Crooked Ghost – Colors Bleed

photo by Rome Widenhouse

If you look at the press release for new EP, Colors Bleed, it suggests the sounds within would make something appealing for the fans of bands such as The Smiths, Suede, The Cure, Muse, Siouxsie And The Banshees, Gun Club, and early R.E.M. With each a valid clue to the Crooked Ghost sound it is a list suggesting its thickly flavoured body but maybe not quite its distinctly fascinating and often consuming character.

Asheville, North Carolina hailing, Crooked Ghost has already made a potent impact in 2019 with their album Skeleton House, released this past February. Recorded with producer Edward Madill, Colors Bleed now sees the quintet cast tracks which are “bigger and brighter than those before” but within the shoegaze, post punk, and dream pop seeded tapestries there is no escaping the invasively intimate shadows and esurient often raw melancholy fuelling their hearts and imagination.

Latest single, Black Rainbow, opens up the release, its gentle melodic beginning an evocative coaxing. Soon it is building up into a creative crescendo, the lively rhythms of drummer Jon Wyatt uniting with the jangling prowess ringing from the guitars of Charles Reed and Ray Lark, with the latter’s similarly magnetic vocals swiftly adding to the catchy temptation. Already there is emotional weight and tempestuous to the track and its mental illness themed intimacy, the keys of Alex Cannon radiant smog within the textures as the bass of Chris Saldin brings firmer shape to its inherent shadows.

By the breath the song only intensifies its fears and emotional turbulence yet there is a melodic sun at its heart which just beguiled before Sinew In Red shared it’s even more fervid breath and conflict. Again there is an enveloping heat to sound and emotion at the core of the song, its dark embrace a fusion of enquiring warmth and invasive melancholy within the haunting bewitchment consuming ears and attention, it all enveloping like a kind of rapturous romance. As its predecessor, the track simply bewitched though again as with the first leaving a lingering touch built on doubt and hope in its wake.

The final pair of Golden Blue and Bright White Noise provided just as evocative explorations to keenly immerse in. The first rises from its crepuscular calm with melodic captivation wrapped in more strident sonic threads yet again there is instinctive warmth which seduces across both keys and guitars. Lark’s inimitable tones only add to the bracing emotion soaked soundscape, his voice and words crafted in open and candid reflection.

The closing song is in many ways the most intense and haunting track of all, its sorrow verging on claustrophobic and melancholy devouring  yet once more Crooked Ghost bring a glow and melodic captivation which lights its shadows alongside the listener’s thoughts and feelings.

Colors Bleed quickly proved a gripping release but became increasingly spellbinding as each fresh listen opened up more depth and temptation in its body and imagination.

Colors Bleed is out now: available@ https://crookedghost.bandcamp.com/album/colors-bleed

https://www.facebook.com/CrookedGhost   https://twitter.com/thecrookedghost

Pete RingMaster 05/11/2019

Copyright RingMaster: MyFreeCopyright

The Cavemen – Too High To Die/I’d Kill

burgos-11_RingMasterReview

It has been a busy year for New Zealanders The Cavemen from just releases alone. April saw the unleashing of their exceptional self-titled debut album followed in June by the just as rousing and wonderfully arrogant two track single Juvenile Delinquent. Now the quartet of vocalist Paul, guitarist Jack, bassist Nick, and drummer Jake Caveman have freed new offering Too High To Die/I’d Kill ahead of yet another album; the single two slices of the band’s distinctive garage bred punk ‘n’ roll which is impossible not to get lustfully off on.

Now UK based, The Cavemen have arguably unearthed their most primal and trashiest sound for their new single; breeding both tracks with the kind of punk rock which has ignited and corrupted rock ‘n’ roll since the days of Gene Vincent and Jerry lee Lewis, through the likes of Hasil Adkins and The Stooges, and on to the likes of The Cramps, Gun Club, and The Ramones and more. Raw and cast in lo-fi manna, the single sizzles on the senses as it infests the body and purges the psyche like a predacious attack of sonic leprosy.

too-high-frontcover-copy_RingMasterReviewToo High To Die rumbles and grumbles from its first sonic lancing of ears, rhythms cantankerously bouncing as deranged vocal urgency colludes with the winy enterprise of the guitar. The whole song is like one giant chorus such its rousing catchiness with the fiery guitar solo additional toxicity to greedily devour.

Companion I’d Kill is just the same, a virulent stomp from first note to last but even more soaked in seventies punk with a touch of bands like The Saints and The Lurkers to it. A belligerent snarl with more contagion to its persuasion than any plague, the track alone but definitely in union with Too High To Die sparks even more impatient anticipation for The Cavemen’s impending second full-length.

Too High To Die / I’d Kill is out now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/The-Cavemen-Too-High-To-Die-b-w-Id-Kill-download/p/70351208/category=18119001

https://www.facebook.com/thecavemennz

Pete RingMaster 23/09/2016

Copyright RingMaster: MyFreeCopyright