Smash Fashion – Junkie Luck

smash fashion live_RingMaster Review

Ahead of their eagerly anticipated new album, US rockers Smash Fashion have uncaged a feistily flavoursome teaser in the shape of new single Junkie Luck. It has all the trademarks of the band’s decades bridging rock ‘n’ roll and the rousing mischief fans have come accustomed to and greedy for. It also hints at new flavours in the band’s power fuelled melodic roar ensuring intrigue for their upcoming release is all the more ripe.

Los Angeles bred, Smash Fashion has spent the past decade or so brewing up a sound merged from the raw energy of fifties rock ‘n’ roll, the hungry adventure of sixties psych and garage rock, and essences of punk ‘n’ roll forged ever since. With the salacious scent of glam and the anthemic energy of hard rock amongst other flavours also involved, the quartet create something that defies being pinned down yet has a broad familiarity which swiftly seduces ears and imagination. The creation of and driven by vocalist/guitarist Roger Deering, Smash Fashion has increasingly lured acclaim and eager attention across a trio of albums starting with A Gentlemens Guide to Sophisticated Savagery in 2006. Three years later Don’t Pet The Sweaty Things stirred things up further for the band though it was Big Cat Love in 2014 which sparked the most eager and broadest spotlights yet on both sides of the Atlantic. With a clutch of ear teasing singles and a praise garnering live presence which has seen the band share stages again on both sides of the pond with the likes of Ian Hunter, Arthur Lee and Love, The Zombies, Cheap Trick, Psychedelic Furs, The Alarm, Missing Person, Silversun Pickups, Orson, JET, and The 88 over the years backing up the success of their albums, Smash Fashion has become a greedily devoured band with songs that just make tongues lick lips; the new single Junkie Luck no exception.

smash fashion art_RingMaster ReviewFrom its firs breath Junkie Luck is a rich enticement of guitar, the strings of Deering flirting alongside the sonic lead of Lloyd Stuart Casson (ex- Rock City Angels) before the former’s recognisable and always persuasive vocals potently leads the emergence of the song’s infectious heart. The swinging beats of drummer Repo (ex-Smack) manage to cage and incite further devilment in the song, assisted in kind by the prowling lure of Scarlet Rowe’s bass, both aiding the track’s grip on the listener’s hips and involvement. Musically Junkie Love is like a fiery blend of The Cars, Cheap Trick, Turbonegro, and Sweet with a healthy punk rock attitude but it emerges with a character and uniqueness which roars Smash Fashion.

On the B-side of the single is the boisterous punk ‘n’ roll cover of Golden Earring’s Long Blond Animal, Deering and co giving it fresh attitude for a rousing impact which for personal tastes actually puts the original in the shade just a touch. A song which will not be on the forthcoming album, it alone makes the single more than worthy of being checked out; Junkie Luck itself the thicker temptation urging all to add it to their music collection.

It is probably fair to say that you know what you are going to get with Smash Fashion, a blistering good time with sounds that easily incite body and soul, yet each release to date has only surprised and impressed with its own fresh revelry. There is no reason to expect anything different from the new album, just much more of the fun offered by Junkie Luck.

Junkie Luck is out now via Electric Pudding Recordings on download and on Ltd Ed 7”red vinyl.

https://www.facebook.com/smashfashion   http://www.smashfashionmusic.com

Pete RingMaster 10/02/2016

Copyright RingMaster: MyFreeCopyright

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MPG (Mike Paradine Group) – Bayonne, NJ

MPG_RingMaster Review

Having stomped around and downed a brew or three to the debut Mike Paradine Group album, Death in The Family around four years ago, there was no disguising the anticipation waiting to check out its successor Bayonne, NJ after its recent release. Thanks to the man himself, we have got our eager teeth into Mike Paradine’s second solo album, and true to say expectations were not let down in any size or form.

Bayonne bred Paradine is probably better known as drummer and songwriter in New Jersey based metal band ArticFlame, the band he founded after leaving heavy metallers Balistik Kick, where he had been a member for thirteen years, in disillusion at its “negativity and inactivity”. Since emerging, Paradine and ArticFlame have released to date a quartet of increasingly acclaimed albums whilst sharing stages with the likes of W.A.S.P., Manowar, Savatage, Quiet Riot and many others.

Also the author of King of Toys, a highly praised horror/poetry book about a 5 year old boy who is abused by his drug addled parents and after a horrible episode of abuse, sees his broken down toys come to life and avenge the event, Paradine unveiled his debut solo album Death In The Family in 2012. It was built on a collection of personal songs lyrically seeded in themes such as an on-going feud with certain family members, growing up in the late 70’s, early 80’s in Bayonne, 9/11, and his battle with cancer as a 13 year old, as well as more humour fuelled adventures. The album was a heart delivered and felt proposition of rousing emotion and rock ‘n’ roll which its successor emulates with similarly intimate tracks based on experiences, people, and life in the home city where he still resides. Where it Bayonne, NJ differs to the first album is in its sound. Whereas Death In The Family revelled in numerous styles across heavy and hard rock to varied metal exploits, the second full-length sees the band stick solely to the hard rock sound which Paradine started his musical life playing. As the release soon shows though, it does not prevent songs from offering a broad variety of sound and enterprise, or from sparking the same depth of pleasure as the previous encounter.

art_RingMaster ReviewWith Paradine writing the lyrics, melodies and playing the drums across the majority of the album and Allen Carescia writing the music, playing guitar/bass, and producing, Bayonne, NJ quickly grips ears and attention with opener Deadbeat Dad. Straight away there is a grouchy attitude and muscular intent to the song’s rock ‘n’ roll, guitars sharing irritable riffs as rhythms firmly jab behind the growling tones of Paradine. Direct and pulling no punches, the song is a raw and potent slab of confrontational rock ‘n’ roll backed as strongly by the similarly toned Heaven Would Be Hell for Me. Almost predatory in its stroll and sonic belligerence, the song is east to be drawn to but truly comes alive when harmonies and melodic flames dynamically erupt to leave an already keen appetite greedier.

In the first MPG album, a host of vocalists featured across its songs but for Bayonne, NJ Paradine and, as in the third track, fellow ArticFlame Michael Clayton Moore take turns driving tracks. Fair to say there is a different spark and dynamic at play with Clayton Moore’s recognisable tones; tracks given another rich hue to tempt with, a third emerging when both vocalists unite their contrasting styles for an anthemic lure again as here. In tandem with that, Paradine’s rhythms are alone as thick a tempting in the song as too the sultrily spiced guitar adventure brewing within its boisterous persuasion.

Riot at the Public House stirs up body and emotions in similar style and fashion next, the aggressive attitude of the opener returning to line the invitation of hooks and grooves and colour the prowl of the bass. Clayton Moore again leads the excellent rousing of body and spirit, embracing the great contrast between both men’s tones vocals, though as good as it all is, things leap up another gear, vocally and musically, in Unforgotten Highway. The song is spellbinding as melodic caresses and emotive shadows cradle the superb vocals and emotional expression of Clayton Moor. As soon found, it is an provocative incitement which stays with thoughts long after it leaves ears, its melodies alone as lingering as the potency of the vocals and the subtle percussive touch of Paradine.

Bayonne is potently delivered to ears and imagination through Zombietown next, its barren spirit and decaying landscape enjoyably tempered by the honky-tonk piano/keys spawned shuffle uniting with Paradine’s accusing delivery and the agitated nature of the sounds around him. Showing yet one more strain of the varied flavouring to the album, the striking proposal makes way for another in the funk infested rock ‘n’ roll of Dancing Bag of Bones. There is a Cooper-esque feel to the song as it sizzles in sonic endeavour and spicy enticement, flirting and twisting like its protagonist in ears before leaving heftily satisfied emotions in the masterful hands of Little Darling. A superb cover of the Thin Lizzy classic, it quickly revels in Paradine’s undisguised passion for the Irish rockers, an essence enjoyably scenting many songs within the album, whilst showing its own adventurous touches in thrilling tribute to the legends.

Obviously inspired by that aforementioned book of Paradine, King of Toys simmers in and seduces ears soon after, its melodies an emotive suggestiveness within the music of this time Mike Marino. Keys and guitars court each other’s respective elegance and fiery drama as an array of vocal textures bring the tale to the imagination. More of a grower than other tracks, it too leaves a lingering and enjoyable mark before the old school air of Taking on all the World blazes away with an impassioned weave of melodic acidity and blues infested invention. Without quite sparking the same fire as numerous others on the release, it still has ears enthralled and a wish for more vocal before the album closes on the twin treats of Hey Mama, another irresistible cover of this time The Godz track, and finally Daddys Little Girl. Each recorded separately to the rest of the album, the first features Dave Manheimer and Kilroy on guitar with “Ghost” Meehan on bass alongside Paradine whilst the closer is an emotive ballad with drummer Mike Young backing Clayton Moore who wrote the, yes “sappy” but richly enjoyable song.

Increasingly impressive, Bayonne, NJ is a rock ‘n’ roll treat so easy to get unavoidably involved in, and as the first MPG release, a proposition which just makes an appetite for more as lively as the pleasure found within it.

Bayonne, NJ is out now through http://www.mikeparadine.com/

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Pete RingMaster 3/02/2016

Copyright RingMaster: MyFreeCopyright

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Shotgun Justice – State Of Desolation

SJ_RingMaster Review

State Of Desolation is the debut album from German heavy metallers Shotgun Justice, a band which for the past decade has seemingly become a potent live force in their homeland. That is easy to understand given the potential to explode the songs making up their first full-length have, though it is a spark that is frustratingly unrealised across much of State Of Desolation. Nevertheless the album is an intriguing proposal which, without ever lighting that fire, keeps drawing ears back with its intriguing array of flavours and to see if so far reserved but satisfied reactions can change.

Formed in 2003 by drummer Tobias Groß and guitarist Erik Dembke, Shotgun Justice’s sound is bred in old school heavy metal but as keen to infuse spices from varied essences from thrash to hard rock into its exploits. As shown by State Of Desolation, at times it is a richly potent mix and in other moments missing the mark, certainly for personal tastes, but it is an adventure which lures intriguingly keen ears.

With vocalist Marco Kräft, bassist Tom Schubert, and guitarist Kai Brennecke alongside Groß and Dembke, Shotgun Justice start that adventure in their album with Proclamation Of War; a portentous instrumental with vocal samples setting the theme before Blood For Blood takes hold of ears with its antagonistic riffs and rhythmic swipes; them all carrying an edge of intimidation. The entrance of Kräft vocals sparks some agreeable hooks as the song relaxes its menace a touch, though bass and drums still prowl with force around the unspectacular yet inviting hard rock/metal body of the song. It is a strong start to the album elevated by some inventive twists and turns exposing their bait later into the encounter.

ShotgunJustice-StateOfDesolation-frontover_RingMaster ReviewThe following Blessed With Fire similarly has all the right ingredients to grab attention but not the last essence to leap into loftier success though with its rhythmic rumble and growling riffs, there is no inclination to pass it by before its end. A touch of ArcticFlame frequents the song and reappears in its successor Nothing Left To Fear, a predatory proposal of a song with attitude to its courting of ears and fire in its sonic belly, each additionally blessed with some deliciously spicy grooves. The track soon outshines its predecessors; its thrash meets classic metal nature an instinctive incitement for involvement before Nemesis (A Global Killer) offers its power fuelled balladry for easy consumption. Schubert’s bass is a great dark rumble in the song’s lining whilst Kräft leans on his vocal strengths to portray the emotive narrative though sadly the addition of operatic female just does not work for these ears at all.

The Scales Of Justice wraps ears in its fine suggestive sounds next, sparking ears and thoughts alike with its percussive lures and wiry guitar persuasion, though harmonies in the background lay less enjoyably on ears. It is a potent hint for the imagination though leading right into the rawer jaws of Head Full Of Bullets. Teasing with its low key but provocative entrance, the song is soon charging with thrash spawned nostrils flared as rhythms smacking its robust flank. At its centre a blues induced calm comes over the track to further engage an already keen appetite for the song, its previously urgent charge now another predatory stalking beneath an anthemic vocal call.

Things get more adventurous and unpredictable from hereon in on the album, and equally more fascinating and tempting. Firstly Forsaken steps forward with a tapestry of cosmopolitan rhythms aligned to a sultry Asian vocal lure, the bass walking around them with a brooding tone to its strings. It is a great start which continues as guitars spin their exotic web and vocals find new flavour to their delivery if also a little bit of waywardness in trying to compliment the impressing sounds around them. As the track continues to expand its theatre and thrills it takes best track honours with ease.

The heavier bones and weight of Harvest The Storm takes over to explore its own progressively natured trail of vocal diversity and tenaciously inflamed imagination. At times an aggressive torrent of provocation and in others turns an evocative melody thick calm, the song is a compelling tempest which as its predecessor, reveals a potential and boldness suggesting greater things ahead that is missing in the earlier part of the album.

Ending with its similarly impacting title track, it is fair to say that State Of Desolation is a volatile proposition in its strengths and qualities but a release which certainly across its final quartet of songs leaves a great taste in ears and enjoyment. Though over a decade as a band, Shotgun Justice still feel like a work in progress but as suggested by Forsaken alone, moving in the right direction.

State Of Desolation is out now via Kernkraftritter Records.

http://www.shotgunjustice.de/   https://www.facebook.com/shotgunjusticegermany

Pete RingMaster 27/01/2016

Copyright RingMaster: MyFreeCopyright

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Devilstrip – Rise

Devilstrip Promo Shot_RingMaster Review

This month sees Rise, the debut album from US rockers Devilstrip get its UK release and show what those over the pond and especially in Akron, Ohio know, that the trio is one thickly enjoyable hard rock roar. The ten track encounter offers an infectious and rousing proposal rich in heavy grooves and melodic tenacity upon robust rhythms; the result being rock ‘n’ roll to get eagerly close up and personal with.

Formed in the closing weeks of 2012, Devilstrip consists of lead vocalist/guitarist Marc Wasmund, bassist/vocalist Graig Lindgren, and drummer/vocalist Jimmy Gray. Drawing in inspirations from the likes of Black Stone Cherry, Live, and Foo Fighters, the threesome soon set about penning tracks built on the intent to “create something original, yet accessible”. Debut single Go lit ears first, its well-received release also the touch paper to the band’s hunger to play live, an appetite seeing them share stages with bands such as Europe, Buckcherry, Jared Weeks, Girl on Fire, Saving Abel, and L.A. Guns amongst many over time. Fair to say, Rise only reinforced the band’s emergence in the US underground scene, drawing plaudits from critics, media, and fans alike. That success is surely to be expected in the UK moving into Europe now as the Devilstrip sound makes its invitation through Rise.

Not What You Need is the first slice of bait from the album, its initial low key and atmospheric sonic coaxing a deceptive lead into the swiftly fiery and boisterous heart of the song. Riffs and rhythms are soon a choppy lure over which the potent tones of Wasmund entice as agreeably as the slim grooves and melodic tempting also exposed. It is easy to see where that Black Stone Cherry spicing comes into the band’s music in the opener alone, though it is not an overpowering essence in the broader heavy rock character of the song.

Devilstrip Cover Artwork_RingMaster ReviewIt is a thoroughly enjoyable start but quickly outshone and played by Go. From the off, flirtatious grooves and melodic charm holds ears as country rock meets grungy hard rock flavours colour the track and imagination. In no time hips twist as eagerly as those grooves and feet dance as tenaciously as rhythms, Wasmund the vocal ringleader to it all in the increasingly varied proposition. More irritable and antagonistic as it goes, the track has ears hungry for more which Including Me more than feeds with its outstanding revelry. For all the references offered as hints to the band’s sound, this track is like Terrorvision at their inventive best; a tone and spicing which does the song no harm at all. Across Rise, there are many familiar scents and essences of bands and supposed influences yet, as here, they only add to the nature and infectious weight of the album.

Both the swinging temptress that is Are You Ready and the punkish Kill The Headlights keep album and ears in thick unity, the first an insatiable flirtation of grooves and anthemic theatre whilst the second stomps and swaggers around one delicious throaty bassline. Its punk n’ roll flavoured canter come prowl is a lively affair with the right mix of devilment and intimidation to have feet leaping and emotions cornered in preparation for the resourceful confrontation of To The Enemy. A great steely bassline opens things up, its irresistible bait soon joined by sonic flames and stabbing beats before all three collude in a predatory courting of ears. Things relax a smidgeon as the vocals reflect the song’s lyrical heart but always there is a volatile atmosphere to sound and voice sparking feistier evocative eruptions of emotion and energy.

The crunchy presence and emotive reflection of Ugly comes next, its pleasing if slightly unadventurous offering allowing no lessening of attention, as neither does Light Up The Room straight after. Again there is a punk hue to the air of the subsequent power ballad spiced encounter, more essences showing the flavoursome and varied songwriting of the band before Love, Hate, Die backs all thoughts with its potent croon and melody soaked intensity. Like its predecessor and indeed the following She Said, there are plenty of aggressive turns within scenery draped in melodic charm and prone to angst fuelled roars, and as the other pair, plenty to be captivated by. With She Said enjoying a great tempestuous climate, the trio conclude Rise in fine style, though for personal tastes, the album is at its loftiest in the first half dozen tracks where they seem to have much more character to their imagination and devilry.

Nevertheless Rise is a gripping slab of hard rock from a band we can only hope to hear and see more of this side of the Atlantic from hereon in.

Rise is released in the UK on January 22nd Through All Stores.

http://www.devilstriprocks.com   https://www.facebook.com/Devilstripband   https://twitter.com/devilstriprocks

Pete RingMaster 22/01/2916

Copyright RingMaster: MyFreeCopyright

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Devilstrip to “Rise” in January 2016

Devilstrip_Cover_Artwork_RingMaster Review

US ROCKERS DEVILSTRIP UNLEASH THEIR DEBUT ALBUM TO THE UK THIS WINTER!

Devilstrip are a hard-rock power trio from the rust-belt of Akron, Ohio, USA. Comprised of Marc Wasmund (lead vocals/guitar), Graig Lindgren (bass/vocals), and Jimmy Gray (drums/vocals), the three piece tug from the inspirational powers of Black Stone Cherry, Live, and Foo Fighters, with critics already describing the band as “melodic, raw stadium rock with a bit of punk rock sensibility”. Stocked with hefty riffs, soaring melodies, and an explosive debut album in the shape of ‘Rise’, which drops on Friday 22nd January, the band are destined to break in 2016.

Born December 2012, the three piece had a strong desire to create something original, yet accessible, and instantly set to work, soon penning their debut single ‘Go’. Intense rehearsals and extensive writing followed, along with a gigging schedule which has seen the DIY rocksters grace stages with everyone from Europe, Buckcherry, Jared Weeks, Girl on Fire and Saving Abel, to the L.A. Guns. The band have also recently filmed an episode of the hit TV show “Bar Rescue”, which will air on Channel 5 later this year.

With the trio’s blossoming live reputation, Devilstrip decided to turn their attention to crafting their debut album ‘Rise’. Independently mixed and produced, the record is a call to arms for anyone and everyone that has an affinity with burly riffs and earnest songwriting. The layered depth of their debut album is evident as hammering drums and probing guitars, entwined with alluring hooks, cleverly wind their way deep into your core. Tracks such as the mighty ‘Go’ and the emotive ‘She Said’ are sure to light up radio airwaves. Devilstrip will tour the UK in the Spring, so latch onto the band now before they explode in 2016.

-DEVILSTRIP RELEASE ‘RISE’ THROUGH ALL STORES ON FRIDAY 22nd JANUARY-

https://www.devilstriprocks.com  https://www.facebook.com/Devilstripband  https://twitter.com/akrondevilstrip

Steel Flowers – Kleptocracy

Steel Flowers_RingMaster Review

According to the press release, concept album “Kleptocracy is looking around and suddenly understanding what Orwell meant. Kleptocracy is mind control told by Aldous Huxley in Brave New World. Kleptocracy is the distaste ensuing and the attempt to destroy all, but it is also the final realization, just like an oxymoron, to be who you want to destroy.” What the words omit to mention is that the new album from Italian band Steel Flowers is also one fascinating and increasingly compelling proposition. Sculpted on a fusion of hard rock and alternative metal, to simplify things, the ten track incitement entices the imagination with an unpredictable bedlam of flavours and styles woven into a theatrical canvas. Initially it challenges ears and thoughts with that same off-kilter tapestry but over time builds into a lingering persuasion which draws keen attention time and time again. Kleptocracy will not be for everyone but if the thought of System Of A Down meets Turbonegro meets Dog Fashion Disco appeals then this just might be a thrilling way to end the year on.

Formed in 2002 by vocalist Riz, the Milan band quickly hit the live scene before releasing a series of EPs over time. Line-up changes ensued before Steel Flowers settled down to record and release debut album 12 Tales From The Life Of Mr Someone in 2009. Described as a mix of hard and street rock, its well-received uncaging led to the band appearing at Faenza’s MEI, an event for independent labels that same year. 2011 saw the band begin work on Kleptocracy and the emergence of a new direction and invention in the band’s sound as alternative metal influences, and more, began ripening within their imagination. Fair to say the fiercely diverse album had a troubled creation but finally it gets its unveiling via Red Cat Records to ultimately captivate and impress.

cover_RingMaster Review     It opens with Oxymoron 4991 and an initial tempting of electronic mist conjured by Uzzo punctured by a moment of distorted vocals. There is a portentous edge to that first coaxing, one which ripens as guitars and rhythms bring forth their own dark hues, though within a few more haunting moments a warmer light and energy erupts to change the shade of the song again. The guitars of Alex and Adriano are soon dancing and flirting with ears whilst still providing darker drama to the broadening sonic narrative of the track. Once fully into its infectious stride, attention and appetite are enslaved by the song, thoughts similarly bewitched as it proceeds to slip from spicy grooves and niggly hooks into mellow harmonies and avant-garde twists. The vocals of Riz provide variety to match the sounds too, clean croons and gnarly roars offered in numerous ways and backed well from elsewhere within the band. It is fair to say, as the album, the track took time and a few plays to really click in ears and emotions, but straight away had them fully enticed and wanting to delve deeper into its warped adventure.

The dirtier rock ‘n’ roll of Pauper comes next, the feisty beats of drummer Kiry potent bait alongside the throaty tone of Yano’s bass. The latter soon reveals its swinging moves though, a funk infused revelry flushing through the song with a touch of Red Hot Chili Peppers to its colouring, though the earlier heavier elements still court these tangy exploits. It all helps fuel a quickly contagious proposition with a virulence matched in kind by that bred in the punk ‘n’ roll stomp of its successor I’ll Kick Your Ass. Straight away the song’s tenacious and tempestuous roar teases with a B-52s-esque groove which reappears throughout alongside Sex Pistol like hooks, both inflaming the raw and brawling heart of the excellent track.

Hallways Of Illusions serenades ears with its melodic flames and emotive textures next, it a gentle croon but with a fiery nature as, like all songs, it involves an array of creative spices and evolves with perpetual regularity, though not as dramatically as other proposals within Kleptocracy, such as Break My Blues with its intoxicating sonic liquor around prowling rhythms. Living up to its name in tone, the track is an enticing engagement though also not quite escaping the shadow of others like the following Tired And Bored. A great grizzled bassline sets the song up; a web of voices and guitar spun endeavour then wrapping ears as another funk inspired intent infests the rhythms and the hard/classic rock enterprise of the song. Again it is a track which needs time to blossom in thoughts but only heads to the providing of rich pleasure for the listener to embrace.

Through the psychotic character and vaudevillian heart of the outstanding Ruled By Evil Men and the infectious dystopian predation of Workin’ Monkey, the album hits a new plateau of persuasion, both tracks casting their own unique and engrossing theatres of sound and suggestion with the first of the pair the show stopper on the album.

Variety continues as an electronic enticing welcomes R.I.P. next, that brewing into a seventies seeded progressive metal narrative swinging from big thrills to smaller pleasures but always wrapping ears in thick tempting before making way for closing track Tank Man. The song ends the album on a more classic hard rock offering with a touch of Extreme meets Ugly Kid Joe to it; a last slice of rock ‘n’ roll maybe undulating in its riches but undoubtedly leaving satisfaction strong.

Kleptocracy is not without flaws, at times its invention taking songs away from their best assets, but Steel Flowers has certainly conjured a release that excites with the potential of bigger and bolder things ahead for good measure.

Kleptocracy is out now via Red Cat Records.

https://www.facebook.com/steelflowersband   http://www.steelflowers.net    http://twitter.com/steel_flowers

Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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Maybe We’re Dead Already – Shrapnel

Maybe We're Dead Already_RingMaster Review

Scottish rockers Maybe We’re Dead Already have just released their new EP On The Way Down, a six track roar of alternative and hard rock led by lead track Shrapnel. Sent over to us as a teaser and presumably the initial bait/single for the bigger release, the track is a grizzly and grouchy stomp of tenacious rock ‘n’ roll which certainly sparks a want to hear more.

Hailing from Glasgow, Maybe We’re Dead Already emerged in 2013, formed by guitarist Matthew Sharp and bassist Steven Bowie. Quickly they became a gigging whirlwind across Scotland earning potent reputation backed by their self-titled demo EP from which certain songs found strong airplay on the likes of Amazing Radio. Now it is On The Way Down and prime weapon Shrapnel poised to stir up more attention and further afield.

Big boned rhythms and fiery riffs open up the track, no major surprises but plenty of energy and raw tempting charging ears from the off and matched in strength by the vocals of guitarist Paul Morton. Hooks and rhythms swiftly collude to create a web of bait which alone grips the appetite, leaving the imagination to the vocals and the creative flames shooting from the guitars across its bows.

Inspirations for the band come in the shapes of bands like as Foo Fighters, Biffy Clyro, Truck Fighters, Led Zeppelin, and Queens of the Stone Age, and certainly a couple of those are influential hues to the grungy rock ‘n’ roll on offer. Eagerly driven by the formidable swings and tenacity of drummer Cree Hoggan, Shrapnel is a rousing, easy to enjoy persuasion.

We have yet to hear the rest of the EP it comes from but Shrapnel suggests that is also well worth checking out for similarly enjoyable hard-nosed rock ‘n’ roll.

Shrapnel and the On The Way Down EP are out now @ https://itunes.apple.com/gb/album/on-the-way-down-ep/id1056714108

http://www.maybeweredeadalready.co.uk/   https://www.facebook.com/maybeweredeadalready   https://twitter.com/mwdaband

Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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