As the band get to work on its successor, we take a look back at the Leatherjacks debut album as well as subsequent singles as an introduction to their inventive rock ‘n’ roll. From São Paulo, Brazil and formed in 2016, Leatherjacks is the creation of singer, songwriter, guitarist, multi-instrumentalist Mauro Cordeiro and it was through his personal introduction that we were guided to the band’s first album, a flavoursome slab of heavy metal infused hard rock which has raised an eager anticipation for its upcoming successor.
With the inspiration of bands such as Iron Maiden, Deep Purple, Black Sabbath, Led Zeppelin, Metallica, Thin Lizzy, George Benson, and Stray Cats among many others shaping his own musical imagination, The Lost Arks Of Rock And Roll was pretty much a solo project for Cordeiro despite attempting to find like-minded musicians to realise his intent. For the second album he has realised his hopes for a full band line-up with the addition of bassist Marcos Brandão and guitarist Rapha Gusto; a drummer still being sought as we write.
The Lost Arks Of Rock And Roll opens up with People (We’re Chosen Ones) and instantly had ears keenly attentive with its swinging groove and fiery touch. Riffs and rhythms simultaneously launch an infectious lure, the vocals of Cordeiro adding to the swift captivation. Certainly the song is not over ripe in uniqueness but quickly blossomed with fresh and imaginative enterprise through the open craft of its creator; that blending of classic and heavy metal with rousing hard rock providing a highly flavoured proposition which easily caught the appetite.
Next up Crocodile’s Heart has a more controlled gait and sonic calm though its simmer bubbled rapaciously throughout. An eighties metal spicing brings a catchy hue to the song which though it did not ignite ears as forcibly as its predecessor, left its pleasurable mark especially through Cordeiro’s guitar enterprise before Burning Wire grabbed attention with its web of wiry grooves and rousing rhythms honed into a manipulative slice of heavy rock ‘n’ roll with a deft melodic touch. Cordeiro has a passion for rockabilly among other sounds, a hue definitely behind the track’s tenacious and quickly addictive stomp.
Taking best track honours it is followed by the muscular roar of the track LeatherJacks. Once more heavy metal and imposing hard rock are blended for a proposal which almost preys on ears as it pleasures them; its tone as predacious as it is arousing before Emotions On Sale explores a more tender, ballad like side to the Leatherjacks invention. It still comes with a fire in its belly though; one which inflames its voice and intensity throughout a magnetic presence to forge another high point in the album’s already compelling body.
The Slammer was a song which did not quite hook up with personal tastes yet Cordeiro has a style and touch to his guitar play and songwriting which easily tempts as proven not for the first or last time by Do You Fucking Pay My Bills?, a raucous but defined rock ‘n’ roll assault riff armed and melody inflamed with attitude oozing every note and syllable.
The following instrumental MotoCross is a delicious metal ‘n’ roll incitement, craft and adrenaline fuelling its addictive antics before the album concludes on its title track. The final song was another which did not quite ignite the juices as those before but again bouncing to its contagion and returning to its fire for more was never in doubt.
The Lost Arks Of Rock And Roll is a highly enjoyable and accomplished release with really impressive moments which have only been built upon by subsequent singles; tracks hinting of bigger and bolder things to come with its successor. The end of 2017 saw Leatherjacks release I Hate To Fall In Love. A melodic romance with that ever present fire in its heart and lining, the song has a freshness to it which inescapably entices. It is a song written decades earlier but stands the test of time and with its new enterprise firmly pleasures though not as majorly as Persona Non Grata. A track presumably set to appear on the second album, which we believe will be called Songs For The Strangest Ones, it is superb. Immediately it reveals its infectious swagger, guitars and rhythms uniting in a flirtatious canter as vocals melodically share the song’s heart. Again familiarity and fresh endeavour do collude yet a union which invades ears and imagination with eager intent and adventure. The track is accompanied by the song Spells and Zombies Through the Night, an even bolder, more raucous offering which suggests that this new album once realised will eclipse all before.
The Lost Arks Of Rock And Roll and those singles are all available via iTunes.
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Pete RingMaster 12/06/2018
Copyright RingMaster: MyFreeCopyright
Belkin links up with a host of musicians for the new album including bassist Steve Newton, drummers Sebastian Belkin (Michael’s son) and Brendan Hill from Blues Traveler, and keyboardists Joe Doria and Eric Robert, who has performed with John Oates, Keb’ Mo’ and Lucky Peterson. Disobey opens up with Playing With Fire and immediately lures ears with its blues tinted groove and potent rhythmic shuffle. Belkin’s vocals are soon joining the bold mix, adding accusing sparks as the track burned its presence upon the imagination. It is an intriguing start to the release, a song which did not explode on the senses but got under the skin by the second to arouse attention and an anticipation of things to come.
As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.
The infectious exploits of Mr. Hide is just as manipulative; its bluesy stroll and melodic rock shaped tempting a captivating launch to sonic flames and vocal reflection before making way for the warm sonic climes of Australia summerland. Again there is a classic rock breath to the song and though it misses the more unpredictable and adventurous twists of its predecessors, it leaves ears and appetite more than satisfied especially with the individual craft of the band in full display.
It is a beginning though which is quickly built upon by the excellent Lovely Man. More restrained in its charge but even more enticing in its hooks and beats, the track strolls long like a blend of The Kut and Australian outfit Shadowqueen. Punk and hard rock are brought together in its virulently infectious temptation, a rousing concoction which easily had us bouncing, the following Avuta Mai matching its depth of persuasion. The only non-English sung track on the release, it is an inescapably catchy proposal unafraid to slip into sonic shimmers and unpredictable twists as raw riffs and melodic enterprise unite behind Pellegrini’s vocal prowess.
It’s almost bedlamic prowess is followed by the devilish exploits of God Bless The Beast, the track like a punk infested fusion of Mötley Crüe and Converge. It needed little time to tempt and persuade, scythes of guitar and swinging rhythmic trespasses instantly igniting the senses even before Boos and Cartar uncage their creative appetites. The track is swiftly matched in success and enterprise by the groove woven A.O.A.U. Straight away its Caribbean toned rhythms had the imagination hooked, those subsequent spice flushed grooves adding to its inescapable lure. As with other tracks, the song’s sound is maybe not particularly unique but as its imagination, every twist and turn of sound brings a freshness which demanded keen attention.
