Welcome The Howling Tones – Green & Blues

Welcome The Howling Tones_RingMaster Review

Around two years ago, UK rockers Welcome The Howling Tones offered a thrilling introduction with their first release, a two track single that suggested it was merely the “appetiser for greater incendiary things to come”. It has been a fair time coming but now the Farnborough quartet are poised to release their debut album Green & Blues, and prove all hints and subsequent expectations from that point were right on the money. The eleven track stomp of spicy rock ‘n’ roll is a blaze of that early potential woven into even more crucial and exhilarating blues/stoner bred exploits. Imaginative and impassioned, it is a fiery party for the senses and rebellion for the feet, and proof that Welcome The Howling Tones is indeed an incitement fit to majorly arouse British rock ‘n’ roll.

Welcome The Howling Tones cover_RingMaster ReviewFormed in 2012, the foursome of guitarists Pauly T and Chris Gilday, drummer Lawrence Arnold, and vocalist/bassist Iain Turner quickly drew strong local attention with their tenacious classic rock bred sound infused with flavoursome strains of blues and alternative rock alongside funk infested grooves and more aggressive textures, a blend impressively fuelling the thick persuasion of Green & Blues. Soon spreading their reputation and music further afield, the band released that earlier mentioned double A-sided pairing of Eyes to Hypnotise and Broken Man, earning broader and acclaiming attention in return whilst live they proceeded over time to shared stages with the likes of Godsized, The Jamie Lenman Band, Nick Oliveri, The Icarus Line, Breed 77 and many more, again to regular high praise.

Green & Blues looks to stir up ears and emotions from the off, taking little time to leap into its feistiest persuasion with opener Deep River Blues. From its first breath the guitars are spinning a tasty web of grooves, their strong coaxing aided by the just as potent and impressing vocal tones of Turner. As it slowly broadens its shoulders and expands its landscape, the song is still teasing with its early enticement, its slim but thickly tempting invitation helping to restrain excess energy even as rhythms and a cloudy atmosphere joins the revelry. Classically toned and spiced with a delta blues hue which only intensifies as the song’s drama brews, the thrilling encounter leaves on a rousing finale of stoner sculpted flames, meaty rhythms, and acidic grooving.

It is a mighty start to the album but quickly eclipsed by both Eyes to Hypnotise and Broken Man. The first of the pair virtually drizzles its initial guitar lure over ears, swiftly awakening attention and appetite in turn. It is a gripping start quickly tightening with the addition of a throaty growl from Turner’s bass and the heady swipes of Arnold’s beats, which subsequently become a mosaic of creative animation as the song grows. The grooves and riffs spilling from the fingers and strings of Pauly T and Gilday are toxic in their addictive nature and tempting, inflaming further a track which in a matter of seconds is as irresistible as it is voraciously creative. The instrumental swagger of the song alone enslaves and with the expressive tones of Turner’s voice powerfully riding their compelling enterprise, it leaves a licking of lips and hunger for more which is easily satisfied by its successor, which also from its first moments has ears and pleasure in a spin. From the first clicking of drum sticks to the tangy grooves, sandy vocals to pulsating beats, the encounter is an inescapable trap which welcomingly imposes further with a siren-esque lure of spice fuelled melodies and stoner grooves. With thrilling spurts of discord and noise seeded imagination for good measure, the rousing stomp is the kind of thing lust was invented for.

     There is no let-up of quality and success with Never Said Forever and its drama spilling alternative rock resourcefulness. Amongst many traits which stand out in the band’s sound and songwriting, unpredictability is a potent asset and in full bloom here as the track twists and turns rhythmically and sonically, every move lined with bold adventure and mouth-watering imagination. Carrying a delicious solo for extra flavour, the album’s pinnacle is set down, though rivalled throughout with Burn my Bones a swift contender next. A blues shuffle emerges with Arnold again creating a commanding frame within which a great vocal mix and the most citric flavoured sonic exploit yet on the release plays. It is an enthralling hex swinging and growling with a vintage toning courting modern dark rock prowess.

Honey I Want You NOT Your Money keeps things rocking like a dog in heat, its raucous energy and melodic flames as bracing and incendiary as standing in a lightning storm on a cliff top whilst Fresh Flesh straight after explores a sultry embrace with prowling riffs and thumping rhythms bound in evocative vocals and great sonic tartness. It does not quite have the bite of previous songs but still leaves thoughts and emotions alive especially with its increasingly volatile assets.

The southern rock brewed Dip Me in Mud is another which initially seems to lack the heat of other encounters within the album but over time emerges as a need to return to as often as possible tempting of craft and passion. It is a potency applying to the whole of Green & Blues to be honest and certainly She’s My Kind of Woman with its sweltering climate of blues expression woven in to a nest of grooves recalling the charm of the sixties, mischief of the seventies, and the snarl of the now.

Though not a hell for leather assault on the senses, Green & Blues is a highly charged encounter which never gives the body a rest, its rowdy bouts of balls swinging rock ‘n’ roll through to steamier strolls all providing a constant adrenaline shock to the system. Green God Envy is one of the saltier seductions, it’s swaying body and humid nature temptress like, and just as persuasive and intensive as such a siren before making way for the closing I Can Go Bad. As hoped and expected, the song is a stonking rocker of a proposal to end things up but also as should be assumed, loaded with alternative rock imagination and sparkling creative diversity.

The first Welcome The Howling Tones encounter certainly suggested the band was capable of something as glorious and exciting as Green & Blues but over two years you never know. Well now we do and with one of the most enjoyable propositions anywhere this year, the band confirms themselves as potentially another of those destined to pungently shape the future of the UK rock scene.

Green & Blues is available from on 13th July @ http://welcomethehowlingtones.bandcamp.com/

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RingMaster 08/07/2015

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Hellbent & Hammered – Death Rattle

Hellbent & Hammered Online Promo Shot

With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

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HELLBENT & HAMMERED SERVE UP STUNNING NEW EP !

Hellbent & Hammered Online Promo Shot

After a prolonged battle with personnel changes, UK groove metallers Hellbent & Hammered’ nationally release their ‘Death Rattle’ EP on Monday 15th December through all stores.

With whiplash riffs, a Lamb Of God and Down honed groove and riot starting vocals from frontman Ryan Le Roux, you’ll want to be in Hellbent & Hammered’s gang. Established in 2004, Hellbent & Hammered have garnered a reputation as one of the South’s premier groove metal bands. However, the fiery foursome also possess a strong bluesy vigour that tips its hat to Clutch. Whatever category Hellbent & Hammered fall under, the scuzzy Londoners will without doubt grab your attention.

Throughout the band’s ten year history, Hellbent & Hammered have persevered through walk-outs, line-up changes and several unreleased EPs before finally re-inventing themselves with their forthcoming new EP “Death Rattle”. This record is their second with guitarist, Junior, who joined in 2011 after founding member Julien sought fairer climates somewhere in the South Pacific. Besides Le Roux and Junior, Dr. Jon Casey and Simon Bullock handle the band’s burly rhythm section, with Bullock hitting the tubs and Dr Jon supplying the bass.

Already known for their face-fracturing live performances, the band have ripped apart a series of UK venues, playing alongside everyone from Feed The Rhino, Godsmack, Canadian metallers ANVIL, through to Godsized, Thunderhorse (Raging Speedhorn & Viking Skull), Head-On, Sons of Merrick and StoneGhost (Snakebite).

The riff beasts’ forthcoming four track EP “Death Rattle” is released this December, and it’s a pedal to the metal, full throttle collection of power metal anthems. The EP’s name sake ‘Death Rattle’ melts your ear drums straight from the get-go with its blistering riffage handed to you by newcomer Junior Gouch, who’s aided and abated by Simon Bullock’s driving beats. The irrepressible ‘Hung, Drawn & Quartered’ just does not let up; imagine Pantera having a knife fight with Mastodon—its sheer brutality. While ‘All Consuming’ flaunts the bottom end groove of Bassist Dr Jon Casey to stunning effect and ‘Built That Way’ brings down the curtain on the record, there’ll be no doubt that your senses have been well and truly battered into oblivion. Hellbent & Hammered do what they say and say what they do. So come on in and join the party….

Hellbent & Hammered release ‘Death Rattle’ on Monday 15th December through all major online distribution platforms

Hellbent&H cover

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The RHODA MAY ‘Sessions’, out 6th January

Rhoda May Online Promo Shot
UK PROGRESSIVE NEWCOMERS RHODA MAY RELEASE STUNNING DEBUT EP!
 
Coming at you from Surrey (home to Hundred Reasons, Reuben, Vex Red, Foe and Godsized) hugely promising instrumental rock outfit ‘Rhoda May’ are primed to be the next band to nationally break. Pulling from everyone from Rush and Led Zeppelin, to Deftones and Tool, Rhoda May set loose ‘Sessions’ on Monday 6th January.
Although originally conceived during the middle part of 2012 by long time friends Will Pain (Guitar), Mark Sanger (Drums) and Andy Page (Bass), it wasn’t until this year that the band were officially spawned. Ignited by an impromptu knock on the rehearsal room door by a local venue promoter who happened to overhear the band rehearsing, the guys were instantly asked to support popular London rockers Senser. Duly obliging, the trio were swiftly spurred into action and Rhoda May were formed.
From their debut show with Senser, Rhoda May’s climb has been vastly encouraging and recent supports with Heights, Freeze The Atlantic and Three Trapped Tigers have further cemented the band’s fledging reputation. The enterprising three-some have also been working on a series of live videos with Emma Dalesman (Stagecoach, Tommy Reilly), which can be viewed here – www.rhodamay.com/video/ .
The videos were also recorded by producer Jason Wilson (We Are The Ocean, Reuben, Dinosaur Pile Up) who handled their first ‘347 sessions’; the band also recorded a later session titled ‘589 live session’. Both recordings were put down live and in their entirety. Due to the quality and the glowing early feedback for the live sessions, the band decided to release both recordings as a stand alone record. Aptly entitled ‘Sessions’, the EP is an immensely impressive collection of six absorbing cuts of modern rock. From the opening guitar scapes and twisting rhythms of ‘#3’, to the engaging post-rock bite of ‘#4”, on to the fuzzed-up melodic appeal of ‘#5’ and to the majestic groove-laden journey titled ‘#8’, the band illustrate their genuine creative craft, which displays true imagination and the nimble ability to take the listener on an engrossing musical voyage.
Rhoda May - Cover Artwork

The Goddamn Electric – Snake Bite

The Goddamn Electric pic

Whether rioting in the ear or slowly burning off the hairs on wilting flesh with smouldering intensity, Snake Bite the debut album from UK rock band The Goddamn Electric, is a thrilling and strikingly crafted release. It takes just one listen to the ten tracks to know that British rock is in safe accomplished hands with bands like the Manchester quartet, their mix of contagious and powerful riffs with equally potent rhythms and a whiskey soaked gravelly vocal delivery winding up the passions until they break out in mutual hunger and energy

Formed in 2010 and taking their name from a Pantera song, The Goddamn Electric combine influences from the likes of GnR, Life of Agony, Pantera, Metallica, Down, AC/DC, Biffy Clyro, Motorhead, Clutch, Red Fang, Orange Goblin, and many more into their own tempered sound. The rich inspirations certainly go to make an album which is not breaking down barriers of uniqueness but in exchange Snake Bite offers up an experience and craft which numerous other similarly sound clad bands would sell their grandmothers for. It is a snarling and passionate multi-flavoured rampage which inspires nothing less than deep satisfaction and enthusiastic involvement.

As soon as the first fiery riffs of opener Loyal To The Sinner open up their arms the weight of the album is apparent especially 34__400x320_image_12once the drums unleash their muscle and the bass begins its constant growl.  With vocals spilling passionate bear like quarrel from every syllable to add further texture and expression to the encounter, and the guitars sending shards of sonic craft and temptation across the southern infused sounds, the contagion of the start is irresistible and sets up a real appetite for what is to follow.

Morning Injection bounces around the ear with a blues temperament and energetic hunger to continue the strong start if not quite to the level of its predecessor whilst the next up Scarecrow and Jealous Contradiction take things to a new pasture of pleasure. The first takes the passions on a rampage of deviously addictive riffs and insatiable energy though it also makes pit stops from its charge into emotive and melodically swept breathers that keep things in check and intriguing. It is a virulently compelling piece of stoner and classic rock fusion that tempts limbs and voice into its anthemic persuasion rewarding with a blistering solo that sends a heat haze around the ear. It makes a challenge for its successor to live up to but that it does with a glorious southern twang to its slowly dawning melodic swagger. Like looking into a fire it dances before the senses and thoughts, inviting emotions and ideas to play with its whispering suggestions before sending explosive flames of sonic grandeur into the roof of its exceptional triumph. One of the pinnacles on what is a constantly impressive release it is a mighty signpost to the album.

The carnivorous bass temptation of Something More sets off another furnace of exhausting enterprise before passing over to another plateau of excellence in Revive And Survive. With a punk drive to its metallic voracity, the track expands its horizons with a blaze of instinct igniting rock ‘ n’ roll, it unleashing shards of sonic flames and anthemic group vocal recruitment whilst never losing its spine of rapacious energy, though the whole song is one to call to the passions.

The blues enriched title track smoulders and twists with traditional flavouring and breath; again it is hard to say there is anything new working on the ear but its lure and expression is riveting so there is never, like for the album, an issue when it provides such an invigorating time. Both Too Dirty and Holding Me send further wholly engaging and enterprising treats straight down the ear to the passions, the first with a sleaze rock mischief to its hard rock honesty and the other through a hazy atmosphere over a mouth drying desert walking adventure which explodes with shafts of blazing sun and fire across its enthralling narrative. It is a stunning finale to an outstanding album.

Well there is one more track on the album, San Francisco, but made up of part silence than instrumental which in length is barely over the minute mark combined, it seems a little…well pointless…though that was only until learning it is an outro/teaser to the opening track on the next album. Snake Bite is an excellent release, an album which places The Goddamn Electric alongside the likes of Godsized and Trucker Diablo, as the drivers of British rock.

http://www.thegde.co.uk/

8.5/10

RingMaster 06/06/2013

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Godsized – Time

Godsized

    Time, the self–released debut album from UK rockers Godsized, quite simply slams the senses from pillar to post with massively chunky riffs and tight enslaving rhythms. It is a heavy handed storm of satisfaction veined with sonic enterprise and classic rock energy which admittedly does not rewrite the pages of rock music but does add an invigorating chapter.

Since its formation in 2009, the band has built an impressive reputation for their high octane sound and live performances with shows alongside bands such as Life of Agony and My Ruin included, as well as two extremely well received EPs, especially Brothers in Arms. That EP secured the London quartet the main support slot for Black Label Society on their 2011 tour, Zakk Wylde hearing and loving the release. Acclaimed appearances at festivals such as Bloodstock, Hammerfest, Bulldog Bash, Download Festival, and numerous other festivals across Europe have done their standing no harm either, the strength of all over the past years making the anticipation for their first full length release more than merely eager.

With a strong breath of southern rock riding their intense riffs and melodic tones, the band in Time has created an album which Time_Coverimmediately lights up the senses before working on the passions. Opener Soul Taker instantly makes its entrance upon a fire of inviting riffs and punchy rhythms before reinforcing it with further rhythmic sinews and muscular riffing. The vocals of Glen Korner are an easy persuasion upon the ear, his rich expressive swagger holding a snarl and equally potent cleanly delivered persuasion, whilst the guitar craft of he and Neil Fish chew and entrance the ear with sheer accomplishment and inventive intensity. The band has had comparisons to the likes of Black Sabbath, Led Zeppelin, Corrosion of Conformity, Down, Black Label Society, Clutch, and Alter Bridge, and this track instantly tells why. Admittedly it and subsequent tracks are not pushing existing boundaries but deeply satisfying riots of sound and pleasure they certainly are.

The following Through to You and latest single Heavy Load continue the strong start though for personal tastes their predecessor holds sway, both songs again soaked in addictive riffs whilst the bass of Gavin Kerrigan finds a growl, especially in the first of the pair, which sends tingles and intimidation ripping across the senses. A less intensive encounter but still bringing a towering stance to its pressing, the song is a flame of melodic strength and aggressive insistence whilst its successor is a cliff face of treacherous beats from drummer Dan Kavanagh, the attack restrained and controlled but with an edge which threatens to break out as upon other tracks. As mentioned it is the lead single from the release and it is easy to understand why the choice with the impressive sonic display within its heart but again it has a slightly less irresistible impact compared to the first song which would have been our choice.

As the likes of It’s a Hanging, a great track with a grunge lilt to its rock stance placing the song in the territory of Alice In Chains as much as say a Down area of sound, the stunning Mother, and the excellent Final Act, bring their varied and captivating presences the album continues to light the fuse to greater passion for itself. The second of the trio of songs is a continually shifting and unpredictable triumph; its slow stroll with rises of adrenaline powered enterprise is wholly magnetic with the guitars and vocals bewitching the ear upon the hungry prowl of the bass and punchy rhythms. It is also a song which slowly burns greater passion for its glory across each and every encounter, it is easily the most imaginative and impossible to predict track on Time. The latter of the three like the opener is a contagious brute of riveting riffing and melodic seduction, a song which plays with and recruits the listener into an infectious stomp of thoughtful yet unchained passion soaked rock n roll.

Around and between these songs the likes of No Reprieve with its heaving chest of muscular creative energy, the carnivorous Perfect Moment with its predatory intensity, and the equally intensive track The Bounty Hunter, inspire further submission to the cause. The songs fluctuate in their heights with none quite slapping the plateaus of the previously mentioned tracks, but neither do any leave anything but a pleasing lingering taste of expertise and rampant pleasure.

Ending on another forceful highlight in the cantankerous shape of Still Waiting, the album is a thoroughly satisfying brawl of rock n roll. The nagging thought that Godsized are on the brink of major things is rife upon Time and even if the album is not the trigger it is only a horizon away one suspects.

8/10

RingMaster 22/04/2013

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Caravan Of Whores: Road To Kurti

Reading their bio before entering into the vast heavy soundscapes of Road To Kurti from UK doom band Caravan Of Whores, it said ‘…we do not sound like anyone else because we are ourselves and comfortable in our own skin…’ After sharing multiple journeys with the EP it really is hard to raise any disagreement to their claim. The genre they create their deep and rich storms within is well trodden and been expanded again and again over recent years, but there is something about this Oxfordshire trio which is openly different and refreshing.

Formed in May 2009, though the name has been around since 2002, the threesome of vocalist and bassist Pete Smith, guitarist John Slaymaker, and drummer Jamie Gillett, has built a formidable reputation for their sounds and live performances. The past years has seen them play alongside the likes of Serpent Venom, Bendal Interlude, Godsized,  XII Boar, Desert Storm, Grifter, and  Dopefight to name just a few, with 2011 alone finding the band playing over 50 shows. Debut EP, A Cosmic Interlude of last year, drew strong attention and acclaim their way with one track being featured on a compilation front cover CD from Metal Hammer. Road To Kurti finds the band taking their sound further forward whilst being destined to capture more eager hearts with its doom driven sludge wrapped sounds.

The opening track Drug Queen takes no time in swamping the ear with vibrant and resonating labouring riffs, their hearty crawl an oppressive yet magnetic treacle weave. As the track through its eight minute plus presence lumbers across the senses with a weighty taunting breath, the rhythms of Gillett skilfully plunders and scampers across the thick mass they rupture to bring a countering eager energy to the intensity. The song is an ever shifting muscular creature with caustic dazzling guitar solos and melodic spires of burning sonics to offer an unpredictable and mesmeric source of pleasure. At times one almost feels the track is part improv as it meanders throughout its climax but it is simply pure organic control and skill at play.

The following Mr Bendyman, another lengthy treat to captivate throughout, shuffles the senses with  further strong rhythmic punches, expressive energy sucking guitar craft, and heady consuming riffs. The song sucks the fire from the air transforming it into deeper sludge tar to be welcomingly overwhelmed by whilst sending shards of metallic melodic sparks across the senses to break up the intensive weight of the piece. The vocals of Smith, as with all tracks, are expressive and a great fit to the sounds though arguably could have been drawn out more in production as they are at times a little swamped by the music.

To be fair it is hard to express everything which explodes and permeates from within the massive tracks on the EP as with each listen one is finding something new to chew upon such the richness of sound and writing. The excellent Your God Is Dead is a great example, each visit revealing a new depth and twist to its consumptive hulk. Emerging as favourite track, the song is a fuzzy piece of combative and challenging intent. It has a punk edge to its inciteful energy and heart whilst hitting further diversity upon the release through its almost classic metal stabs and peaks. The track is a crushing riled tempest which sparks with a raw abrasive might to ignite real passion for its formidable sound.

Closing with the scorched stoner tinged Waiting, a track at a short five minutes but no less impactful and enthralling, the EP is a mighty piece of honest metal. With essences of  bands such as Kyuss, Black Sabbath, Electric Wizard, and Orange Goblin to its muscled tones, Road To Kurti is an impressive storm brought by a band in Caravan Of Whores, which is building to be of the real giants in the future of UK metal.

https://www.facebook.com/pages/COW/113587911991169
RingMaster 13/09/2012

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