Unmountable Stairs’, out 3rd Nov via Fuzzorama Records‏

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WITCHRIDER DEBUT ALBUM AND EUROPEAN TOUR ANNOUNCED!

Fast rising Euro stone rocksters ‘Witchrider’ release ‘Unmountable Stairs’ on Monday 3rd November through Fuzzorama Records/Code7/PHD, and tour throughout Europe with Truckfighters.

When listening to Witchrider, you cannot help but be drawn in by their magnetism. They have a haunting beauty that proves to engulf and ignite. As frontman Daniel Dorninger says, “the thing about making music is there are no boundaries. It’s like a spirit of emotions that eventually passes through your body…you never know what you’re gonna’ end up with”.

Formed in 2012 and hailing from Graz, Austria, Portsmouth, Witchrider sport a mutual love for the quirky riffage of heavyweights QOTSA and Eagles Of Death Metal, as well as affection for the dark elements of Soundgarden. Siphoning fuel from these powerhouses, Witchrider offer a genuinely refreshing take on their own brand of stripped down, fuzzed up alternative rock.

Living and breathing their music is crucial to the four-piece, and as such, they are constantly writing and honing their craft. “Being able to work on music all the time is essential for all of us. That’s why we record most of our stuff at home if we can. There’s even a freakin’ drum kit next to my bed!” states drummer Michael Hirschmugl.

Although the songs work with each other as a collective piece of work, Witchrider’s music is diverse and has an array of influences. “I always found musical style not really that important. What counts the most is whether you can identify yourself with the music or not. I know I can and I am happy about every person who can as well. I think that’s what makes music ‘cool'”, says Hans-Peter.

As well as basking in the writing process, the band are supremely dedicated to playing live and fans will have ample opportunity to see the quintet as they hit the road this autumn supporting label mates ‘Truckfighters’. For a complete list of all European shows, check out http://www.facebook.com/witchriderband

In early 2014, Witchrider signed to Truckfighter’s Fuzzorama Records and they now release their new album ‘Unmountable Stairs’ on Monday 3rd November. With eleven killer cuts of low-strung scuzzy alt-rock, the record contorts and burrows itself deep into your skull. Look out for new single ‘I’m Outta Breath’, and don’t miss the band on tour throughout October and November.

http://www.witchrider.com http://www.facebook.com/witchriderband
https://twitter.com/Witchriderband

WITCHRIDER LIVE (as main support to Truckfighters):Nov 10 – Brudenell LEEDS;
Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW;
Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov
15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.