Bool – Fly With Me

Frustratingly it is far too easy for things to fly under the radar in a time where nothing is secret thanks to the extensive landscape of the internet, but one proposition we insist you do take notice of is Fly With Me, the new album from Bool. The German outfit roar in ears with a strain of alternative rock which infests the appetite with its grunge character and grips the imagination with an array of nagging hooks and rousing enterprise; it all coming together here for one of the year’s most compelling moments yet.

The band’s sound is maybe best described as Bush meets Morphine harassed by Damn Vandals and Fatima Mansions but from that mix thrills with its own unique personality of sound and craft. It demands attention and rewards with every passing second of bold and impassioned rock ‘n’ roll. Formed in 2007, Bool stirred up acclaim and an already growing reputation with the My Spirit, their third release realising the potential already heard in its predecessors. Recorded with producer Jon Caffery (Die Toten Hosen), Fly With Me hits and owns a whole new plateau for the band’s sound and invention, offering a relentlessly harassing and addictively creative trespass to lust over.

It opens up with Here We Are and a flame of guitar before, and not for the last time, a swiftly compelling bassline with its growling tone entices courtesy of Marc Fröhlking. The initial blaze settles down a touch as the vocals of lead guitarist Karsten Dittberner step forward, the bass continuing to offer delicious bait alongside as the crisp beats of Jens Geilert descend. Soon the fiery adventure of Dittberner and fellow guitarist Michael Malfeito rise again, the cycle repeated throughout with increasing energy and adventure.

It is a boldly striking start quickly matched by the more composed but no less sonically seared Soul Train. Emotion drenches every note and each syllable dropping from Dittberner’s throat with a crystalline melody a glassy temper within the growing tempest. Commandingly contagious and wonderfully irritable in many ways, it too lingers in ears and thoughts just as successors Shut Up and Kick Arse do. The first of the two is even more reined in which brings a tension and drama especially to its brewing crescendos which is raw seduction. Dittberner is a magnetic vocal presence potently backed by his companions, while together the quartet unite in imagination and dexterity with that earlier Bush reference at its enjoyable strongest. The second of the two has a Nick Cave like edge to its opening Doors-esque climate, hues which caress the brooding heart of song and sound before the track slips into an almost predatory stroll of primal rock ‘n’ roll at its inventive best with a rolling energy more than living up to its title.

My Own Heaven is a melodically grilled pyre of emotion which ebbs and flows through calm and volatility, each passing moment a web of arousing catchiness and suggestive enterprise around the addictive dynamics of Geilert while the following Revolution uncages a riveting holler of punk ‘n’ roll which has the body bouncing and spirit roaring. It is testy and flirtatious, a true treat among many within Fly With Me.

Bool equally show they are adept at caressing the senses as the dark yet elegant serenade of Hey You shows, its melancholic beauty and melodic croon pure enticement before You and Me stomps in with its own tenacious rock ‘n’ roll. Again Gavin Rossdale and co feels a big inspiration to the track but one which is easily welcomed within its infectious incitement. Essences of metal and heavy rock add to its theatre, a potent incitement more than matched by the rawer edged and dramatically textured Desire where again rhythms simply grip the instincts as the guitars create a web of sonic flames to be trapped by as vocals share their plaintive heart.

Through the even tempered if again tempestuous sonic reflection of Same Mistake, a song which feels very familiar for no obvious reason, and the similarly intimate balladry of Yesterday, there is no urge to pull away from the album, each rich captivation even if not quite reaching the heights of those before them. Fair to say both easily get under the skin as too next up Love is the Answer, a theatre of sound and temptation which barely hides its tension within keys and string woven melodies. The song is certainly a slow burner but over time grows to be one of the most memorable and essential lures of the album.

The release closes up with Right or Wrong, a song which pleases immediately but also takes its time to fully persuade and ignite the passions which, if without the stirring triumphs of its companions, it surely does. It is a potent conclusion to an album which for us has become an addiction in no time.

Fly With Me is the wake up call to one exciting band in Bool, be sure you do not miss the trip.

Fly With Me is available now through Boersma Records through most online stores.

http://boolofficial.com/    https://www.facebook.com/BOOLofficial/

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Introducing The Duffaloes

Allow us to introduce you to The Duffaloes, a band we suspect you will be hearing a lot more of once their debut EP is released this coming August. Only formed a handful of weeks ago, the British outfit is the creation and union of vocalist/guitarist Lee Duffy and guitarist/bassist Lee Williams, two musicians no strangers to the Liverpool music scene through playing in other bands and in other guises over the years. Recently the pair sent over to us a couple of songs from that forthcoming EP and we have to say you are going to like what they have to offer.

The band’s sound going by these tracks is a feisty mix of alternative and melodic rock with numerous other flavours involved and bred in the inspiration to the pair of bands like Led Zeppelin, Pink Floyd, Black Sabbath, U2, Metallica, Nirvana, and Pearl Jam. Inviting musicians friends to “jump in” and help out live and in the studio, The Duffaloes have a persistent freshness to their music which colludes with their obvious experience and creative maturity and quickly makes a strong impression across the songs Scars and Outside.

Scars is a fiery encounter with a raw grunge tone to its melodic and emotive heart. Straight away it coaxes and teases attention with an opening riff and inviting bassline speared by lively beats. Duffy’s vocals are just as swiftly alluring ears and attention, his great tones a dusky mix of earnest growl and plaintive expression against the web of melodic enterprise cast by the guitars. Like a mix of Jacksons Warehouse and Stone Temple Pilots, the track tenaciously dances in ears, enticing and challenging with its roar and emotive intensity. At times ridiculously catchy and constantly commanding attention, Scars has lead single written all over it, especially once its emerging Pete Wylie like hooks captivate.

There is similar instinctive angst and imagination of sound within Outside but also an individuality which adds even more intrigue and depth to the band’s sound and songwriting. With more of a pop rock air than the rawer texture of its companion, the track still has an edge of attitude and texture which quickly gets its claws into the imagination, the body as swiftly hooked on its lively gait and infectious Echo and The Bunnymen scented chorus.

There is a familiarity to both tracks but nothing especially definable or diluting the strength and pleasure gained with each. Of course two songs is early days to truly assess a band but it is hard not to breed real anticipation for their future and expectations that a great many of you like us will develop a real appetite for their imagination woven rock ‘n’ roll.

Check out The Duffaloes further @ https://www.facebook.com/TheDuffaloes/  and watch out for their debut EP released August 1st.

Pete RingMaster 14/06/2017

Copyright RingMaster: MyFreeCopyright

Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

ANEWRAGE – Life-Related Symptoms

Described as alternative metal but just as much grunge and melodic rock hued in its ear pleasing design, the ANEWRAGE sound makes for a swiftly appetising proposition as proven by the Italian outfit’s new album, Life-Related Symptoms. A blend of the familiar with openly fresh imagination and adventure, something akin to a fusion of Sick Puppies and Three Days Grace, the release has ears hooked and pleasure stoked from its first seconds; holding both with ease across its thirteen infection loaded proposals.

Hailing from Milan, ANEWRAGE began in 2009; its members friends since kids. Soon they found local success and with the release of debut album ANR in 2014, were keenly touring across their homeland and Switzerland, playing with the likes of Gamma Ray, Freak Kitchen, Dreamshade, and Destrage along the way. Last year saw the band writing and working on sophomore album Life-Related Symptoms, a release which should take the ANEWRAGE name and sound to a far broader and attentive landscape.

Produced by Matteo Magni (Rhyme, Audrey, Mellowtoy), Life-Related Symptoms makes a potent and highly satisfying impression straight away but it is fair to say that it is with subsequent listens that it comes into its own; increasingly grabbing attention with its imaginative twists and web of virulent hooks. It all begins with Upside Down, a song opening with pure rock ‘n’ roll bait quickly joined by the strong tones of vocalist Axel Capurro and the rhythmic grumble of bassist Simone Martin and drummer Alessandro Ferrarese. The groaning grooves and spiky riffs of guitarist Manuel Sanfilippo are as eagerly tempting, his backing vocals providing rich backing to Capurro’s quickly impressing lead. With shimmering sonic flirtation breaking through across the catchy introduction, the album makes a strong and contagious start.

It is a powerful beginning quickly backed up by My Worst Friend, a more laid back track but with a just as healthy catchiness and bite in its rhythms and lyrical voice. With electronic essences even more prominent, the boisterous croon quickly has body and appetite in its hands before Dancefloor has both engaged with its senses clipping riffs and dark shuffle of emotive shadows. With matching suggestiveness to its melodic enterprise, the song prowls more than romps with the listener but leaves thick satisfaction in its wake which Tomorrow further inflames with its atmospheric caress around a melody spun jangle. With a more volatile edge to its rhythms and heart, things only becomes more intriguing as a jazz kissed bassline and fiery swipes of guitar bring greater depth to the textures entangling within the song.

A thicker metal sourced growl provides the backbone to next up Evolution Circle, riffs bringing an instinctive snarl emulated in some of the great variety making up the song’s vocal enterprise while Floating Man and The 21st Century respectively cast a progressively hued, melody woven adventure and a rhythmically excitable and boisterous escapade. The first of the pair especially bewitches, its body the most unique so far in the first handful of songs revealing greater imagination and boldness in the band’s songwriting but pretty much matched by the flirtatious design and ingredients of its successor.

The short almost haunting serenade of Life Is You is a tender caress of melodic and harmonic beauty perfectly setting up the darker air and character of Outside. The firmly captivating track is a brooding slightly intimidating proposal coloured with more of the band’s excellent vocal prowess and emotively honed melodies.

All The Way has its own strongly enjoyable time with ears next, if without quite matching up to numerous peaks in the landscape of the album before it with Insight hitting another peak straight after in that success with its emotional and sonic discord kissed grumble though it too is eclipsed by the irresistible Clockwork Therapy where ANEWRAGE simply uncages its boldest flight of creative adventure. The song is glorious, clicking along like a mechanical toy in the hands of its creative puppeteers to steal best song honours.

The heart and melodically fuelled Wolves And Sirens completes Life-Related Symptoms, providing a fine end to a release which has no trouble drawing repeated listens in quick time. It might not be thick on major surprises but certainly has plenty of unpredictability to keep ears and expectations guessing and the craft and imagination to spark real enjoyment and we suspect a whole new ball-game of attention the way of ANEWRAGE.

Life-Related Symptoms is out now through Scarlet Records @ https://scarletrecords.bandcamp.com/album/life-related-symptoms and numerous online stores.

http://www.anewrage.com/    https://www.facebook.com/ANEWRAGE/    https://twitter.com/anewrage

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Enamel Animal – Unfaith

Few rock bands have raised the same level of anticipation for their next move than Queens Of The Stone Age with their full-length debut but that kind of reaction is exactly what UK rockers Enamel Animal have poached with their first album Unfaith. It is an enticingly dirty, fuzzy proposition with instinctive adventure in its veins and contagious often grouchy sounds in its arsenal but with a melodic fire which just as easily grabs a natural appetite for imaginative rock ‘n’ roll. Imagine a rawer Soundgarden meeting a mellower hearted Mastodon with the rousing punk like aggression of Reuben riling things up and you have Enamel Animal.

There is so much more to the imaginative proposals on offer than that though, the album’s songs as adept at creating, with varying but always compelling results, more progressive psych rock explorations.  It makes the Liverpool based quartet of Philip Collier, Barry McKeown, Glen Ashworth, and Ryan Mallows an unpredictable proposition which only adds to the fun of Unfaith. Already carrying a potent reputation through shows alongside the likes of FOES, Bad Sign, Rival Bones, and Ritual King, Enamel Animal give it another big nudge with an album getting down to persuasive work straight away with opener Surrender Reverence. Initially coaxing ears with a lone shadowy riff, the track soon flares up with a dazzling sonic wash of guitar, darker rhythms strolling through the midst of the sunspot as grungy and psychedelic hues merge. Soon a fuzzy groove wraps ears and appetite, warm harmonic vocals rising with them, they like the sounds around them taking on grungier tones by the second. It is a tantalising wash of sound, simultaneously earthy and spatial and quite riveting.

War Machine follows with a bigger muscular presence but also its own sultry smog of melodic psych rock intoxication which opens up into calmer passages of harmonic seduction. That Soundgarden like essence is a rich flame across the track but with its dirtier lining and rapacious groove, nineties English band Skyscraper is also reminded of.

Similar textures unite for the melodic pyre that is Horrified; the track growing more inflamed and tempestuous as wiry melodies entwine tenacious rhythms but also ebbing and igniting again like a sonic fire. There is a certain Foo Fighters air to the track while its successor I Love Creationists taps into Nirvana inspirations for its outstanding and bracing punk ‘n’ roll. It is an agitated treat with the boldest mischief and imagination at play yet within Unfaith, ensuring it’s less than two minutes of devilry is unforgettable.

The already budding diversity of the release and Enamel Animal sound continues into the predacious stalking of ears by Death To The Destroyer. Its hungry rumble wears Josh Homme and co essences like a cloak as the song growls in its belly and menacingly flirts with its own unique metal/heavy rock bred tenacity. Together the pair of tracks provides the pinnacle of the album but closely backed up by the likes of Greetings Earthlings with its creative snarl. There is a great irritability about the song in sound and voice, the track facing up to the listener with an enjoyably grubby air and Stone Temple Pilots scented nature enhanced by more of the band’s psych fuelled flames.

Things calm down as The Thousand Years slowly and gracefully entices the senses and imagination with increasingly widening tendrils of fuzzy melody. In time eager sinew loaded rhythms bring their anthemic almost tribalistic lures to the radiant entrance of the song, textures around them becoming more granular as melodies explore exotic realms. It is absorbing stuff growing more captivating with every listen, a trait shared by the album itself and next up Red Is For Danger. To be fair, its heavy blues lined rock ‘n’ roll pretty much hits the spot straight away but just increases its potency over time as grooves wind around ears and song with incendiary temptation.

As the melody woven beauty of Eintracht simmers, bubbles, and ignites with emotive intensity and the following, A Praying Mantis Does Not Pray makes its own persistently evolving journey of boisterously inventive sound, the album just cements its impressive persuasion. Neither quite reaches the heights of those before them but both only grow in strength as new layers or imagination are found  listen by listen to add to the rich enjoyment of the release.

Unfaith ends with its title track, an emotionally charged flight of progressively honed post rock infusing grunge and stoner textures but suggestively elegant with a raw edge intensifying its heart.

Produced by Jon Lawton who also plays across the album, Unfaith is strapped with potential and ripe with craft and real temptation.  It is a full introduction to Enamel Animal suggesting a band with a great future ahead of them if they continue their growth whilst providing a pleasure to be savoured right now.

Unfaith is available now as a name your own price download @ http://enamelanimal.com/album/unfaith

https://www.facebook.com/EnamelAnimal/    https://twitter.com/anenamelanimal

Pete RingMaster 08/03/2017

Copyright RingMaster: MyFreeCopyright

Monkey Ranch – Alone

MR_RingMasterReview

Nestling in what certainly appears to be a potent time in the Italian rock/metal scene right now is Pistoia hailing outfit Monkey Ranch. Fuelled by a multi-flavoured alternative rock styled sound, the band’s debut album Alone is an ear pleasing introduction to a band ready to nudge attention beyond their homeland’s borders.

Monkey Ranch was formed in 2012 by vocalist/guitarist Iacopo Ferrari, bassist Jacopo Geri, and drummer Alessio Petrucci with its current line-up of guitarist Francesco Ceccarelli and drummer Iacopo Sichi alongside Ferrari and Geri in place during the following year. Their sound is a grunge/hard rock based proposal rich in blues nurtured textures and lyrical incitement. It is a captivating mix not always overly unique within Alone but persistently providing plenty to find strong enjoyment in.

The album opens up with The Butcher, grooves instantly winding themselves around ears grabbing attention as they lay the ground for the potent tones of Ferrari. From there the song swiftly reveals the spice in the band’s sound, blues nurtured grooves and plaintive melodies colluding with bold, aggression laced rhythms and a raw grunge bred character. It is a fiery mix with few surprises but much to grab and satisfy ears with.

art_RingMasterReviewWithout Chains follows with a less forceful nature as warm melodies coax attention while vocals again make a strong lure, the track’s emotive heart blossoming with every second. Its magnetism is equal to the first song though, a Pearl Jam like essence only adding to its appeal before Danny Boy and Freedom swing and stroll through ears respectively. The first has grouchiness in its blood which compliments the infectiousness in its gait and fire in its grooves while its successor is a captivating blend of warm harmonies and melodic enterprise also driven by an instinctive catchiness which has hips and imagination swiftly and eagerly involved.

Recent single Renegade steps forward next, a country rock scented twang slipping into melodic endeavour to nicely mix with a feistier grunge growl as its natural swagger easily tempts. It is an instinctively welcomed persuasion matched in its own individual way by Unhappy Stories. The song is a smouldering roar which makes it very easy to find a keen appetite for. With familiarity on its side to add to its stylish presence, the song nurtures a tenacious snarl in bass and riffs; a grouchy edge erupting throughout the encounter but never defusing its emotive angst and melodic seduction.

Picture of You steals best track honours straight after, its punk lined rock ‘n’ roll a thumping arousal of ears and appetite with an irritably delicious bassline which alones demands a lusty reaction. As great as other songs are, it stands for us head and shoulders above all though the country spiced stroll of Dance of the Witch is no light weight in sealing eager attention next, or indeed Remember Me after that with its hard and blues rock flames around punchy rhythms.

The album comes to a potent close with This One, an initially atmospheric lure all the time breeding a tapestry of blues rock which slowly but surely catches flame winy melody by moody rhythm and vocal expression. At over ten minutes, the song does outlast personal preference but there is no escaping the craft and imagination in its depths ensuring Alone ends strongly.

Monkey Ranch will be making their presence known for the first time with a great many through Alone and such its highly enjoyable offering, it is a union destined to be repeated again and again as the band grows from this potent start.

Alone is released February 3rd on Red Cat Records.

https://www.facebook.com/monkeyranch4

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright