The Filthy Tongues – Jacob’s Ladder

FilthyTongues Press Pic Jan2016_RingMasterReview

Seriously beguiling and theatrically suggestive, Jacob’s Ladder is the highly anticipated debut album from Scottish trio The Filthy Tongues, and a glorious adventure into the dark and magnetic underbelly of the band’s home and imagination. Consisting of eight slices of dark rock ‘n’ roll woven from an evocative tapestry of caliginous flavours and textures, tracks further infused with poetic lyrical drama, the album is an immersion into gothic cloaked and intimately alluring portraits of, in the words of the band, “a dark neo-feudal Edinburgh.”

The Filthy Tongues consists of vocalist/guitarist Martin Metcalfe, bassist Fin Wilson, and drummer Derek Kelly, a threesome who were the core-members of eighties/nineties band Goodbye Mr Mackenzie. The band, which also featured Shirley Manson as keyboardist and backing singer, evolved into Angelfish and recorded a well-received album with Chris Frantz and Tina Weymouth of Talking Heads, whose manager Gary Kurfirst gave a helping hand to the Scottish band. Subsequently Manson was lured to front a new project called Garbage whilst Metcalfe, Wilson, and Kelly became Isa & the Filthy Tongues and released a pair of albums with American-born Stacey Chavis as vocalist. Now the trio have stepped forward as The Filthy Tongues and uncaged a creative incitement which must rank up there with the finest offering to come from their creative minds and talent.

The album opens with its title track and a melancholic caress of strings which soon part for a vibrant stroll of dark bass and nagging riffs around distinctive vocals. A ripple of keys adds to the instant expressive character of the track, backing vocal lures just as potent as the track strolls along with a sinister yet mesmeric swagger. Like a mix of The Monochrome Set and Milton Star with a healthy scent of Nick Cave to it, the opener alone gives Jacob’s Ladder all the bait needed to tempt ears and appetite, whilst setting up an already eager imagination with the lust to delve into what is to come and enslave.

album_RingMasterReviewThe brilliant start continues with the rhythmically tenacious High. As the bass aligns it’s ominous yet invitingly throaty suggestiveness to the anthemic pull of beats, Metcalfe’s tones bring the narrative to pungent life like a lyrical Pied Piper within the post punk seeded and dramatic ambience of the sounds around him. It is gripping, irresistible stuff that demands increasing attention with consummate ease, much as the album and songs surrounding it, including the following Holy Brothers. Rhythms again create a bold canvas for keys and strings to share their provocative and melodic suggestiveness which in turn creates an aural sketch for vocals and words to captivate within. There is a slight feel of Fatima Mansions to that lyrical and indeed emotional prowess cast, a sharing of the descriptive and virulently compelling art of offering the imagination a fully equipped landscape to play with.

Long Time Dead brings a steely edge and attitude to its guitar crafted opening and subsequent body next, providing a dark country spiced proposal bred in the dirty back streets of life whilst Bowhead Saint swings and seduces with a delta blues kissed romancing of the imagination. Both tracks enthral and tantalise from within their individual creative skins and darkly lit hearts before Violent Sorrow shares its intimate and, as throughout the album, lyrically raw croon. Each of the trio leaves a lingering mark in their varied ways, all offering a long term flirtation with the psyche and passions.

A more physically agitated piece of rock ‘n’ roll, Children Of The Filthy keeps enjoyment and excitement as high as ever. Once more rhythms provide the irritable yet anthemic side of the song, vocals the dark scenic persuasion, and melodic and sonic imagination a bewitching poetic majesty which here is surf rock infused. The track is glorious, with Metcalfe vocally continuing to be like a Vaudevillian Poe sharing a dark tale to embrace and be inspired by. Its success is swiftly matched by the sultry exploration of Kingdom Of Ice, a song as enchanting as it is emotionally intimidating. Carrying a sound brewed with volatility, the closer is a firmly arresting proposal with as much suggestive depth and persuasion as the words it merges with, and a superb end to a similarly impressive release.

Jacob’s Ladder is destined to be one of the most acclaimed debuts of 2016, if it can truly be called a first release or simply another proposal in a long term evolution of three artists. More than that though, the record is a blend of fantasy and reality which ignites ears and emotions like a sonic poet; so being destined to emerge as one of the most acclaimed albums of the year might be the better suggestion.

Jacob’s Ladder is out now via Blokshok and available in varied formats and packages @ http://www.filthytongues.com

https://www.facebook.com/Isa-the-Filthy-Tongues-144934250476   https://twitter.com/filthytongues

Pete RingMaster 15/03/2016

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Media Stres – E.V.I.L. II

Photo by Lucija Obadić

Photo by Lucija Obadić

Media Stres is an alternative rock band from Croatia which has already made some potent nudges on ears with their previous releases but now offers their biggest incitement on the broadest attention with new EP E.V.I.L. II. The five track release is the continuation of debut album E.V.I.L. (e-Virus Influenced Love), an encounter released in two parts with its second revealing the fulfilment and more of the potential fuelling earlier propositions.

Hailing from Cakovec, Media Stres emerged in 2012 drawing on inspirations from the likes of Biffy Clyro, Placebo, Muse, Royal Blood, and Punčke for their imaginative weave of sound ranging from alternative and progressive rock to post-punk and dirtier hues. Demo EP Fear and Panic was released in 2013 as the band unleashed their live presence and hunger which has since seen them play over sixty shows in Croatia as well as in countries such as Serbia, Hungary, Slovenia, Austria, and France. The first well-received part of the album, E.V.I.L. was unveiled in the December of 2014, an introduction for a great many to the band which quickly marked out Media Stres as a prospect to keep a close ear upon. Now the trio of guitarist/vocalist Karlo Komorski, drummer/backing vocalist Matej Obadić, and bassist Aleksandar Hutinec complete their first full-length with E.V.I.L. II, whilst setting down a new plateau to their adventure and invention, not forgetting compelling sound.

AlbumCover2_RingMaster ReviewWhereas its predecessor was themed by a narrative concerned with the impact of technology on society and how corrupt that society became with said technology, E.V.I.L. II is the exploration of people living in the shadow of two super states and having to decide to which of the two they belong. It opens up with the scene setting Nations and instantly bold rhythms from Obadić provide an anthemic lead into the waiting narrative, the gnarly tone of Hutinec’s bass quickly adds its suggestive tempting to the coaxing too. In no time the equally dramatic tempting of Komorski’s guitar stirs up song and air, providing a sonic breeze around the hypnotic lure of increasingly pungent rhythms. It is thick captivation crowding ears and appetite, one blossoming further as Komorski unveils the song’s tale with his potent vocals as the song bristles and feistily simmers with an essence of Muse and at times something slightly Manic Street Preachers like.

The outstanding start slips into the just as enthralling and quickly addictive Right or Wrong. Making a more reserved but no less gripping entrance with bass and percussive jabs early bait, the track is soon entangled in the sonic and melodic enterprise of guitar and a spicing which plays in many ways like a mix of Fatima Mansions and Interpol. The moment when the protagonists in the album’s story have to choose their homes, the track paints the drama of the situation with a fiery blend of contrasting textures and intimidating shadows which line every shaft of melodic light and infectious flume within the intensive oppression involved. A progressively lit slice of contagious rock, the excellent track is matched in success and drama by the grungier tones of Consolation and its Bowie-esque colouring to another rhythmically and sonically dynamic incitement. Even with its rousing rock ‘n’ roll, the song’s emotion is dark and fuelled by a loss of hope again enjoyably presented by the vocal expression and strength of Komorski whilst bound in the band’s provocative endeavours.

The break out of world war is the canvas for End Times, an apocalypse sound-tracked by the song’s lively canter with melancholic melodies and, as ever, powerfully alluring vocals and highly persuasive rhythms. The song is persistently boisterous in its gait, its swing a perfect temper and spark to the solemn weave of words and emotions cast in something akin to The Smiths and Teardrop Explodes with again that Fatima Mansions like creative spicing involved.

Hope with its brooding climate spawned from the initial magnetic groan of bass completes tale and release. Shadows again encroach alongside the scything strikes of guitar and rhythmic rumblings whilst a solemnity coats the sultry melodic tendrils veining the rebuild of a desolated land and an increasingly receptive imagination to the invention and evocative theatre of Media Stres. The track is superb, matching all that came before and leaving a lingering compulsion for ears and thoughts to keep E.V.I.L. II alone a persistent companion.

The first EP of E.V.I.L. was an impressive and resourceful adventure but its successor simply overshadows it in every aspect. Media Stres may still be a secret yet to be discovered by a great many but expectations and hopes are that the band is set to receive the full attention and support their striking invention and music undoubtedly deserves.

E.V.I.L. II is available now @ https://mediastres.bandcamp.com/album/e-v-i-l-part-2

http://mediastres.com.hr/   https://www.facebook.com/MediaStres/

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

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The Barnum Meserve – Self Titled

The Barnum Meserve - Promo Shot

Let us introduce you to the next big thing in British rock music, The Barnum Meserve. It is a big claim but such the immense power, potency, and potential in their self-titled debut album, it is not as wild a suggestion as newcomers to the band might imagine. Consisting of thirteen epic and cinematic creative emprises, the release is a seriously fascinating and glorious proposition which bewitches and excites with every melodic embrace, vocal roar, and orchestral temptation.

The seeds to the Nottingham band were sown at the start of the millennium when bassist Dylan Griffiths met pianist/vocalist Leon Wiley while studying music in college. Swiftly finding a mutual passion for certain ‘musical exploits’ the pair began writing and playing together. One of their earlier shows brought drummer Paul Moss-Pearce on to their radar, their meeting subsequently leading to him completing the band’s line-up. A few years of writing and reinventing their sound in respective ways followed before the trio finally united and emerged as The Barnum Meserve, in 2007. Again the three took their time creating, evolving, and honing their sound with the next eighteen months seeing the band studio bound before hitting the live scene in late 2008. First EP Stories From The Paper House sparked keen interest with its release in 2011, attention especially potent in the underground scene once backed up and pushed on again by its successor, the Broken Window EP in the following year. Now national awareness is poised to be inflamed with the threesome’s first album; an attention grabbing wake-up call to The Barnum Meserve.

_CardWallet     The album opens with War Games and a serenade of orchestral expression and piano elegance wrapped in haunting beauty. The immersive hug of sound warmly swirls around the senses, gaining more potency and depth with the joining of the instantly impressive gravelly vocals of Wiley. An epic air is crafted at the same time, a drama which sublimely sets ears, imagination, and appetite up for the rest of the album, and whilst the song itself feels more like a dawning to what is to come than an individual song it inescapably has imagination and anticipation licking lips ready for what is to come.

It is an intrigue and adventure immediately filled by Open Up Your Eyes. Keys alone tempt initially before being aligned to the dramatic and epically swung beats of Moss-Pearce aligned to the more predatory tones of Griffiths’ bass. With its first rhythmic breath an addictive temptation is luring ears and emotions whilst Wiley’s continually sculpting fingers and adventurous throat bellows craft potent narratives over and within the driving range of beats. The song is pure magnetism, a virulent persuasion of sound and creative theatre enthralling body and emotions continued with current single Colours. Again here is a song instantly smothering the senses in melody rich colours and emotional energy on waves of keys bred adventure and reflective intimacy. Listening to the song is like diving from the edge of a mountain peak soaked in intensive light and soaring through varying shades of immersive shadows and invigorating radiance from thereon in.

There is no let up with the contagious temptation as Don’t Be Afraid comes forward next with a simply irresistible rhythmic bait; the minimalistic and wholly anthemic shuffle conjured by Moss-Pearce is a gripping incitement which continues to spring its traps across the broadening and melodically expansive landscape of the track. Strings and brass swamp the senses, again taking them on a dramatic flight before the song relaxes into a calmer pasture of just as passionate and fiery emotion. It is spellbinding, a collusion of contrasts building to an epic and breath-taking escapade before making way for the more slender weight of Last Forever and the darker tones of Half Mast. Both tracks reveal new enterprise and invention in the songwriting and sound of the band, the first a minimalistic dance but a persistent lure to another climactic call of orchestral and vocal majesty. Its successor is just as an enthralling a proposition, its heart and body seemingly bred from the darkest shadows with an underlying nature to match but exploring almost conflicting realms of emotional voracity and inflamed exotic beauty.

Wonderfully it is already impossible to pin down The Barnum Meserve sound; you can suggest essences of Nine Inch Nails and Arcade Fire, which many have, but listening to the album for us and often for no obvious reasons, thoughts of bands like Doves, Fatima Mansions, and Elbow come to mind, yet it is creative alchemy distinct to The Barnum Meserve ultimately. A fact proven by the band’s latest single Underneath The Grey which comes next. A sultry and transfixing pop rock song, it is arguably the gentlest surrounding of the senses on the album and one of the most captivating with its sonic breezes and melodic elegance bound in orchestral grandeur.

Without Numbers is a similarly bred offering next, pop and stadium rock infused into another intimate and intoxicating anthem of emotive and melodic fire. If it was me, this would be the next single, its impact simply overwhelming and invigorating whilst revealing everything you need to know about the band to breed real excitement. You could suggest many of the tracks would make the ideal gateway into band and album to be fair though, the imposing balladry and haunted emotional atmosphere of After The Fire next another easy to devour candidate as is the sentimental embrace and orchestral authority of the sensational Losing Sleep.

Dust provides another intensive ballad of sound and emotion, and though it is a slow burner for personal reactions it simply engrosses and heavily pleases with its company whilst Take Shelter entwines its own emotive reflections with a pungent lure of rhythms. In a single breath though, it explodes into a tempest of mouth-watering enterprise and imposing musical drama, swinging between contrasts linked by rampantly addictive rhythms. The song is a blaze of horns, strings, and impacting vocals bound by piano charm, and quite sensational.

Ending now the album could not go out on a loftier high but the melancholic haunting that is Tides provides one final immersive exploration for listener and band to bond over, not as instant a persuasion as its predecessor but certainly a lingering and absorbing finale to leave the listener wanting, needing more.

As mentioned at the start, we predict that The Barnum Meserve is going to take the British rock scene by storm, if not now definitely in the future, though now almost looks inevitable such the brilliance of their first album.

The Barnum Meserve is available via 34D Records from 6th April through all stores.

https://www.facebook.com/TheBarnumMeserve   https://twitter.com/BarnumMeserve

RingMaster 06/04/2015

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://reputationradio.yooco.org/

 

Black Strobe – Godforsaken Roads

Photo Philippe levy.

An adventure which has the imagination bouncing around as enthusiastically as the body, Godforsaken Roads from French band Black Strobe, is an exhilarating stomp with more juicy flavours than a Pick ‘n’ Mix stand. The band’s new album is a tapestry of sound and enterprise which is as insatiable in its eclectic intent as it is contagious in its devilry. Seamlessly and inventively entwining fiery melodic rock and sultry blues spicery with a flirtatious electronic resourcefulness, and that brief description still only a thick hint of what is in store, the release simply lifts spirits and passions as one of the year’s most captivating and thrilling releases.

Black Strobe is the brainchild of Arnaud Rebotini, a Parisian musician and producer just as renowned for his instrumental electronic explorations released under his own name. Alongside this and a horde of remix work for the likes of Rammstein, Depeche Mode, The Rapture, Bloc Party, Nitzer Ebb, and Fischerspooner, Rebotini’s 1997 founded project has released a host of well- received singles and debut album Burn Your Own Church which saw its founder collaborating with Kill the DJ label head Ivan Smagghe. Live the band has equally earned potent acclaim, touring the likes of USA, South America, Japan, Australia, and Europe to great success and lighting up festivals such as Reading/Leeds, Sónar, Primavera, Pukkelpop, Dour, and Transmusicales. Now with guitarist Mathieu Zub, drummer Mathys Dubois, and bassist/keyboardist Benjamin Beaulieu alongside him, Rebotini and Black Strobe return with, we suggest, their finest moment yet, Godforsaken Roads.

Recent single Broken Phone Blues offers the first temptation and from its initial touch it is fair to say that Godforsaken Roads is in full control of excited attention and increasingly lustful emotions. An electro bubbling opens things up and is swiftly joined by the distinctive and dark toned voice of Rebotini. His voice has lured comparisons to Nick Cave and Johnny Cash and it is easy to see why as it sits somewhere between the two in expression and tone. Just as quickly a pulsating electro stroll adds its captivating invitation before guitars and bass align to jabbing beats to cast an irresistible canter over the senses. It is a virulently infectious electro rock romp which in some ways brings thoughts of The The and also Helldorado with its increasingly steamy ambience.

It is a tremendous start right away surpassed by the outstanding Monkey Glands. The track is an out and out rocker; again electro essences stirring up ears for a gripping entrance before vocals and riffs finding seeds in fifties rock ‘n’ 10646751_10152620336545266_4319895831447366858_nroll which in turn infuses even greater captivating colour into the devilish engagement. Wonderfully exhaustive in its dramatic vivacity and hungry energy, the track sets a new plateau for the album which the blues scented He Keeps On Calling Me matches with its smouldering sonic heat and melodic intrigue. Bass and guitars take centre stage alongside the relentlessly impressing voice of Rebotini, the song a forcibly seductive yet controlled spaghetti western spiced drama standing tall like a mix of Nick Cave and Fatima Mansions.

Both Blues Fight and For Those Who Came on Earth Thru The Devil Asshole keep ears and appetite hungry for the album. The first draws on a steamy funk hue to ripen its sultrily woven blues rock climate, with the guitars showing a growl and bass a throaty predation to temper the flirty swing and electro tantalising of the track. It all unites in another ridiculously catchy and addictive proposition with a touch of De Staat to it. Its successor idles in on a slow melodic and vocal croon embraced by an exotic electro teasing within a portentous and ever darkening keys bred atmosphere. It is a compelling encounter which feels like it is brewing up to a major fire, and at moments comes close, but almost taunting the listener instead just ebbs and flows with an intoxicating evocative charm and intensity which is just as gripping.

The two triumphs are emulated and over shadowed a little by the delicious cover of Johnny Cash’s Folsom Prison Blues. Held in a transfixing electronic embrace only, the song is given an exceptional make-over. Rebotini strokes its body with an individual vocal delivery but the same shadowed irresistibility as offered by Cash whilst keys simply create a seducing beauty which steals the passions whilst keeping the unique expression and presence the legendary song has always held. It is a stunning offering backed up right away by the heated temptation of Swamp Fever, a song mixing acoustic and blues rock with electro elegance around one of the most infectious and anthemic choruses on the album.

House Of Good Lovin’ revisits a fifties rock enterprise for its agitated rumble of addictive beats and blues soaked guitar endeavour; think Muddy Waters and Joe Cocker with definitely a twist of The Cramps and you get another riveting incitement on Godforsaken Roads. It though only warms up the passions for Dumped Boogie and From The Gutter. Both tracks provide a masterful feet enslaving temptation, the first riding a steamy wave of electronic contagion and the second bringing a less urgent but just as enticing electro pop waltz reminiscent of Heaven 17 to transfix body and emotions.

Levels slip slightly with Going Back Home, a dance floor spawned encounter which still shines with beacon like strength within the album but to be honest is less appetising for personal tastes, but raised again somewhat with Boogie in Zero Gravity, one of two songs exclusive to the digital copy of the album. With a touch of The Correspondents about it, the song is a tempered yet persuasive dance which though not at the heights of the more rock infused tracks leaves satisfaction full.

The album is completed by Promised Moon, a song seemingly bred under the influence of The Beatles’ Get Back and on the digital version by The Girl From The Bayou; the pair further inescapable temptations without casting the same potency of suasion as earlier encounters upon Godforsaken Roads. They still add a fine end to an exceptional release though which simultaneously nostalgic and innovative as it weaves an epidemic of ingenious sound and body gripping enterprise.

Godforsaken Roads is released on CD and vinyl 6th October via Blackstrobe Records/K7 Records and digitally @ https://itunes.apple.com/gb/album/id903413308

http://blackstroberecords.com/

https://www.facebook.com/BlackStrobe.Official

RingMaster 06/10/2014

Copyright RingMaster: MyFreeCopyright

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Damn Vandals – Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World

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Providing another irresistible taster and invitation to their widely acclaimed, album of the year contender Rocket Out Of London, UK psyche rockers Damn Vandals are unleashing a new double A-sided single. Comprised of two tracks distinctly different but deviously united in stealing the passions, the release is a ridiculously contagious and venomously caustic stomp. Both Too Lazy To Die Too Stoned To Live and Cities Of A Plastic World worm under the skin with compelling ingenuity and voracious enterprise, offering another inescapable temptation bred from a riveting brawl of garage punk infused with psyche and stoner rock from the London band. Quite simply it is punk infused rock ‘n’ roll at its most rigorously captivating and addictive.

Damn Vandals first gripped the passions with their Beautiful Mind EP, itself surpassed by debut album Done For Desire in 2012. Earlier this year the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) DE Ade Mulgrewproduced Rocket Out Of London set a new plateau for the band and template for emerging garage punk bands, the new single brings a stirring reminder with its sonic and deranged alchemy.

Both songs on the single provide a startling and magnetic scourge of unique sound and invention. Too Lazy To Die Too Stoned To Live makes an early vocal declaration before the track slips into a sultry and feverish stroll of melodic acidity and sonic expression. There is a sweet and sour twang to every slither of guitar incitement cast by Frank Pick whilst the bass of Adam Kilemore Gardens provides a throaty temptation which flirts with ears and imagination. Driven by the vibrant sinews of Chris Christianson’s beats and lorded over by the deliciously unique tones of Jack Kansas, the song finds a higher gear as it unleashes a captivating canter to its discord licked persuasion. Like Fatima Mansions meets Queens Of The Stone Age, with a flavoursome side dish of Engerica, the song is a glorious haunting of ears and passions.

   Cities Of A Plastic World breeds its own distinct veining of warped endeavour, a web of drama drenched sonic intrigue from the guitars aligning with jabbing beats for a delicious nagging on the senses and thoughts. A mischievous intimidation comes with the bass lures whilst vocally Kansas again parades the lyrical narrative with devious and raw expression whilst pure virulence soaks the dynamics and discord fuelled breath of the song. Complete with psychotic imagination to its rebellious nature, the track is one of the band’s finest moments to date.

If Damn Vandals has managed to escape the clutches of your attention then getting your teeth into the infectious heart of their new single is a must. Theirs is a sound which seduces and infests body relentlessly right through to emotions for the richest long lasting rewards; the twin temptation Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World the perfect vehicle for their corruption of your soul.

Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World is available on CD and digitally on iTunes and all major download sites from 22nd September.

www.damnvandals.co.uk

RingMaster 21/09/2014

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Damn Vandals – Twist Up And Tangle

 

Marcus Maschwitz Photography 2012

Marcus Maschwitz Photography 2012

    Ahead of their new album, the highly anticipated Rocket Out Of London, UK sonic rock ‘n’ rollers Damn Vandals release new single Twist Up And Tangle. It is a manipulative little treat which brings the brilliance of debut album Done For Desire into an equally masterful but even more psychotically honed sound. It is a feverishly tasty temptation for what the new full-length is likely to offer; actually having heard the upcoming beast of a release, look out for a review soon, it is a very accurate indication of the triumph waiting in the wings.

     Damn Vandals has developed into one of the UK’s most ferociously compelling and ingeniously contagious rock protagonists since making their early bow with the widely acclaimed and remarkably masterful Beautiful Mind EP. With surrounding encounters and songs leading into the outstanding Done For Desire album, the London quartet announced themselves as an uncompromising and highly addictive proposition. Lyrically and musically sharp, their sound with its additionally earthy and raw breath consistently made an easy capture of the imagination and passions upon their debut, its stirring qualities built upon riotously incendiary live performances which also have earned the band a mighty reputation. Recorded with produced by Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) as the previous release, Twist Up And Tangle and the upcoming Rocket Out Of London take all the recognised potent elements of the band on a dirtier, darker, and more intensive exploration.

     Twist Up And Tangle lurches into the ears with heavy punching beats and sonic scythes of raw scuzz kissed guitar, both coverthrusting the song forcibly and magnetically upon the senses. It is a scarring introduction which is soon riled up further by the excellent distinctive tones of Jack Kansas, his delivery as ever rigorously expressive and voraciously attention grabbing, much like the surrounding sounds. Soon into its sinew flexing stride, the track is prowling and bruising with every swerve and leap of its caustic dance. The track is a predator, but one offering rich infectious bait which seduces and romances the primal instincts within. The guitar of Frank Pick alone is sheer magnetism, his cutting riffs and sonic toxicity right through to a synapse scorching solo insatiably addictive and matched in aural kind by the throaty rapacious tones of Adam Kilemore Gardens’ bass and the wickedly intrusive rhythms of drummer Chris Christianson, not forgetting the persistent vocal devilry of Kansas. Like Fatima Mansions meets The Birthday Party at a demonically cast liquor orgy, the song is one of those corruptive pleasures which sets the heart and year ablaze.

    It is not alone though as its partner in crime I Bring You Love is equally as insidiously addictive. Merging psychobilly and dark Cajun licks within its dirty swamp of heavy duty rock ‘n’ roll, the song is a commanding drama reeking incitement with a swagger and dark hearted narrative to match. Pick again simply mesmerises as his riffs and slide guitar spawned hooks lustfully fondle your naughty bits whilst Kansas encourages the exciting violation with another expulsion of gruff syllables and angst kissed enticement. With rhythms that robustly resonate in bone and thoughts, the track is a riveting teaser for the album ahead and supplier of another bulky slab of pleasure.

    Released as the album through Sexy Beast, Twist Up And Tangle leaves the passions basking. It is a must have appetiser for the sure to be confirmation of the new Kings of British rock ‘n’ roll through their new album.

Twist Up And Tangle is released march 17th with Rocket Out Of London uncaged April 7th.

10/10

www.damnvandals.co.uk

RingMaster 16/03/2014

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Sin’ Sound: From The Underground

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Though taking a little time to make its persuasion, the first encounter with From The Underground held more than a passing hold on the senses, eventually though the debut album from Italian rockers Sin’ Sound emerges as a rather impressive and imaginative piece of rock n roll. Released through Atomic Stuff Records, who the band signed to after winning a competition arranged by the label, the album is a compelling and diverse brew of sound which masterly meshes hard rock, psychedelic 70’s-inspired rock, and funk into something unique and deeply satisfying.

The Brescia based septet formed in 2006 following the break-up of two popular underground bands, Casbah and Synaestethic Sound. A tremendously active band live with a strong reputation for their shows and energetic sounds, Sin’ Sound is set to emulate that reaction with this their first album. Released at the end of last year, From The Underground is record which is never close to being predictable or ever less than enthralling. The musicianship and sounds which flow from within are as accomplished, thrilling, and as mentioned strikingly diverse within the overall distinct presence of the band s you could wish. Arguably the variety of ideas and styles within the songs gives it a stance which ebbs and flows at times, the album having definite peaks which reach noticeably higher than in other moments but throughout the release is nothing but refreshing and openly impressive.

The album does not manage to capture the imagination with its first two tracks for personal tastes but both Celebration Of Apathy and Preparing The Journey are strong and skilled songs thought neither ignites a spark stronger than nodding appreciation for their charms. The first is a heated piece of classic rock with tight fiery riffs and a sonic gift which certainly leaves one impressed with the musicianship and heart of the track. The heavy persistent bassline from Flavio Meleddu is a real plus whilst the guitar invention of rhythm guitarist Enrico Rango and lead Marco Cavalli captivate but overall the song is a companion who is welcome without overly exciting. The second song is the same and like the first a perfectly presented and skilled composition. Fuelled by a jazz funk swagger and sultry brass caresses from Enrico Zoni (trumpet) and Stefano Verzelletti (sax), the song is a more than amicable encounter again without lighting fires.

From here on in the album just explodes onto another level starting with the muscular Introduction: From The Underground. From a slow and heavy prowl with great inciting rhythms from drummer Roberto Micheletti and provocative riffs alongside the expressive vocals of Francesco Zugno, the track erupts into a feisty surge of eager energy and lush intensity. Well into its presence the song intertwines this slower gait with an accelerated passion in its insistency and attack with the guitars sending flames of melodic enterprise across the ear throughout to match the easily evident impassioned lyrical heart of the track. It is an emotive song from words and atmosphere, and beautifully crafted to achieve the greatest effect and reaction.

This excellence is continued with A Bad Day, a song with punk urgency and mischief veining its explosive rock infection. At times the track reminds of Manic Street Preachers and other times thoughts of The Doors and Fatima Mansions are inspired, but constantly the originality of band and song is paramount.

Further highlights come with I Really Like You’re Back, Elisa and closing song Mr. Goodbye, though each track around them leaves one more than merely satisfied. The first of the trio has a slight eighties new wave feel to its vibrant bearing and tight melodic guitar wash which provokes a ‘lick of the lips mentally whilst Elisa is a seductive tease of suggestive brass and a contagious groove which is just irresistible within its brooding passion. This fascinating and bewitching weave coats  the track as it explores its deepest shadows, the restrained yet potent emotive smouldering the soundtrack to the aural scenery and sonic passion.

The final song on the album is again an unhurried walk through the ear, the gradual build of intensity and emotion through brass and guitar quite delicious and invigorating even with its wonderfully dare one say sluggish presentation. It is an outstanding end to an excellent album which initially takes its time to convince but does so with undeniable expertise. If you investigate one band this month you can do a lot worse than taking a listen to Sin’ Sound.

7.5/10

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RingMaster 31/01/2013

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