The Filaments – Look to the Skies

There are some sounds and records which may be firmly bred in a certain style or flavour but organically transcend boundaries to appeal to a diverse multitude of appetites. UK punks The Filaments and new album Look to the Skies epitomise that quality, its overwhelming energy, captivation, and simply rousing escapades posing as songs instinctive pleasure for almost anyone with a passion for creative fun.

With their debut album released in 2001, The Filaments has become one of punk’s finest and richly established propositions if not quite sparking the tide of success and awareness their songs and releases have deserved. Even the disbanding of the Chelmsford septet in 2005 has not diluted their creative prowess; in fact since reforming in 2009 the band has just tapped into a richer vein of writing and sound for our ears, with Look to the Skies their finest offering yet.

Bred from a punk heart as classic as it is bold, The Filaments’ sound just as keenly and instinctively embraces the rich hues of ska, 2-tone, Oi and more. Straight away Look To The Skies relishes this creative appetite and zeal, opener Fuck The Alt”-Right driving through ears with raw energy and attitude fuelled by its street punk breath. There is a great Stiff Little Fingers lilt to the short but explosive start to the album, its aural discontent mutually uncompromising and contagious.

Look To The Skies follows up its great start with its title track, another swiftly virulent encounter with a ska nurtured swing to its punk roar reminding of another of the UK’s finest in The Vox Dolomites. Hammond spiced keys add to its tide of lures, the duo of guitars and vocals a raucous incitement alongside and even more manipulative in next up Rip-Off World. More ska punk than ska spiced punk rock, the song had bodies bouncing and vocal chords blazing within seconds, only encouraging greater participation as it upped its magnetic enterprise and infection.

With barely a breath allowed from the listener between songs, album and band incite even greater involvement with the catchy punk ‘n’ roll holler of No Men To Parade. Something akin to Flogging Molly meets Spunk Volcano and The Eruptions to try and tag its individuality, the song is viral infection with a just as magnetic snarl and lyrical snagging.

As manipulative as their energy and catchy prowess is so is the diversity to the band’s sound which is emphasized by the emotive serenade and drama of the following Living In The Crosshairs. Like Rancid crooning with The Members, the song just got under the skin, brass and keys warm caresses to its rhythmic enticement before  Underdogs sets the album’s bounce at its loftiest. The track is superb, an invasion of invention and flavoursome fun which has every limb and deed locked in its sights and persuasion in quick time. It also echoes another great trait to the band’s sound, its seemingly familiar sounding uniqueness and relentless freshness; here a seductive Ruts DC scented dub twist adding to the lure.

Tread Carefully is just as insatiable in its hunger to get the listener leaping whilst snarling at the world; sounds, vocals, and words in rapacious league to infest and incite which it does with undiluted success for two breath taking minutes while its successor Ask No Favors shares four minutes plus of melodic flirtation lined with Madness-esque poppiness as drama builds syllable by syllable, note by note in tandem with pleasure.

The dirtier roar of All We’ve Ever Known leaves body exhausted and lungs empty next, another track hard to evade raucously joining in with, but somehow the album draws another burst of energy in both as within a breath of its predecessor, The Verge uncages its irresistible deeds and coaxing.

Killing Machine brings things to a mighty close, the track a punk driven rebellion with psychobilly devilry and ferocious virulence.

We could go on about the triumphs of Look to the Skies for numerous more paragraphs but the bottom-line is it is an album which attacks, consumes, and excites from start to finish with as mentioned barely a breath from release or listener being taken. It is not an album for punks; it is a release for anyone who loves rousing rock ‘n’ roll.

Look to the Skies is available now via Pirates Press Records and @ https://thefilaments.bandcamp.com/album/look-to-the-skies

 

https://www.facebook.com/thefilaments

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Buster Shuffle – I’ll Take What I Want

As you shiver over the winter months, body and energy needs something to keep the cold at bay and spirit stomping and Buster Shuffle have just the right tonic in the shape of their new album, I’ll Take What I Want. Bursting with their most virulent and imaginative sound yet, the UK quartet’s fourth full-length mischievously swings and devilishly strolls as it grabs limbs and soul like a rascal puppeteer.

I’ll Take What I Want casts more of the fusion of ska, pop, and rock ‘n roll Buster Shuffle has increasingly pushed and established since emerging back in 2007. Each of their previous albums has added a fresh lick of enterprise and adventure but the street carnival of their latest offering is a whole new ball game and easily the band’s most unique and thrilling proposal yet. Debut album Our Night Out of 2010 swiftly lured acclaim and attention the way of the London outfit subsequently backed by a live success soon seeing the band share stages with the likes of The Holloways, The Wombats, Goldie Lookin’ Chain and Chas ‘n’ Dave, a list which Buster Shuffle over the years has added artists such as Lee Scratch Perry, Frank Turner, Drop Kick Murphys, Madness, The Blockheads, The Rifles, and Flogging Molly. The albums Do Nothing and especially Naked has increased their presence and reputation with unerring fun and craft something I’ll Take What I Want can only vigorously escalate.

With their street wise/reflective lyrics and multi-flavoured sound, Buster Shuffle instantly infest ears and appetite with album opener I Don’t Trust a Word You Say. Straight away a rousing wave of vocal and musical temptation surges through ears, vocalist Jet Baker leading the way with his tones and equally potent piano revelry as rhythms swing. Hitting an impossibly contagious stroll part ska, part old school punk with a dash of fellow Brits The Tuesday Club to it, the song instantly has the body bouncing and passions greedy with its boisterous antics.

The forcibly captivating start only continues as We Fall to Pieces steps in with its folk ska rascality, the song like a fusion of Blur and Tankus The Henge around the throbbing lure of Tim Connell’s double bass and the crisp beats of Terry Mascall. Again Baker’s piano and James Stickley’s guitar collude in creative chicanery as the former’s tones and words tantalise across two minutes of instinctively bold rock ‘n’ roll before Pretty Boy swaggers in with its own infectious dynamics and enterprise. Imagine Television Personalities and again Blur bursting in on Bad Manners and you get a flavour of the track’s gorgeous recipe of enticement.

There is no escaping a rich Madness spice within next up See You Next Week, its determinedly infectious canter pure instruction to the body to dance and ears to greedily devour before The Estate takes the listener into the danger and shadows of modern city life with its spunk pop manipulations. Set across two stages, the day light vivacity of its initial stomp is a darkened night lit rush by its departure, song and imagination running with instinctive eagerness to only increase the already rich impact of the release.

I’ll Be in Peckham has a touch of gypsy to its virulent amble next, its seductive yet off-kilter street  waltz manna to these ears as pretty much the whole of I’ll Take What I Want to be honest but especially manipulating as it sets up the warm gallop of the album’s madness soaked title track. It is ska pop to get frisky with, hips getting a keen workout as melodies and hooks unite in an irresistible web of catchy temptation.

With a throbbing tuba-esque hook to swing from, Your Mommy Is So Hot for Me is simply ska impishness so easy to devour, the band’s constant humour as virulent as their sound as too their lyrical prowess as shown yet again in the predacious flirtation of The Tables Have Now Turned and the indie punk pop jangle of Take Them All. Both songs tease and tempt with their creative twists and unpredictable turns, all lined with the never relinquishing infectiousness of the Buster Shuffle sound.

The album is completed by the folk littered contagion of Banana Thief, its ska spun carnival also embracing a country twang as tasty as its other infectious ingredients, and finally the instrumental skanking and harmonic seduction of the Outro Song. With its sixties espionage/sci-fi TV theme tune air and not for the first time, the golden hues of backing vocalist Carrie Griffiths radiating, the track is a masterful end to a real treat of an album. Also featuring the keyboard and vocal enterprise of Pete Oag, I’ll Take What I Want is sheer pleasure and addiction in one; quite simply another year high for music.

I’ll Take What I Want is out now via Burning Heart Records on iTunes, Amazon, and other stores.

https://bustershufflemusic.com/     https://www.facebook.com/bustershuffleofficial

Pete RingMaster 29/11/2017

Copyright RingMaster: MyFreeCopyright

Headsticks – Feather and Flame

Headsticks_RingMasterReview

Whichever angle you come at Feather and Flame, the new album from UK quartet Headsticks, it is a seriously rousing incitement. Offering eleven diverse and eventful slices bred in the band’s fusion of folk and punk rock, the release gets the body bouncing, thoughts sparking, and the spirit racing. The breeding of serious pleasure is not low on successes triggered either as Feather and Flame not only reinforces the reputation already earned by the band but confirms Headsticks as one of Britain’s most irresistible and essential punk ‘n’ roll adventures.

Formed late 2012 by former members of bands like Tower Struck Down, Jugopunch, and The Clay Faces, the Stoke on Trent hailing Headsticks quickly whipped up potent interest in their sound with a debut three-track E.P in 2013. Their live presence was just as rapid in stirring up of support and fans, the band over time playing shows across the UK as well as numerous festivals whilst sharing stages with a host of well-regarded names in both the folk and punk/alternative genres. The summer of 2014 saw the release of first album Muster, a proposition highly acclaimed by fan and media alike and again backed by the band’s persistent live hunger. Now it is Feather and Flame seriously stirring up ears and attention with its socially and politically charged and challenging songs fuelled by a delicious diversity of sound and dramatic adventure.

The album hits the ground running from its first second, jangling chords and beef rhythms grabbing ears as opener What Do You Want leaps into view. Vocalist Andrew Tranter quickly has the imagination hooked as he lyrically opens up an insight into the lives of the working man and the importance of and habit for things that possibly warrant neither. It is a provocative and swiftly contagious encounter, at times a thumping canter of sound and energy with moments of sweltering funk spice which only adds to its virulent drama.

featherandflame_RingMasterReviewThe thrilling anthemic start gets swiftly matched by the evocatively aired Cold Grey English Skies. Here the rhythms of bassist Nick Bayes and drummer Tom Carter hold a touch more reserve in their framing of a similarly reined urgency shared by Steven Dunn’s guitar, but all easily cast a catchiness which has hips swaying to their movement and the descriptive prowess of Tranter. With a gloriously melodic and addictive chorus, the song has a rich hint of Flogging Molly meets Violent Femmes meets Fatima Mansions to it, further flavouring to seduce ears and appetite before Go Move Shift uncages its own individual virulence. Straight away the song infuses country-esque revelry to its quickly tenacious folk honed rock ‘n’ roll, this time around thoughts picking out Midnight Oil as a hint to the hues working away within another forcibly persuasive track. The flavouring is just another example of the great variety within the album already showing its bold face across the first trio of treats.

The excellent Old Folk Songs has feet and voice soon involved with its punchy mix of folk and punk; a blending of sound around honest appraisal in some ways carrying a scent of Paranoid Visions to it whilst its successor Foxford Town brings a Pogues like lilt to its just as inescapable infectiousness and enthralling drama. Again an array of rock strains collude to create an emotive weave of sound around similarly nurtured syllables and once more Headsticks sculpt a chorus which demands eager participation. Tranter’s harmonica charms bring further colour to the proposal as they do in the traditional folk seeded Mississippi’s Burning where, as you might expect, bodies are induced to bounce and voices inspired to call out along with the band’s rousing croon.

Pay the Price matches it in persuasion and core sound, and subsequently success whilst Tomorrow’s History offers a more rugged affair with its anthemic arousal. The first of the two is an easy coaxing with its successor adding more boisterous attitude and energy to a shared quality of temptation, it bringing a tinge of bands like The Tossers into play before the compelling Every Single Day flirts with fifties rock ‘n’ roll for its power pop/folk punk romp. All three tracks leave the breath short and an appetite for more, greedier; that want more than fed by the outstanding Burn the Sun which follows. Creating a shuffle soaked in sultry seventies funk devilry and seventies new wave devilry, the track swings and flirts like a unique mix of King Trigger and New Model Army.

The album closes with the acoustic tempting and open heart of Falling Out of Love Song, a final folk caress to hungrily embrace before pressing play on Feather and Flame all over again. The album has that addictive quality, one listen leads to another or more almost every time whilst Headsticks is a band for punks, folksters, and rock ‘n’ rollers alike; for anyone who likes being aroused and provoked in equal measure by music that just gets under the skin.

Feather and Flame is out now across most online stores and @ http://www.headsticks.co.uk/shop.html

http://www.headsticks.co.uk   https://www.facebook.com/headsticksmusic   https://twitter.com/HeadsticksMusic

Pete RingMaster 11/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Nish Goyal – In Our Parents Eyes

NG_RingMasterReview

If a song has you ‘doo doo be dooing’ within seconds on the very first listen, you know it is doing something right. In Our Parents Eyes does that and more, the new single from singer/songwriter Nish Goyal one boisterously and seriously magnetic slice of indie/folk revelry. There is also a scent of punk to the song’s highly flavoursome stroll which again simply adds to its rousing prowess.

Hailing from Chester and of Indian heritage, Goyal graduated in law and briefly worked in The City as a legal advisor before moving to Frankfurt to take up a stockbroking job. From his early years though, music was a major part of his life and in 2011, Goyal quit his day job and immersed himself in his music. Initially mastering the piano, over time he navigated to the guitar and bass with art_RingMasterReviewhis music breeding fresh textures and avenues to explore. A debut album called A Little Validation was followed by The Hedonist EP before last year the eight-track EP, The Rage was released to great responses. A pair of singles in Get Started and Save the Day only enticed more attention alongside a live presence which has seen Goyal play the likes of The Jacaranda, The Cavern, and appear at 2000 Trees Festival in Gloucestershire last summer; that followed by a tour across America where he played eleven shows in eight states.

Recently signing with the Portsmouth based indie label Coffee Jingle Records for his next album, scheduled for early this year, Goyal unveils its first rich temptation for it in the thrilling shape of In Our Parents Eyes. As mentioned, within less than a handful of breaths the song has voice and hips involved in its anthemic doo doos. A first strum of guitar provides the spark before becoming a persistent companion to a growing flirtation of rhythms and a net of spicy, slightly bluesy melodic enterprise which follows.

In voice Goyal is just as welcoming; his snappy delivery like an old mate ready to re-ignite fun whilst sharing the songwriter’s own experiences of growing up in the UK with Indian parents and the conflict rising within trying to be a musician whilst trying to please his family with a more academic career.

Like a mix of Glenn Hodge, Flogging Molly, and Billy Bragg, the track is a spirit raising, thought sparking romp which has all the qualities to nudge the name Nish Goyal towards bigger spotlights.

In Our Parents Eyes is released March 11th via Coffee Jingle Records.

http://www.nishgoyal.com/    https://www.facebook.com/nishgoyalmusic     https://twitter.com/nishyseagull

Upcoming Live Dates:

11th March – Single launch, The Jacaranda, Liverpool

16th March – Nambucca, London

23rd March – King Billy, Northampton

27th March – Joe Perks & Co, Oxford

1st April – Clash Bar, London

6th April – The Four Horsemen, Bournemouth

10th April – Rebellion Club, Manchester

Pete RingMaster 10/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Ginger Wildheart – The Year Of The Fanclub

 

Photo taken by Paul Harries

Photo taken by Paul Harries

Starting out as his latest and the most interactive fan-funded project, new album The Year Of The Fanclub is the outstanding ‘highlights show’ of another highly successful Ginger Wildheart offering for fans and modern rock ‘n’ roll. Always looking to increase and extend “fan connectivity”, Wildheart created G*A*S*S (Ginger Associated Secret Society) in 2014, a digital subscription based fan club platform that saw a new 3 track single released every month for a year, along with demos and previously unreleased material direct from his personal vaults for members to immerse in. Beyond the music it also gave subscribers full access into the world of Ginger Wildheart through podcasts, Q&A’s, personal diary entries, film reviews and exclusive merchandise options. Now for all, comes the irresistible tempting of The Year Of The Fanclub, a collection of Wildheart’s personally favourite tracks from the 36 song session.

The proudly diverse and rousing treat starts off with Down The Dip, a boisterous maelstrom of energy and varied eagerly entangling flavours. Like The Damned meets The Beatles with understandably The Wildhearts in on the act, the song throws its muscles and hooks around with imaginative zeal and virulence. Body and appetite are an easy submission for the track, a success just as powerfully found by Honour straight after. Featuring Courtney Love, the punk ‘n’ roll stroll instantly carries a defiant swagger whilst sharing a passions enslaving hook to get aggressively greedy over, quickly matching then eclipsing its impressive predecessor.

El Mundo (Slow Fatigue) is a carnival in the ears next, swinging into view with thick resonance and a mischievous character as company to a flowing contagion of sound and resourcefulness. There is also a dark side to its lures, an intimidating smog that erupts as the track’s volatility gets a head of steam on in certain moments before relaxing back into warm revelry.

art _RingMaster ReviewThe country rock spiced The Last Day Of Summer has feet and hips swaying with eagerness straight after, the pop rock catchiness already glimpsed in earlier songs now in full vibrancy with matching melodies and backing vocals before the outstanding Only Henry Rollins Can Save Us Now hits even greater heights. Feverish dirty rock ‘n’ roll to have you grinning whilst punching the air in defiance, the track twists and turns from start to finish. It is a roller coaster of snarling riffs and juicy hooks embracing everything from punk metal to ravenous hard rock through to jazz induced festivity and much more.

The Green Day/Flogging Molly like canter of The Pendine Incident has body and soul bouncing next, its Celtic air aural manna whilst Do You? whips up closely matching reactions with its eighties scented pop rock saunter equipped with engaging melodies and harmonic caresses. Each proposition leaves ears busily keen with the feet and imagination tightly involved, though they soon get overshadowed a touch by the inviting yet melancholic romance of If You Find Yourself In London Town where fizzing keys and vocal prowess respectively surround and fill the embrace of acoustic and electric enterprise as evocative as the words from Wildheart’s lips.

The magnetic saunter of Toxins & Tea is an increasingly galvanic slice of folkish pop rock which perpetually surprises with every passing second and turn. Imagine XTC going heavy rock without losing their melodic beauty and imagination and you have a close idea of one glorious encounter.

That eighties air returns openly again in No One Smiled At Me Today, the song bringing bands like The Cars and The Motors to thoughts before Ostracide uncages its punk fuelled rock ‘n’ roll which ears are destined to devour with relish. Both tracks in their individual ways ensnare body and emotions though each has to pass the limelight over to the irrepressible majesty of closer Don’t Lose Your Tail, Girl. That unpredictability is in full force in a song which fluidly evolves from melodic rock to electro pop mania and on to industrial rabidity, alternative rock with techno infestation, and punk ‘n’ roll confrontation, and that is just the first half of its nine minutes. Like a lifetime of musical styles tenaciously rolled up into one skilfully bedlamic and ingeniously sculpted emprise of sound, the track is a kaleidoscope of flavours which could easily have been the soundtrack to one’s personal musical journey over the past five decades.

As musically enjoyable and impressive as The Year Of The Fanclub is, so lyrically Wildheart delivers a potent and lingering punch to eagerly embrace too. The album is simply a gem and Ginger Wildheart showing why for so many, the man is rock ‘n’ roll.

Year Of The Fanclub is available now through most online stores via Round Records.

The G*A*S*S club is still available to join at http://g-a-s-s.co

https://www.facebook.com/officialginger

Pete RingMaster 17/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Cavaverman – Tales From Cavafistool

Cavaverman _RingMaster Review

It was Johnny Rose, the band behind Birmingham rock ‘n’ rollers Thirteen Shots and the independent label Undead Artists, that pushed our gaze the way of Italian horror punks Cavaverman, and boy are we grateful that he did. The trio released their new album Tales From Cavafistool this past Halloween, a thirteen track proposal that rocks with the bloodlust horror punk should always do but equally with an imagination unafraid to involve other bold flavours and twists of invention. The result is a fascinating and seriously rousing stomp fuelled with a potential that says even bigger and bolder adventures are ahead, so time the world woke up to the sonic zombie hunters.

Consisting of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell, it is fair to say that Cavaverman wear many of their inspirations on their sleeve the likes of The Ramones, Misfits, Alkaline Trio, and Entombed included, weaving them into their own contagious and visceral romances of sound and horror. As previous releases like Dead Brains For Brain Dead and James Dead showed, at times there is no escaping the familiarity to those influences but more often than not they merely spice fresh pools of bloodied Cavaverman imagination.

Tales From Cavafistool quickly stirs the blood and passions with opener Vampiro; a pull back on a shotgun the spark to a charge of spicy riffs and thumping beats driven by the potent tones of Champion. With a snatch of psychobilly to its character and straight forward rock ‘n’ roll in its instincts, the song rumbles and swaggers with expectations feeding horror punk tenacity and zeal, but with a wealth of enterprise it only thickly excites before Dead In Berlin offers its own breed of lusty punk ‘n’ roll. As in the opener and many more, Misfits is an obvious spicing but one, as suggested earlier, honed into the ways of Cavaverman with fresh and imaginative resourcefulness. The rhythms of Giò and Hell stalk and grumble magnetically throughout its scavenging whilst Champion shows himself as alluring with fingers on strings as voice on lyrics.

Cfront_RingMaster Review     The more restrained Yellow King shows a fuzzier melodic string to the band’s creative bow whilst still creating a virulent offering hard for body and voice to resist whilst the mighty Green Goblin is a two and a half minute addiction that you will be crooning long after leaving its and the album’s side. Familiarity is once more a potent hue but entangled in a pungent pop punk weave, the track is like all your best friends partying in the ears.

Such its contagion and slavery upon the passions, the following Don’t Cross The Streams has a harder task to shine alongside but its efforts are strong and enjoyable, especially with its excellent sinister entrance on intimidatingly anthemic rhythms. Into its stride, the song loses some of its potency in energy and impact but it still has feet romping and pleasure aflame by the time it makes way for Inside You and straight after Hero. The first of the pair also embraces the punk pop side of the band, breaking into an easy going and vibrant rocker before its successor grows from a scuzz kissed croon under atmospheric cold into an impassioned serenade with rising crescendos. The track might be another not quite matching some of those around it, but what it lacks in a persuasive spark it more than makes up with in bold and fiery blends of varied rock styles to show the strength of the band’s songwriting and imagination.

Lora Ashley is a delicious straight forward incitement of hooks and united vocals, an inevitable horror punk sing-a-long raising the spirits and greed ready for the drama laded rock ‘n’ roll of Dead Boys Of Summer. Resistance is futile here too as the track prowls ears with its sturdy rhythms and grinning hooks, vocals the final lure in a lustful anthem. Irresistibility continues in the old school punk joins fifties spawned rock ‘n’ roll of Don’t Worry About Me next, the song something you could imagine a collusion between The Damned, Flogging Molly, and Calabrese producing whilst the irresistible Teenwolf is less than two minutes of boisterous incitement with anthemic effect on body and emotions.

     Tales From Cavafistool is finished off by fiery rocker Just Another Day where blues spicing adds to rich flames of melodic and heavy rock aligning to a rockabilly swing, and finally the short sepia toned instrumental epilogue of Dawn Of The Cavaverman. The final piece is like the closing of the theatre curtain at the close of a creative triumph, and that is just what Tales From Cavafistool is, a triumph from a band previously in the shadows but now bounding forward with a real punch. As uniqueness and imagination continues to grow within the craft of Cavaverman, there is no reason to dismiss the thought that something special for horror punk is brewing in Italy.

Tales From Cavafistool Cavaverman is out now via Undead Artists and @ https://cavaverman.bandcamp.com/album/tales-from-cavafistool

https://www.facebook.com/Cavaverman

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Ferocious Dog – Slow Motion Suicide

Ferocius Dog pic 3_RingMaster Review

There is no denying that Ferocious Dog is known for breeding a snarl in their traditional Celtic folk inspired rock which lives up to the band name but if you need further proof then go grab the band’s new single Slow Motion Suicide. Taken from the bands new and second album From Without, the single is simply a stirring proposal of lyrical and musical incitement, a “working class hero’s anthem’ as punk as it is melodically tempting.

Consisting of vocalist/acoustic guitarist Ken Bonsall, fiddler Dan Booth, lead guitarist Les Carter (from Carter the Unstoppable Sex Machine), bassist John Alexander, drummer Scott Walters, and mandolin/banjo player Ellis Waring, Ferocious Dog come off a successful Glastonbury appearance with their new pair of releases, a performance at the festival on the Avalon Stage pulling the third biggest crowd of the whole weekend. The unveiling of the single and album are to be followed by a country wide UK tour ensuring the rest of the year is definitely going to belong to the rock ‘n’ roll hounds.

Guitars open up the lures within Slow Motion Suicide; their raw punkish air quickly joined by the potent vocals of Bonsall and in turn the prowling and eager rhythms of bass and drums. The rest of the band is soon in collusion as the song brews Irish familiarity and bracing intensity of emotive and creative drama. There is no escaping a Flogging Molly essence to the song, a welcome hue at any time, or the street punk breath which lines its honest and straight edged core, but fair to say it is the poetic persuasion of the fiddle, strings, and voice which taps into the imagination most engagingly, as they share the track’s heart for aural fascination.

Taking a look at the band’s album is our next intent; we suggest you do too after enjoying the intimate roar of Slow Motion Suicide; maybe add a show to your end of year treats too?

Slow Motion Suicide is out now.

https://www.facebook.com/FerociousDog   http://www.ferociousdog.co.uk/  https://twitter.com/FerociousDog

Upcoming Ferocious Dog Live Dates.

Upcoming Ferocious Dog Live Dates.

Pete RingMaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/