Morass of Molasses – These Paths We Tread

The first album from UK trio Morass of Molasses has definitely been one encounter we have here been keenly anticipating, almost from the day the band first stepped forward with a couple of senses infesting, psyche twisting tracks. Their fusion of doom, sludge, and stoner bred textures served in a swamp of aural filth just fed all the instincts and continued to through their debut EP a few months after. Now we have These Paths We Tread to devour, an album which we will admit had us a touch unsure initially.

Instantly enjoyable, These Paths We Tread still had thoughts crowding to contemplate its new proposal of sound. Morass Of Molasses has lured their music from the filth infested depths of the swamp into a cleaner yet still aurally clinging landscape. That is not to say that it does not still come with a healthy coating of scuzz and doom lined dirt but it is a lumbering trespass of sound which is almost more celebratory than predatory. Quite simply their sound has matured, grown up even, and hindsight through listening back at certainly that last EP, So Flows Our Fate, shows it was an evolution on the cards even back then. To be honest we miss the filth but it has not stopped These Paths We Tread through time and listens blossoming into one seriously striking encounter loaded with the potential of even greater adventures ahead with the threesome of vocalist/baritone guitarist Bones ‘The Beard’ Huse, lead guitarist Phil ‘The Mountain’ Williams, and drummer Chris ‘The Beast’ West.

These Paths We Tread gets off to a mighty start with My Leviathan, its gentle caresses of melody and atmospheric waves a deceptive coaxing into the waiting jaws of colossal riffs and flirtatiously tangy grooves. Settling into a predacious crawl entwining raw causticity with salacious seduction, the song roams ears and imagination like a primal siren. Bones’ raw throaty roars share pure toxicity at times, his hostile tones matched by the punchy rhythms of West but tempered by his own calmer vocal tempting and the sonic web cast by Williams. Continually twisting through an array of perpetual incitement on ears and appetite, the track is glorious, its emerging funkiness icing on the feral cake.

Recent times has seen MOM tear into stages alongside the likes of Orange Goblin, Ohhms, Vodun, Elephant Tree, Desert Storm, Space Witch, Sea Bastard, Gurt, and Limb among many others, and there are essences of a few of these within second track So They Walk. Its grooves seep Orange Goblin/Kyuss like taunting whilst its irritable side has a Sleep like causticity, all merged into a distinct MOM recipe and a track like its predecessor which hits the spot with relish.

Continuing themes of “mythic sin and ancient archetypes”, album and next up Serpentine lyrically and musically bind the listener in evocative textures. The third track winds around ears with a dexterity and sonic adeptness emulating its title, grooves almost slithering across the imagination as rhythms bite. Bones’ warm if emotionally deceitful vocals contrast the underlying volatility of the track superbly, also erupting at times to spark a sonic wave fuelling greater weight and intensity throughout. It is a bewitching affair, not as instantly gripping as the first pair of songs but blossoming with every listen into an instinctive temptation before the brief incantation of The Ritual lures and the haunting presence of Centralia descends. A weave of stoner bred enterprise lined with provocative shadows and ghostly whispers as infectious rhythms drive a rolling canter, the second of the two is a well of suggestion coloured by the skilful adventure of Williams on guitar strings.

Next up Maenads is a psychosis of drama and sound, simultaneously enthralling and threatening with seduction and primal toning. It is fair to say, as the album, the track grows and infests deeper into the psyche with every taking of its inflamed intoxication; its melodic anaesthetic fascinating and feral instincts tantalising before things end with Wrath Of Aphrodite, a song which maybe did not quite spark the passions as richly as its companions yet has body and appetite for more bouncing to its groove woven, heavily boned rock ‘n’ roll.

Certainly for fans of the band, These Paths We Tread  will maybe need time to grow and develop on ears and thoughts though newcomers will find Morass of Molasses a quick persuasion we are sure. Yes we still miss the filth but the album blossoms into something thickly compelling and increasingly pleasurable; how stupid of us to doubt with those first thoughts.

These Paths We Tread is out now through HeviSike Records in various formats @ https://morassofmolasses.bandcamp.com and http://www.hevisike.com/product/morass-of-molasseslp

https://www.facebook.com/MorassOfMolasses

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Lightsabres – Hibernation

Lightsabres Promo Photo_RingMasterReview

Though in many ways embracing the torpidity of its title, there is very little that is dull and apathetic about Hibernation, the new album from Lightsabres. An encounter which ebbs and flows in intensity and drama, the ten track release is a raw and compelling fusion of fuzz sculpted psychedelic textures and adventures aligned to stoner-esque riff heavy rock ‘n’ roll; a meeting ears and imagination can only feistily devour.

Lightsabres is the solo project of John Strömshed, the front man for Swedish hard rock/blues outfit Tunga Moln. Hibernation is his fourth album and the successor to the acclaimed Beheaded which was released early 2015. Hailing from Swedish city Luleå, Strömshed has pushed his sound away from the garage-rock influences which marked previous offerings into warmer but in many ways rawer explorations. The result is a collection of tracks bathing in a Deftones meets Queens Of The Stone Age climate, though that certainly over simplifies the rich creative landscapes of songs and album.

Hibernation opens with its title track and a gentle shimmer of guitar which quickly engages ears with a sonic romancing. As the track stretches its scenic expression, a throbbing bassline joins an electric flame of guitar whilst beats jab and lure dormant instincts into its scuzz cloaked blossoming. It is a fiery but controlled incitement, a sonic bonfire of emotive textures and vocal tones luring complete attention which the heavier throb of Endless Summer quickly grips with its own blistered touch. Flirting with distortion through its fuzzy nature, the track equally spins a web of melodic intrigue around the hazily surfaced vocals, offering a lively captivation of suggestive sonic invention which has the spirit as aroused as the imagination.

art_RingMasterReviewCascades Of Blood provides a mellower proposal next; its body a bubbling simmer of melodic spotting within a melancholic yet inviting atmosphere. There is a touch of Billy Momo to the intimate melodies and harmonies which entangle and seduce ears, an alluring calm too which enthrals before the climate heats up with the more volatile Whisper To Me Softly. Again vocals are a richly enticing blend of harmonies and emotive expression, this time within a harsher ambience which eventually infests vocals and the sonically brumous and inflamed air of the song.

Breaking Bones is just as feisty and climatic; it’s QOTSA like proposal grouchy in its sonic glaze and virulent in its weave of spicy hooks and sultry riffs whilst the following Throw It All Away has thick and robust substance to its meandering, almost prowling fusion of snaky grooves with a similarly magnetic tonal skulk. Both bewitch ears, luring thoughts deeper into the emotionally autumnal album before leading them into the slightly sinister but inescapable spatially tinged beauty of Satan’s Pilgrim.

In contrast Blue Smoke is a confrontational blaze of raw volcanic sound within a funereal gait, Providing a raw and searing proposal compared to its predecessor, it is more than a match in evocative and dramatic persuasion before Possessed adds its own psychedelically pensive and sombre elegance to the album’s temptation. Like drifting on a sixties/seventies psych rock cultured cloud, the track immerses body and thoughts before closing track Blood On The Snow leaves its tenebrific yet transfixing and sultry imprint on the senses. It is a lingering infestation of ears and emotions, a final blaze of rock ‘n’ roll with a lava-esque flow to its trespass of seventies inspired riffery and inflammatory melodic invention.

Hibernation makes a very potent first impression but really grows into the high praise it warrants over time and attention. It is a release which lures you back and is destined to be, for a great many, one of the adventures which perpetually finds its place in weekly soundtracks.

Hibernation is out now via HeviSike Records digitally and ltd edition vinyl @ http://lightsabres.bigcartel.com/ or https://lightsabres.bandcamp.com/

https://www.facebook.com/lightsabres

Pete RingMaster 16/03/2016

Copyright RingMaster: MyFreeCopyright

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

MORASS OF MOLASSES SET OUT ON THE ‘VULTURES PRAY’ TOUR WITH VICTORIAN WHORE DOGS

MoM_RingMasterReview

‘Their music goes back to the old Clutch, mixed with huge amounts of Sludgy, bluesy riffs. Singer and guitarist Bones had the best stage banter as well’ – Echoes & Dust

‘They win the award for best band name, and as they start into a set as heavy as hell, they raise the bar for the night. Tonight is all about tone’ – Get Into This

Morass Of Molasses have just returned from an intense weekender with Ohhms and Slabdragger, brief moment in time which saw them visit Edinburgh, Liverpool and Coventry in order to spread their unique brand of Sludgy Swamp Blues. In the process they garnered still more critical acclaim and fans alike.

Now, with the dust barely settled, they set out on the road once more. This time it is for their largest UK tour to date, with their Sludge Brothers Victorian Whore Dogs on board for the ride.

As if this wasn’t enough, the tour also coincides with the band acquiring distribution deals with HeviSike Records, Hibernacular Records, and From Beyond Records for the release of their unique sounds.

This is represents the band ‘working with the right people‘ according to frontman Bones. Who adds ‘It is good to see all our hard work being recognised by influential people we respect

The ‘Vultures Pray’ Tour…
25.03.16 – The Dragonffli (Pontypool)
26.03.16 – Bunker 13 (Stoke)
01.04.16 – The Swamp (Reading)
02.04.16 – Firehouse (Southampton)
03.04.16 – Edge Of The Wedge (Portsmouth)
07.04.16 – Pig & Drum (Worcester)
08.04.16 – Firebug (Leicester)
09.04.16 – Bad Apples (Leeds)
10.04.16 – Running Horse (Nottingham)
16.04.16 – The Black Heart (London)
17.04.16 – The Prince Albert (Brighton)

MoM tour_RingMasterReview
Find more details about Morass Of Molasses here @ Facebook: https://www.facebook.com/MorassOfMolasses

Desert Suns – Self-Titled

Desert Suns band photo_RingMaster Review

Released in the Autumn of 2014, the self-titled debut album from San Diego quartet Desert Suns gets its deserved official worldwide re-release this January through a special collaboration between Ripple Music and HeviSike Records. For those missing that original limited run of 300 copies on vinyl through Birmingham-based HeviSike , its return is the chance to grab one highly flavoursome slab of stoner bred rock ‘n’ roll.

Formed late 2013, Desert Suns quickly drew attention with their first single Burning Temples which was released in the January of the following year. Seven months later and their six track debut album confirmed the initial potency of sound and imagination within that early single in a fiery and immersive blend of stoner and heavy metal, psyche and blues rock. The band’s sound, as at times their lyrics and song themes, demands attention without the heavy weight of it ever becoming invasively imposing, and within the Tony Reed (Mos Generator/Stone Axe) mastered album provides a powerful invitation to the listener, if without really wanting to take no for an answer.

DESERT-SUNS---DESERT-SUNS_RingMaster Review

Artwork-Jimmy Ovadia

Burning Temples starts things off, an initial sonic static the bed for heavier rumblings and clamorous energies before one hefty groove grows from within the low key tempest. It relaxes with an elegant shimmer to its lure and melodic spice to its touch as the dark bassline of David Russell aligns to his quickly alluring vocals though the forceful and agile beats of drummer Ben McDowell subsequently raises the intensity as the guitars of Woogie Maggard and Anthony Belluto twist and turn with magnetic grooves and riffs. As the track becomes a contagious blaze enslaving hips, ears, and imagination, it is easy to sense Black Sabbath and Deep Purple inspirations at play, the music masterfully and voraciously ebbing and flowing in energy whilst providing a continuous full-on sultry temptation.

After the incendiary climax of the first song has ignited ears and keen involvement further, the following Space Pussy shows it is even more ferociously enflamed with quick sonic and melodic intoxication. Raw and seductive flames soon live up to the suggested salacious exploits and skills of the song’s protagonist, their intensive heat casting a vociferous smoulder in sound and atmosphere which almost has the senses woozy, though sinew swung rhythms and a great gnarly bass tone provides a rapturous temper to that cosmic inebriety smothering ears.

The blues infested rock ‘n’ roll tempest of Passing Through gets ears excited all over again, its feisty swagger courting a virulent catchiness driven by tenacious rhythms and swinging grooves matched by the Ozzy-esque vocal temping of Russell. The track is irresistible, taking a great first impression of the album up another notch with its flirtatious enterprise and anthemic dexterity of music and craft. As across the album, there is something familiar to the Desert Suns sound but a hue only adding to the lure of its bordering on mischievous revelry.

A breath is allowed to be taken by the blues croon of Ten Feet Down as ears feast on a new twist in the landscape of the release. Blues and country rock merge to serenade as harmonica and guitar colour a salty portrait of suggestiveness around it, all colluding for a magnetic encounter before Memories of Home portentously pulsates into view and unfurls a lumbering beast of a stoner/heavy metal fuelled proposition. A scent of Fu Manchu meets Electric Wizard meets Kyuss looms up within the tantalising proposal, whilst mellow and soporific textures unite with the ravaging torrents stirred up by grooves and a hungry energy to create another hard to resist confrontation.

Run Through My Roots brings the album to a compelling close, its atmospheric soundscape and pungent rhythmic suggestiveness the prelude to another forceful and heavyweight enveloping of the senses. Once more romancing calms are seductive oases amidst increasingly volatile eruptions and predacious outbursts, their mesmeric caresses breaking ravenous outpourings of sound and emotion as the track offers a fascinating end to a thoroughly enthralling and enjoyable release.

Second time around, Desert Suns is not to be missed and already thoughts are eagerly turning to what comes next from the band, where they have imaginatively ventured since the creation of their album two years ago.

Desert Suns is out now through Ripple Music in North America on CD and Royal Blue vinyl and on Beer Brown vinyl in the UK through HeviSike Records with digital copies @ https://desertsuns.bandcamp.com/

https://www.facebook.com/desertsunssd  http://www.desertsunsmusic.com/

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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