Deville – Pigs with Gods

With their fifth album Swedish outfit Deville has bred their heaviest, most intensive offering yet but without diminishing any of the instinctive grooving which has already earned the band a potent reputation amidst ever growing acclaim across its predecessors. The result, an encounter which demands attention whilst taking the band’s rousing sound to a whole new level.

Hailing from Malmö, the quartet was formed in 2004 casting a stoner bred sound initially which has gradually evolved over time. Certainly with the band’s last album, Make it belong to us, Deville moved towards a more metal meets heavy rock nurtured exploration which now Pigs with Gods has taken by the throat by clearly embracing their new metal inspired inclinations. The band prior to release admitted that “When we first started writing music for a new album it became evident to all of us that we were quite tired of the traditional doom/stoner genre…It soon became clear that more Metal was what we all wanted! Thus the album was given a very metal feeling…” That deliberate move though has come with an organic evolution, nothing about the tracks within Pigs with Gods feeling forced or manufactured.

The foursome of Andreas Bengtsson, Martin Fässberg, Andreas Wulkan, and Martin Nobel immediately reveal their muscular prowess with the opening throes of Lost Grounds, the album’s first track rubbing the senses with a sonic abrasion before erupting in a thunderous stroll driven by big scything rhythms. Just as powerful and magnetic, a vocal roar accentuates the captivation with the raw edge of riffs and scuzzy grooves only adding to the thick and infectious tempest of sound as a Torche like hue adds to the richness of the song.

The album’s title track follows, striding in on a rhythmic march with sonic nostrils flared and vocal potency to the fore as flaming grooves light the invasive trespass of sound. Scything beats continue to harry and bruise as grooves share their melodic liquor though wiry veins, it all adding up to a rousing roar sprung from all quarters before Gold Sealed Tomb uncages its own particular creative squall as melodically enthralling as it is virulently imposing. As with those around it, the song grows and twists without feeding expectations, unpredictability as rampant as the gale of enterprise at its heart.

For us the album’s best track is next, Cut It Loose an insatiable temptation of grooves and swinging rhythms loaded with viral contagion and rapacious endeavour. Like all songs it nags at ears whilst feeding them a cyclone of grooved enticement as heavy rock and groove metal meet in a bold collusion, a mixture just as ripe within the just as striking Lightbringer straight after. Less forceful than its predecessors, the track still makes for a towering encounter as its thick air smoulders and sonic cinders burn on the senses around melodic calms which simply seduce before track finds its tempestuousness once more.

Through the almost grungy tones and seriously catchy dynamics of the excellent Hell in the Water and the verging on barbarous but again openly infectious exploits of Wrecked, the album only strengthened its grip on ears and appetite while Acid Meadows provides a relative melodic calm in the storm moment which equally added to the compelling stature of Pigs with Gods. Though it is fair to say that each of their songs has a united sound which is pretty much specific to Deville, the trio of tracks alone show it comes with a strong palette of flavouring and imagination.

Dead Goon also has a less intrusive nature with its blues rock kissed sultriness, the track an instrumental intimation easy for ears to feast upon and the imagination to conjure from before Came For Nothing flexes its creative biceps and the following Medicated on a Concrete Road weaves a tapestry of melodic and fibrous dexterity. Both tracks build their temptations on opulent grooves and boldly spirited but precisely swung rhythms, exploring fresh ideas and imagination from their energetic cores.

Closing track In Reverse emerges from the orchestral close of its predecessor, its sonic radiance luring intrigue into the harmonic caress of vocals. It is a haunting shimmer which eventually breaks into a prowling cyclone of sound and ferocity as snappy as it is invasive before subsequently leaving on that sonic scintillation which brought it into view.

It is a riveting end to an album which increases its impressiveness by the play, declaring itself Deville’s finest moment yet with real ease.

Pigs with Gods is out now digitally and on CD and Ltd Ed vinyl via Fuzzorama Records @ https://eu.fuzzoramastore.com/en/cd-s/deville-pigs-with-gods-cd.html

https://www.facebook.com/devilleband/   http://deville.nu   https://twitter.com/Devilleband

Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Fear Me December – Crystallized

Every music lover can share a song or release which sparked the fight and defiance in them against either the world’s injustices or issues of a more intimate experience; encounters which trigger a renewed strength in their resistance. Fear Me December offer a quartet of such incitements within new EP, Crystallized; tracks which tap into the issues and resolve many suffer across varying areas. They are also four songs which have the body and spirit bouncing to soulful and boisterously rousing roars announcing Fear Me December as one rather potent proposition.

Formed in 2012 by Argentinian born vocalist/bassist Victoria Cabanellas and lead guitarist Valentin Macagno, Fear Me December began as a trio with the addition of drummer Emiliano. The band released their well-received debut EP, Who Cares in 2014 before taking the decision to relocate to the UK that same year. Basing themselves in Manchester, the band soon hits the live scene, touring the UK and playing festivals to begin sparking the same level of support and attention they garnered in their homeland. The departure of Emiliano back to Argentina could not stop the remaining pair from writing and working on their first album, the Matt Ellis recorded Between Violence And Silence released in 2016 with Chris Inman providing drums. 2017 saw the band’s current and stable line-up in place with Tony Small swinging the sticks and Stuart Woolley bringing rhythm guitar into the mix, the foursome now providing a rich statement of intent with the seriously magnetic Crystallized.

A creative tempest of aggressively melodic metal and rapacious heavy rock, the EP starts with Fight Me, a song surging with defiance and a rigorous confrontation from its first breath and the opening forceful rally of Small’s beats. It is an insurgence which is soon joined by the sonic impetus of the guitars and the darker throated threat of bass; it all uniting in a tempestuous front bursting with swift enterprise and the contagious presence of Cabanellas’ voice. Inescapably infectious without losing its threatening snarl and predacious bite, the track is superb emerging as one of our favourites this year; the web of metal and rock ‘n’ roll skilfully manipulated and manipulative.

Not Wired the Same follows, its rise less imposing but just as insistent as guitars weave an alluring invitation within a tide of hungry riffs and a throaty bassline to swing upon. With Small’s beats again sparing no measure of aggression even in the song’s slightly less ferocious charge compared to its predecessor, the track just as easily got under the skin with its lyrical exploration showing an understanding to depression and the instincts of the suicidal.

Two tracks in and the EP has proven one of the year’s most enjoyable offerings and does not let that success slip as it shares its final pair of tracks in This Is Not Ok and its title track. The first has a calmer stance soaked in melancholy but is soon releasing an instinctive catchiness rippling with energy and soulful intimation especially in its insistently rousing chorus. Its ebb and flow captivates; the caress and surges of the guitars igniting further enticement to match that of voice and another potent rhythmic provocation.

Closing song, Crystallized, is a fiery proposition; rom the off its flames veined by wiry tendrils of guitar and driven by the almost predatory touch of bass and drums. Cabanellas is again a winning lure in the midst of the bold adventure, even with her distance siren calls in the song’s relatively mellower twists. Providing a last furor of emotion and enterprise to the EP, the track is another truly magnetic and highly memorable moment, a description applying to each song and the release as a whole.

With Crystallized, Fear Me December has declared themselves ready to burst right out of the UK metal/rock scene into rich attention; with more of the same ahead it is hard to see them failing.

The Crystallized EP is released September 7th through all platforms.

https://www.fearmedecember.net/   https://www.facebook.com/fmdband/   https://twitter.com/FearMeDec   https://www.instagram.com/fearmedecemberuk/

 Pete RingMaster 07/09/2018

Copyright RingMaster: MyFreeCopyright

Hail the Hatter – Discovering Light

Being suckers for anything with a hint of insanity, lunacy, and mayhem we had a certain appetite to check out the debut EP from Trinidad outfit Hail the Hatter when offered the opportunity all because of its great suggestive cover. The Mad Hatter image on its cover sparked that eagerness and once inside we can certainly say the release more than satisfied on all three aspects. More so it revealed a band with a dab hand at creating infectious hard rock ‘n’ roll with a penchant for metal bred revelry.

Hail The Hatter was formed by guitarist Dax Cartar and vocalist Jonathan Boos, the pair swiftly enlisting drummer Nicholai Assam on drums, and Devin Harry Paul on bass. As the band began thinking about recording a clutch of songs they had written, personal reasons meant the bassist had to leave the outfit but was soon replaced by Aaron Lowchewtung. Produced by Maarten Manmohan and Nicholas Marsan, Discovering Light introduces the band’s fun infested sound to the world through six tracks, a sextet of varying but constant captivation lying in wait behind the opening doom laden introduction of The Coming of the Hatter.

From that dark threat and its storm coaxed shadows, the rapacious Bone Grin strolls, bass and beats lining the way as Cartar’s guitar teases and subsequently flames across the song’s swiftly installed swagger. Boos is soon in the mix with his vocal mischief and roar, hooks and grooves following as hard rock meets raw rock ‘n’ roll in the seriously catchy opener. Classic and glam rock traits add to the web of sound while metal nurtured invention brings devious aggression and predacious virulence to the mix; it all making for an easy to devour first stomp with Hail the Hatter.

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.

The sinister psychosis of White Walls is accompanied by a prowling sound, its psychotic air and voice contagious rock ‘n’ roll as rich and loco as you could wish. Throughout its unhinged antics, riffs inflame rhythms swing, and grooves incite, vocal unity an anthemic icing to its predacious lunacy before Akasha releases its own shadow brewed shuffle and mystique coated melodic dance n the imagination. Middle Eastern hues hint and intimate throughout even as the flirtatious calm of the song erupts into just as addictive tempests. Everything is skilfully woven and passionately delivered with Lowchewtung uncaging one glorious dirt encrusted snarl of a bassline to cap the inescapable temptation.

Song by song the EP just gets bigger, bolder, and more impressive; continuing the trend with its final and best moment, its title track. From the opening dark groan of cello, Discovering Light just enthrals; its continuing stroll thick in suggestion and beauty as guitar and bass join its evolving drama. Equally a hint of mental instability flickers in its dance before the track unveils its full rapacious and increasingly frenzied rock ‘n’ roll. The track is immense, the show stopper even within a handful of similarly striking encounters.

Though Discovering Light had ears and attention in its hands pretty swiftly, it is with subsequent ventures into its creative dementia that its truly got under the skin, so much so that it has barely allowed anything else to grab a place on the just for pleasure turntable in our offices. The EP is not perfect if such a thing exists but gives rich pleasure from start to finish, never a bad thing in our book, and ripples with the potential of greater dark deeds ahead with Hail The Hatter.

Discovering Light is available now @ https://www.hailthehatter.com/media-get-album and for a limited time as a free download.

https://www.hailthehatter.com/      https://www.facebook.com/hailthehatter

Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Mammoth Temple – We’re Not Extinct

Having just been introduced to former Thirteen Shots frontman Johnny Rose’s new project in Blast Bomb we now have the new endeavour from its guitarist Lewis Manchip for you. That proposition is Mammoth Temple and they have just released their rather appetising debut EP, We’re Not Extinct. Echoing the band’s name in many ways, it is a lure of heavy boned rock ‘n’ roll worshipping the seduction of the groove and the growl of the riff, a fuzz rich proposal caked in the dirt of grunge and veined by stoner bred tendrils of melodic suggestion. It is also a potent introduction to the band and one which gets more compelling by the second.

Formed by Lewis and vocalist/bassist Dave, Midlands hailing Mammoth Temple is completed by the thunderous swings of drummer Ben. Initially taking their time to hone their sound, the trio have emerged with a live presence which is swiftly luring keen attention and plaudits, and now with a first release which is as thick in potential as it is already flourishing prowess and enterprise.

It opens up with Meat Promotion and instantly entangles ears in a flavoursome groove. With robust rhythms and throbbing bass that beginning is a sign of things to come in song and release. The blend of mellow vocals adds to a Queens Of The Stone Age like hue to the grunge meets heavy rock stroll of the track, the guitar continuing to cast wiry grooves and melodically sharp bait for ears and appetite to get hooked up on. It is a seriously infectious and captivating start which is more than matched by next up Wiping Out. Its psych rock kissed entrance is pure temptation, the skirting shadows intrigue against the vocal prowess of Dave and Lewis’ expressive melodies. With fiery flames igniting across its catchy gait and imaginative body, the song continues to blossom in imagination and craft. It might not be boldly unique but the song as the EP has a freshness and adventure to it which hints of such success ahead.

The mellower caress of Reflections is courted by the great dark shadowed throb of bass and volatility in Ben’s beats which never erupts but magnetically stalks the melancholic beauty of the song’s heart and touch. A song which just grows over time and listens, it brings another enticing aspect to the Mammoth Temple sound which only grows when the track does uncage its muscle.

The EP is concluded by firstly Promises, a distant rumble increasingly consuming ears as it looms closer and incites the imagination as blues rock ivy clings to its tenacious body and scuzzy skin. Another grower, it does not quite match up to those before it yet lingers in the memory with ease through its Jesus and Mary Chain meets Alice In Chains glaze alone.

How We Are completes the pleasure, it needing mere seconds to hook the appetite with its initial Soundgarden-esque melodic coaxing. From there, its simmering fire grows and intensifies with psych and stoner rock winds blowing across its rhythmic kindling and harmonic haze. As ever, there is a darker hue to its depths and emotion contrasting superbly with its brighter easily invited trespasses. The song is superb, a big end to a fine first union with Mammoth Temple.

It is early days but the signs are already hinting at a potent future for the band and rich adventures for us all alongside.

We’re Not Extinct is out now and available@ https://mammothtemple.bandcamp.com/album/were-not-extinct

https://www.facebook.com/MammothTemple/    https://twitter.com/MammothTemple

Pete RingMaster 05/12/2017

Copyright RingMaster: MyFreeCopyright

Twelve Boar – No Forgiveness

We have no idea why they expanded the moniker from XII Boar to Twelve Boar but it has coincided with a whole new thrust of mischief and variety in the British heavy rockers sound as in mouth-watering evidence on new album No Forgiveness. The trio from Aldershot still conjure up and unleashed tides of southern fried grooves, thumping rhythms, and ravenous riffs, traits they have become acclaimed for but it all comes with a new carefree fun and adventure. Let us be clear, the band has never been anything other than the rich source of both across a host of songs and releases but No Forgiveness more than most raises the middle finger in a motion beckoning all to come in and join their riotous party.

Since the release of debut EP, Split Tongue, Cloven Hoof back in 2012, Twelve Boar has made an inescapable impact on the UK rock scene. Its well-received, attention grabbing success was just the teaser for the plaudits which eagerly gathered around the uncaging of debut album Pitworthy in 2015 and the even more acclaimed Beyond The Valley of The Triclops last year. Each backed up a live presence and reputation which has equally only grown year on year until it is fair to say that the threesome of vocalist/guitarist Tommy Hardrocks, bassist Adam Thomas, and drummer Dave Wilbraham is now regarded by a great many as one of the most essential roars on the UK scene. There still maybe a few yet to discover the instinctive stomp of Twelve Boar but only something No Forgiveness will soon sort out.

Beyond The Valley of The Triclops certainly hinted at the multi-flavoured evolution of the Twelve Boar sound but No Forgiveness gives it to you unbridled and face on, so much so that the first listen, whilst stirring up the passions, has us questioning whether we missed the dirtier thunderous trespasses of times past. The second listen then revealed that nothing has changed, the band still brewing a sound caked in rock ‘n’ roll soil which leaves the body exhausted and shaking from the onslaught but with a fresh toxin of fun involved, and the third listen…that is when the lust breaks out.

Recorded with producer Chris Fielding, No Forgiveness goes straight for ears with spice loaded grooves and ear rapping beats as Steppin’ Up gets things rolling. The gravelly tones of Hardrocks stand astride the tendrils of guitar, riding the grooves as bass and beats throb and land with a brooding intent.  A slab of muscular rock ‘n’ roll the band is certainly renowned for it then throws an unexpected twist in its midst as it slips into a mellow intoxication of melody and clean vocals though the moment is just the teaser to a waiting lustily fiery stroll. It is a great start to the release but soon overshadowed time and time again starting with Golden Goose. The second track instantly shows attitude in its riffs which continues to colour its character even as rap metal flavoured vocals dance devilishly on the emerging encounter. From thereon in heavy rock ‘n’ roll and that nu-metal toned adventure collude and interact enticing further whiffs of extreme metal and desert rock into the mix.

The Curtain Call swaggers in next with hooks lining every swing of its rhythmic hips and sultry grooves. Sabbath-esque riffs are openly embraced by the band then infested with their own devilment as rhythms harry the senses throughout, often dancing like a dervish as another dose of great diversity grabs the vocals. The track is glorious, Twelve Boar at the inimitable best and swiftly matched by the album’s southern bred title track. An acoustic strum is joined by vibrating beats as Hardrocks growls, the song sauntering along with accusation on its breath. In time everything finds a new tenacity and muscle, the encounter grabbing hips and appetite like a fine, throat burning bourbon.

Stealing the best song plaudits, Elders From The Deep dives in next, the track filthy rock ‘n’ roll stomping like Motorhead meeting Gene Vincent as The Cramps bring their salacious garage rock antics to the fun. The track is irresistible, a sinful slice of addictiveness which truly had this appetite drooling long before it had to make way for the blues rock romping of Snake On A Lead. As its predecessor, the song just hits the spot with flirtatious grooves and bone rattling rhythms, it knowing all the right buttons to push to have the body bouncing and a lively spirit fuelling keen physical involvement.

The crawling almost predatory opening prowl of All the Heavy Griftin’ instantly whets the appetite but it is just the prelude to another stonking rock ‘n’ roll canter impossible not to get infested by. If you had any doubts that Twelve Boar know how to rock until the sweat flows like a river and fingers bleed, than this virulently contagious track alone will wipe them away.

The brief sweltering climate of instrumental Panama lures ears into the landscape you can imagine the waiting final track Hellspeed Truckin’ would be rolling down. In the closer tarmac punishing riffs and air cutting rhythms shape the adventure, the bass a hypnotic driver with vocals holding the wheel. As grooves sear the scenery raw adrenaline flows through sound and voice, the track in top gear never flirting with the brakes until the body lies prostrate in its dust.

Wrapped in the striking artwork of Rahadil Hermana, No Forgiveness is quite simply one of the major treats of the year. It is relentlessly energetic, hungry, and fun from a band driven by those self-same attributes as well as an instinct and the craft to turn it all into one rousing experience. XII or Twelve Boar, they are still helping drive the UK heavy rock scene from the frontline.

No Forgiveness is out now and available @ https://xiiboar.bandcamp.com/ or http://xiiboar.bigcartel.com

http://www.xiiboar.com/     https://www.facebook.com/xiiboar/    https://twitter.com/xiiboar

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Widows – Oh Deer God

As kids on a rainy day there was nothing better than coming home caked in the dirt rich antics of the day; being mud splattered after playing and revelling in the organic filth on offer. The sound and new album, Oh Deer God, from UK stoner/heavy rock outfit Widows is the sonic equivalent; a dirty, scuzzy plaything which sticks to the senses whilst offering a tank full of just as instinctive pleasure.

Over seven tracks bulging with rabid grooves, ravenous riffs, and vocals that instinctively wear irritability with pride, Widows has unleashed their heaviest and dirtiest escapades yet but without losing the body inciting grooving which helped debut album Death Valley Duchess grab attention back in 2012. The five years between releases has seen the band in their words trade “the desert worship for some more sludgy/doomy elements and it’s definitely a much darker affair.” It has also seen new bassist Phil Emblin come in and link up with vocalist Adam Jolliffe, guitarist James Kidd, and drummer Ze Big; another move which seems to have given fresh depth and weight to a sound bred on the inspirations of artists such as Down, Kyuss, and Clutch. It has been a fair time since the band formed in 2008 and released debut EP Raise the Monolith two years later, a passage which on the evidence of Oh Deer God has seen them become one of Britain’s mightiest purveyors of infestation.

The Nottingham band swiftly has Oh Deer God eagerly fingering the senses with its title track. First the guitar strokes ears, the bass quickly joining in as beats add their imposing bite and Jolliffe growls with an almost toxic intent from the midst of it all. Strolling along with a controlled but feral gait, the song breaks its stride with moments of instinctive boisterousness but then slips back into its natural prowl. Melodic strains simply add to the raw temptation of the track, its stoner breeding complimenting the primal heart driving things. With a touch of Northern Ireland outfit Triggerman meets Clutch to it, the song brings things to the boil superbly before parting for the one minute plus fury of its successor.

Caffeine and Hatred is a short swift violation that just ignites the senses and passions, its punk tempest and web of sonic trespasses, accentuated by the lethal swings of Ze Big, irresistible pleasure. The song is as musically horny as it is quarrelsome, the kind of rabid assault greed flocks to before taking on the rhythmically big boned and sonically compelling Heresy and Venom. As with the first, the song has hips swerving to its grooves and the inner punk grabbing on to its senses puncturing stabs with glee whilst the rocker inside swings from its stoner nurtured tendrils of intoxication. There is a great element of discord in the mix too, an unpredictability which increases the slavery of the imagination.

More familiar essences and designs are woven for the tangy exploits of next up Blue Tuna but wrapping a rhythmically agitated skeleton dancing with more of that expectations squashing enterprise already shaping the album while Ride To The Realm Of Coitus gets to the grain of dirty rock ‘n’ roll with its crawling motion and grubby textures. With the bass a soiled flirtation, the song initially stalks the senses before flicking a switch into a feistily energetic and volatile canter with tart melodic seduction veining a rapacious character built on predacious grooves and riffs.

The blues infested grooving of Baron Greenback Blues across a spine of wonderfully dishevelled rock ‘n’ roll has things hungrily bouncing next, the track a wild and wily incitement of body and spirit with another seriously carnal and glorious bassline stealing the passions before making way for Germanium Buzz which brings things to a fine close. Almost clean cut in comparisons to things before it, the song is the one track the stoner rock tag fully fits though it too is soon uncaging muscular dexterity and body trespassing instincts seeded in other strains of sound, merging both sides with increasingly captivating tenacity.

You can call Oh Deer God and the Widows sound stoner rock, sludge, or heavy rock but quite simply it is just undiluted rock ‘n’ roll and the reason the band’s latest album is one essential slab of prize pleasure.

Oh Deer God is out now through UMC Recordings and available @ https://widows666.bandcamp.com/album/oh-deer-god

https://www.facebook.com/widows666/

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Rival Bones – Self Titled EP

Slim line-up, big sound; this is a combination becoming even more frequent in the current rock ‘n’ roll scene and no bigger and indeed physically bolder than that offered by UK duo Rival Bones. Consisting of vocalist/guitarist James Whitehouse and former Boss Keloid drummer Chris Thomason, the band have just released their self-titled debut EP; four rousing anthems which rock hard and carry a punch a great many bands thick with personnel would beg for.

Emerging at the beginning of 2015, Rival Bones quickly drew attention with first single You Know Who You Are; radio play quickly following before subsequent singles in Robot Girl and Lost Along The Way last year matched its success and pushed forward the band’s reputation and growing presence on the UK rock scene. Their hard rock/heavy metal sound nurtured with a host of additional flavours involved was soon drawing references to bands such as Mastodon, Queens of The Stone Age, and Audioslave whilst live the Merseyside pair soon branched from local success into stirring up bigger venue audiences and festivals such as Threshold and Tramlines. Now national attention is under threat with their first EP, an attack which will bring big rewards and rousing exploits for listener and band alike.

The EP opens with Want You Madly. Its gentle beginning is a swift deception as a sonic murmuring soon becomes a wall of imposing and inviting riffs punctured by Thomason’s heftily swinging beats. The song’s commanding stroll is soon joined by the potent tones of Whitehouse, his strong voice aided by spirited shouts and in turn grooves which just demand hips and bodies get involved. The blues spicing of the track is equally intoxicating, its tonic flowing across a landscape of heavy rock ‘n’ roll bait as alone the opener makes a major statement for band and release.

Its inescapably contagious anthemic arousal of ears and imagination is quickly backed up by the calmer waters of Marceline. Note that the track placing we were sent, and follow here is different to that on the band’s Bandcamp but no matter the order, the release fiercely rocks as the second song with its similarly reserved entrance breeds an energy and tenacity which powers a similar spirited roar to that of its predecessor, if this time unleashing it in the chorus only.  Around the explosion, Whitehouse’s impressing vocals lure and involve within an equally calm temptation of melody rich sound; grooves and hooks as prevalent as in the first song and just as addictive. Those earlier comparisons are generally understandable in varying degrees but equally the second offering as in other moments within the EP has something of bands like Royal Blood and Johnny Wore Black to it.

Next up Hives gets down to business from within a sonic mist, the track soon strolling through ears with an earthier tone and confident swagger as riffs and grooves blossom while vocals once again incite further attention and involvement. Its blaze of a chorus carries a dose of grunge blues tempting, giving tang to the irresistible grooves wrapping round ears with flirtatious intent as rhythms jab and create their own infectious stirring of body and an increasingly hungry appetite for more.

The EP closes up with Running, a song sauntering in with a fuzz lined melody for company and soon after Whitehouse’s vocal invitation. A mix of blues and stoner flavouring flames within the track’s eruptions, expulsions of energy and passion surrounded by mellower but no less magnetic caresses in voice and sound. With every passing minute, the track becomes virulently catchy as it heads to a rousing crescendo followed by a last reflection of calm and in turn a final outburst of fiery provocation.

It is a superb end to a release which is sure to thrust Rival Bones to bigger and thicker attention. Their sound has an air of familiarity to it but a feeling which only adds to its potency to ignite and drive body and spirit into eager involvement with its ballsy rock ‘n’ roll; the kind of success anyone would be envious of.

The Rival Bones EP is out now on iTunes and Amazon and available @ https://rivalbones.bandcamp.com/album/rival-bones-ep

Upcoming Live Dates:

Dates:

12/05 – The Blossoms, Stockport, UK

18/05 – 81 Renshaw, Liverpool, UK

25/05 – The Cave at the Holly Tree, Addlestone, UK

26/05 – Iron Road, Evesham, UK

27/05 – The Kings – Wales (KingsFest)

28/05 – The Mulberry Tavern, Sheffield, UK

02/06 – Percy’s, Whitchurch, UK

03/06 – The Greyhound, Nottingham, UK

04/06 – The Sitwell Tavern, Derby, UK

30/06 – Sonder Festival,    Manchester, UK

21/07 – Amplified Festival – Gloucester, UK

http://www.rivalbones.com/     https://www.facebook.com/rivalbones/   https://twitter.com/rivalbones

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright