Phoenix Rising – Ignite

Just a number of months into their existence, it is fair to say that Phoenix Rising is already creating a real stir with their rousing sound; their praise drawing presence and suggested success in the “Best New Artist and Best Metal Band awards at this year’s MXD MAG Rock and Metal Awards evidence. Plenty of reasons for the buzz around them are now clear to be heard in their debut EP, Ignite. Offering four slices of rap rock infused with nu metal, the release is an ear grabbing, potential soaked introduction bred on imagination and creative energy.

Emerging from an ad vocalist Kent Summerour posted on Craigslist, the Dallas hailing band arose to swiftly grab local attention, in turn quickly finding broader landscapes to impress. With the two prong vocal attack of Summerour and Scott Lathwood in front of the invention of guitarist Lee Deane, bassist Allan Kurt, drummer James Espinoza, and Mark Ridlen on synths, Phoenix Rising embrace the inspirations of bands such as Hollywood Undead, Skillet, Papa Roach, Killswitch Engage, Union Underground, Linkin Park and more. The latter is probably the one which most comes to mind across their first release but adding to rather than deflecting from the band’s already evolving into individual sound.

Ignite opens up with Do You Know, a piano drawing ears as rhythms rustle together in the background. Soon the track is fully to the fore, not forceful but certainly magnetic as synth and guitar cradle the rap and following clean vocal persuasion. Though it suggests it might, the song never quite explodes into the hinted furor but persistently entices with melodic caresses, vocal dexterity, and a mercurial rhythmic attack.

It is a potent start laying down a strong reason to stay involved with the EP with drama which is soon escalated within the following If I Say No. Immediately there is a more intensive feel and muscle to the song, metal essences lining its composed but impassioned roar. Once more Summerour and Lathwood create a great web of vocal attack and temptation matched by the hooks and melodic enterprise of their companions. As with its predecessor, it is hard to say that major surprises crossed ears yet neither did predictability or a lack of fresh imagination.

Open You Up continues the EP’s trait of building on the song before with bigger and bolder endeavour; the track a tenacious metal infused rock holler mercurial in its breath, persistent in its rousing incitement before easily the best track of the four descends on the passions. Lights Out immediately throws a thick rhythmic coaxing out so easy to jump upon; an initial shuffle before the main event which erupts and incites like a mix of Union Underground and Powerman 5000. Virulent in its hooks and traps, aggressive in its energy and dynamics, the superb track is brief, explosive, and reason enough alone to breed a hungry appetite for the band’s sound.

Ignite is the kind of debut you just have to pay attention to and anticipate bigger and bolder adventures springing from as the band grows, matures, and their sound finds its unique voice. The fuss around them already means Phoenix Rising will have plenty to live up to but the EP and especially its final track suggests they are more than ready or the challenge.

Ignite is out now @ https://www.phoenixrisingofficial.com/shop and other stores.

https://www.facebook.com/PhoenixRisingOfficial/   https://twitter.com/PRofficialband

Pete RingMaster 02/08/2018

Copyright RingMaster: MyFreeCopyright

Psykokondriak – Gloomy Days

art_RingMasterReview

Offering anarchic imagination and musical unpredictability is French rockers Psykokondriak, a band, to use a term in their new album’s press release, which “is a sixheaded hydra, a rock ‘n roll and hip-hop chimera.” They are also an encounter which on the evidence of Gloomy Days leaves a grin on the face and spirit as its parade of deranged adventures posing as songs spring inescapable fun fuelled incitements.

The band’s sound is like a mix of Hollywood Undead, Beastie Boys, Toumaï, and Red Hot Chili Peppers; groove infested and as funky as a swingers party and all led by a voraciously infectious hip hop devilry. Formed in 2006, Psykokondriak went through numerous line-up changes before releasing debut EP Hôpital Psykotrip six years later. Mid-2014 saw the current line-up in place, MC’s Y.B. (aka Mc Body) and Braeckman (aka Mc BOY) linking up with guitarist Tristan Florin (aka Docteur Florkin), bassist Cédric Desneulin (aka le comte Eskarfesse), drummer Aurélien Desneulin (aka L’empereur Mark Oreill), and DJ Julien Delville (aka DJ Stam Iff). Following an appearance on the Christmas compilation album Walt the Fuck last year, Gloomy Days is the sextet’s biggest nudge on attention and result of the band expanding their sound, a release with numerous familiar aspects and fiercely enjoyable and unique exploits.

Introducing the Body Boys is the short entrance into the album, the vocalists announcing themselves and the forthcoming adventure as sturdy strikes of sound engage in ear pleasing coaxing as turntables sizzle. It leads straight into Psyko Waltz, Pt. 1, a continuation in sound and style of that initial invitation. The bass instantly sets out on a funk infested grooving as vocals bounce around, a lure entangled in sonic interplay as swinging beats entice a tempest of twists and raw energy. The track easily recruits ears and appetite for its somewhat recognisable sounds yet individual character of imagination which in turn only develops and expands as the track continues to grow. By its closing, the track is as heavy and invasive as a Korn meets (Hed)p.e. proposal and as enjoyable.

The Fine Art of Terror follows, thrusting hungry riffs and funk bred grooves through ears as vocal declaration and predacious attitude drive the energy and character of the excellent encounter. Again hips and feet are swiftly gripped by the creative and contagious drama escaping Psykokondriak, the band raging and swinging with matching dexterity before Workless Dance opens up its inescapable flirtation with wiry hooks and vocal revelry. In no time the track is a festival of lean grooves and thicker expulsions, at times carrying the scent of a Primer 55 or at other moments exploring something akin to 633 meets Crazy Town, every second leading to an unexpected turn.

A similar template provides the canvas for Monstros Incorporantes next; punk rock, metal, and hip hop colliding in a jungle of swiping beats, predacious bass and guitar grooves, and vocal infectiousness. Again familiar elements entangle fresh enterprise as the track grips ears and bodies before the brief cinematic instrumental interlude of Gunfight Helicopters sets up the raucously psychotic Think It Up. Like Flea and co losing their sanity as early Faith No More interferes, the deranged engagement jumps around like its feet are burning on hot creative coals, again the imagination as hooked as ears on Psykokondriak’s fun soaked bedlam.

The album’s best track comes next, Spookadelic Fever Mansion opening with much of the classic Alfred Hitchcock TV show intro before sauntering into an aural spook fest of swaying rhythms aligned to a low slung bassline. With its cartoonish swagger and the rapacious aggression which blossoms in certain moments, it plays like a Scooby Doo meets Beetlejuice soundtrack while lyrically snarling. The track is glorious; reason enough to take a look at Psykokondriak and quickly backed up by Hot Day Hotter Night and its funk stroll with moments of climactic eruption and anthemic vocal roars; it all simply impossible not to get thickly engaged in.

Closing on the dark strains of Unherited Culture, a track reminding a little of nineties UK band Honky but exploring its own experimental and threatening shadows, Gloomy Days simply hits the spot for something fresh and exciting. Musically at times it is not the most unique yet every recognisable aspect is countered and surpassed by moments of imagination and craft masked as lunacy.  Whether Gloomy days will break Psykokondriak into new hungry spotlights time will tell but it will definitely recruit a horde of new fans with us to the fore.

Gloomy Days is out now across most online stores and streaming @ https://psykokondriak.bandcamp.com/album/gloomy-days

https://www.facebook.com/Psykokondriak

Pete RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

One Morning Left – Metalcore Superstars

OML promo_RingMaster Review

Metalcore Superstars is the new album from Finnish melodic metalcore band One Morning Left, and our introduction to a sound which quickly you get the marmite factor feeling about in, it breeding love or eager dislike with little in between. As the eleven rousing tracks of the encounter run riot through ears with their bedlamic burst of styles and flavours, we quickly fell into the former opinion and keenly embraced its ferocious mayhem.

It has been three years since the quintet released their seemingly well-received second album Our Sceneration; it’s uncaging in 2013 quickly followed by the band increasing their live presence and hitting stages alongside the likes of like Adept, F*ckface Unstoppable (Bam Margera), Protest The Hero, and We Butter The Bread With Butter and more across Europe. 2014 saw the band begin working on Metalcore Superstars, its creation an extensive affair as the band honed their new ideas into its slightly psychotic character until arriving at the seriously eventful confrontation grabbing ears today.

Maybe the best way to generalise the One Morning Left sound is ravenous metalcore with the punk contagion of Billy Talent, the techno adventure of Silent Descent, and the mischievous prowess of Hollywood Undead; it coming with a hardcore/avant-garde surge of attitude. The result is a full-on and enjoyably unpredictable protagonist, even if one that flirts with a loss of control at times.

art_RingMaster ReviewOpener OML_KVLT sees the band announcing themselves in anthemic style, the vocals of Mika Lahti a busy and tenacious mix backed by those of guitarist Leevi Luoto. Checking out tracks from previous releases, there seems a lighter tone to the creative devilment of One Morning Left this time around with Metalcore Superstars but equally a more rabid snarl to their sonic and lyrical warfare amidst bolder drama to their imagination. The first track continues to stir ears and appetite with its fiery nature and pungent tapestry of flavours, subsequently creating a virulently infectious incitement that chews on the senses.

The following Heavy Metal Finland flirts with nintendocore like bait initially, it’s tempting aligned to vicious growling and broody dynamics which erupt further within the emergence of the tempestuous proposition. Without the constant spark of its predecessor, the track pleases as it toys vocally with heavy and death metal spices as well as similarly varied textures musically; enjoyably backing up the strong start without quite making the same impact.

The guitars of Luoto and Ari Levola aggressively dance with sonic attitude within ¡Derailed! next, but also they are unafraid to unleash some funk seeded flirtation whilst keys engage in a kaleidoscope of electro flavours and atmospheric suggestiveness. All the time moving towards a bruising confrontation, the track provides a galvanic finale within a formidable rhythmic web cast by drummer Niko Hyttinen before the outstanding You’re Dead! Let’s Disco! has body and energies fully involved in thumping aural devilry. Like Hadouken! meets The Browning, the track is a chest beating slab of sonic and vocal defiance again lit by the off-kilter imagination of keys and programming from Veli-Matti Kananen and bracingly driven by his bass lines and the swinging scythes of Hyttinen. Careering on the precipice of psychotic chaos, the track leaves body and emotions bursting with lust, a success matched by The Recipe, it a more controlled but no less forcibly resourceful and deranged web of concussive textures and fascinating theatre.

Kings and Queens throbs and pulsates straight after, its opening a haunted cascade of electronic splatters leading to a warmer toned but more punk bred aggressor as melodically engaging as it is infectiously cantankerous. That Billy Talent air is at its strongest here in a song with an inventive weave maybe less exploratory than others on the album but is still sculpted from a heftily flavoursome torrent of ideas. Its lean take on that thick diversity elsewhere works a treat, providing one more major highlight.

A muggy collage of metal and punk ‘n’ roll colours Fast and Furious 6.66 next, its electronic calms only bringing more intrigue loaded variety to ultimately an enraged bluster of the song whilst Devil’s Nest rumbles and grumbles from a sinister melodic entrance into an exotically hued adventure with duelling contrasts against aligning radiances and hostilities. A dogged but invitingly invigorating swamp of noise and flavour, the track grips attention and eager involvement with its theatre of enterprise leaving the album’s title track to bully and harry senses next, though it too is unafraid to seduce with the beckoning fingers of melodies and harmonies.

A great carnival-esque air comes with the riveting Eternity; the penultimate treat playing with a My Chemical Romance meets AFI hand within its just as potent murderous traits to ingeniously nag and thrill ears before making way for the closing turbulence of Sticks and Stones. Like being rabidly assaulted by a seductive temptress bound with irritable intent and wrapped in orchestral grandeur, the track is one enthralling end to an inescapably magnetic release.

For some, the creative turmoil and bordering on insatiable imagination of Metalcore Superstars may not hit the spot for ears or desires, but it only left us exhaustively wanting more. So be brave and take on the adventure One Morning Left offers with their latest proposal we suggest; it just might ignite your day.

Metalcore Superstars is out now in Finland via Inverse Records with full release from February 22nd in central Europe through Bleeding Nose Records, and across America and Oceania on Imminence Records.

http://www.onemorningleft.com/   https://www.facebook.com/Onemorningleft   https://twitter.com/onemorningleft

Pete RingMaster 25/01/2016

Copyright RingMaster: MyFreeCopyright

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

ChuggaBoom – Zodiac Arrest

CB_Promo4_RingMaster Review

Chuggaboom is one of those bands which will always divide opinion; its attention grabbing creativity and bullying body breeding a minefield of irreverent assaults sure to blow up in the faces of the band for some and hit the sweet spot for just as many. Behind the character of the band and sound though is a craft and imagination which ensures however the lyrical prowess and content may work for you, musically the band is seriously formidable and to be taken only seriously; after all they in their own words are the “greatest metalcore band in the world”.

That statement of course is the first hue in the band’s satiric intent to spotlight the nonsense which colours, often fuels their chosen genre, the music scene generally, and indeed life. Music is a game which all involved have to play to some degree at some time, ChuggaBoom no exception, but as their debut album Zodiac Arrest shows, there is nothing stopping anyone taking pot shots, hefty swipes, and having merciless fun within that landscape. It is a devilment which drives the band’s sound and the collection of ravenous and inventive tracks within the album raising broad smiles in thoughts and imagination whilst exhausting the body with prime chunks of thickly satisfying metal.

The anonymous British five-piece uncage their new release through opener Raise the Roofie, the track immediately a bedlamic torrent of voices and sound which gets bolder and more ravenous as it intensifies, until eventually becoming a raging fury around a jagged riff and a violent rhythmic spine. Almost as quickly an impressive array of vocal styles and their delivery grabs ears, most expelled by the fine throat of Levi Taurus whilst guitarists John Virgo and Leo Carter sculpt a steely snarl and toxic grooving within their rousing and malevolent metalcore designs. Within its raucous belly though, the song has a perpetual line of inventive twists and spicy additives which ensures every minute is a fresh adventure within the core tempest, and a gripping persuasion which continues through the savage techno hued Unfriendly Operations Up On The Roof. The Browning comes to mind as the track courts ears and spills its animus; driving grooves leading thoughts and an ever increasing enjoyment further astray into a fluid and psychotic tapestry of sound and flavour.

cover_RingMaster Review   Mad Skills Brah! is next, wrapping sinister cinematic keys around a rabid storm of riffs and predatory rhythms brewed by bassist Avira Caprica and drummer xKRIOSx from the off. The vocals show similar unhinged intent and imagination throughout whilst the deceptive calm hanging around with the clean tones of Taurus and ambience spilling keys reinforces the always available unpredictability which veins every song within Zodiac Arrest, as testified by 14 Year Olds Have Sex More Than Me straight after. Arguably, a more merciful proposal with angst lined vocals an early tempting, it too flings hostile hues and erosive textures at the senses. It does not quite live up to the thrills and spills of its predecessors yet continues to linger and entice after departure even as A BBQ In Antarctica spreads its own toxic beauty and atmospheric spite amidst a sonic devouring complete with melodic tempting. Again as much as you can call ChuggaBoom metalcore, there is plenty more to their expansive sound which reaps slithers of anything from post-hardcore to alternative metal, punk to straight edge heavy metal.

Another brutal pinnacle arrives with the insidious maelstrom of Smoke Rings of Saturn, vocals a broad range of demonic potency as the guitars chew and seduce the battered senses in equal mouth-watering measure. It is stirring stuff, another inescapable anthem which will surely tap into the instincts of fans and doubters alike, just as its successor Fat Guy In A Little Coat. The next track is deceptively accessible, at times creating a form of metal pop which between the catchiest of warm choruses paces and crawls over the senses to rip the heart out of the psyche and ear drums. The song did take longer to fully convince but eventually and continually since, has revealed the thickest temptation, though it is always eclipsed by the outstanding #TBT That Time I Made Out With Your Sister and its carnivorous intent and bewitching creative venom. At times it plays like Fall Out Boy does metalcore and in other moments creates a sonic psychosis which is Hollywood Undead meets Hell Puppets like with a delicious dose of The Locust included.

Humorously Elongating The Title Of This Song grinds and growls in ears next, its vicious funk as rapacious as the carnal textures spun by guitars and bass whilst the brilliant Ohana Means Family (You Bastard) opens the curtains on a dark vaudeville entrance which sweeps over and swoops upon the imagination with My Chemical Romance drama, subsequently releasing the jaws of creative hell for another greedy hunger in the appetite sent the way of the album.

The songs majestic theatre and rancor makes the perfect end to the album but no ChuggaBoom have one more treat in store, unleashing a bonus and fun cover of The Lonely Island track I Just Had Sex which is not a patch on their own irreverence but fits perfectly and enjoyably into the texture of the album thanks to the distinctive ChuggaBoom violation given to it.

You may get the joke or not, but for thumping uncompromising metal to get seriously infected by, Zodiac Arrest is the dog’s doodahs; hairs, smells, and all.

The self-released Zodiac Arrest is out now via all online stores and @ http://chuggaboom.bigcartel.com/

http://facebook.com/chuggaboomuk  https://twitter.com/chuggaboomband

Pete Ringmaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

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

American Fangs – Dirty Legs

American_Fangs_RingMaster Review

As much as we, like so many, are always looking for something uniquely new and ground-breaking to fascinate and ignite the passions, there are undeniably times a masterful fusion of existing designs and textures in one irresistible slab of full on rock ‘n’ roll is just as thrilling. Dirty Legs from US rockers American Fangs is such a riotous treat, an embrace of established and recognisable essences honed with new hooks and inescapable virulence then immersed in high octane energy and dirty intent. The result, one of the most scintillating and ferociously outstanding stomps unleashed this year from a band set to replicate home success and surely stir up hungry appetites around the world.

Hailing from Houston and formed in 2008, the American Fangs sound is described as a blend of post hardcore and alternative rock/metal, flavours certainly erupting within the band’s songs but equally tracks are punk, hard rock, and as uncompromisingly contagious as any form of pop rock. Band and sound swiftly drew attention as a live presence in the US and the UK, American Fangs touring with the likes of Deftones, Papa Roach, Four Year Strong, Sevendust, Hollywood Undead, and Chevelle over the years and making highly praised appearances at festivals such as SXSW, Rock on the Range, Carolina Rebellion, Rocklahoma, Festapalooza Shreveport, and Ship Rocked. Backed by their acclaimed self-titled debut album and their first EP, the quintet has become a greedily followed prospect, if not quite to the same level in Europe as in the US, though Dirty Legs will surely change that with, to follow up a potent performance at this year’s Download, its worldwide uncaging.

Opener Slavery Wedding swiftly sets the tones for the album, its immediate swipes of hefty rhythms and caustic riffs an attention grabbing eruption driven by the dirty scowl of Gabriel Cavazos’ vocals. There is no hiding place as the beats of drummer Micah Miller seem to intensify their assault with every punch and the guitars of Kenyon Puntenney and Chris Goodwin turn more toxic with every riff, chord, and eventually a blaze of seriously seductive grooves. Like a mix of Every Time I Die and Cancer Bats in league with UK band Bite The Shark, the track is primal rock ‘n’ roll turned into an anthemic riot refusing to take no for an answer.

Dirty Leg_front.eps_RingMaster Review     The outstanding start is instantly matched and surpassed by Death of Me, a scuzzy epidemic of insatiable hooks and rhythms within a bruising sonic infection. Cavazos again leads the incendiary confrontation with an ear gripping delivery which is soaked in attitude and enterprise and backed by the equally potent tones of bassist Kyle Shimek. The latter’s string sculpting is just as imaginative and enticing too, offering a grouchy lure throughout but especially exploiting the passages of ‘relaxation’ to unveil the most predatory funk lines you will ever come across. As its predecessor, the song is high on adrenaline and ferocity, taking no prisoners lyrically and in its voracious presence.

Counting Wolves has an even rawer texture and air to its quickly pleasing roar, the song merging the passion and hookery of a Billy Talent with the agitated emotions and fury of a NOFX, then twisting it into American Fang’s own demandingly catchy revelry. Once more band and album is drawing full submission from body and thoughts, though fair to say the excellent song still pales against the might of Say What!, carnivorous rock pop at its best. Everything about the track is ravenously addictive and anthemic, body and soul whilst being tenderised by punishing rhythms inescapably entangled in wiry riffs, clanging hooks, and a blazing vocal roar.

Shimek’s bass begins unveiling new bestial, primeval tones in Leukoplakia next, its dark lure aligning with stalking grooves and barbarous beats as vocals crawl menacingly over the senses. Despite all that intimidation, there is again pure virulent alchemy at work which only incites the listener to dance whilst snarling at the world with the song. If rebellion needs a soundtrack this is it. The breath-taking incitement eventually seeps into the following Black Eyed, though the body is not given any time off here either, the song a kinetic jungle of pungent rhythms courted by spicy and inventive twists within an alternative rock/punk stomp.

Few albums hit an early peak and keep it going across their length without even slight dips but Dirty Legs does, in fact it just gets stronger and more tenacious as it goes as if it is feeding off the reactions and energy of the listener. Bukkake Summer proves the point, a slice of rock ‘n’ roll which takes the rowdy exploits of the previous track and sculpts them into its own punk ‘n’ roll harvest of nagging riffs, growling contagion, and mischievously rousing vocals, all punctuated by sinew loaded rhythms. Imagine a mix of The Ramones, Turbonegro, and The Senton Bombs and you have a hint to another delicious brawl on the album.

Both Brazlian Axe and We Stand Apart keep the thrills and creative spills coming, the first a raunchy blaze of rock ‘n’ roll with tangy hues to guitars and vocals creating around a resonating rhythmic spine whilst its successor is another proposal lock ‘n’ loaded with barbed hooks and intoxicating guitar resourcefulness. With vocals as much a cheerleader to the imagination and virulence of the song as they are a feverish protagonist to the combative strength of the lyrics, the encounter steals top dog honours on Dirty Legs, though only by a shade such the might of all.

Both tracks inflame ears and emotions whilst keeping the album burning creatively and aggressively, each only inspiring thoughts and appetite to crave more before being fed by closing track You’ve Got Future Written All Over Your Future. It is a heavyweight turbo-charged rampage which pretty much sums up the might and inventive craft of the album. As throughout the whole release, there is plenty to recognise and offer possible comparisons to, yet American Fangs simply use all flavours and seeds for their own devilish intent to riveting and incendiary effect.

Quite simply Dirty Legs is rock ‘n’ roll baby and it does not get much better than this!

Dirty Legs is available from July 4th via Best Before Records @ https://www.bestbeforerecords.com/Shop/DownloadDetails?rid=BBR_RE_24 and http://www.amazon.co.uk/Dirty-Legs-Explicit-American-Fangs/dp/B00XUVZ7YA

https://www.facebook.com/americanfangs http://www.americanfangs.net

RingMaster 04/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Never A Hero – UnEvolution

Never A Hero 2

Bursting with variety, so much so that at times you are not sure where the band’s intention with their sound is going, it has to be said that UnEvolution is one rather enjoyable and memorable encounter. The second album from UK alternative rock band Never A Hero explores a much broader landscape of sounds and imagination than that tagging suggests. It does not always come off as potently in places as in others, and the album is soaked in a familiarity assumedly bred from inspirations, but still the release is one fun and highly appetising enjoyment.

Never A Hero emerged in 2009 when members from two bands came together to write and create new music well away from their usual styles. Debut EP Socially Awkward was recorded and unveiled in 2010, its re-release two years later awakening even greater attention. Between its outings though, the band were already finding radio airplay as well as TV coverage through debut single From Heroes To Angels, a success pushed on by second single Trippin’ On Speed and its video in 2011. Their first album Bleed Between The Lies was released at the end of 2012 to potent responses as subsequent singles taken from it like Burning Skies. Now they have just uncaged its successor UnEvolution, laying down rich bait for its arrival on a UK tour, and already it is making an open stir on the British rock scene.

The post hardcore like A Thousand Days Wasted opens things up, the track just glancing past one minute in length but in that turbulent time already hinting away that there may be much more lying in wait in the depths and invention of any song than revealed on its surface. This is soon evidenced by Mr Munchausen, an energetically striding slice of rock ‘n’ roll from its first breath and swiftly bringing metal and other heavy textures into play. Electronic tempting flirts away in the scenery of the evolving melodic rock encounter too, adding unpredictable and tantalising hues to the enjoyable roar of the song. Vocalist Phrixus has an excellent expression and quality to his voice and is just as strongly backed by the tones of guitarist Mickey Thin and bassist KB. As suggested there is a strong element of familiarity to songs on the album and rampant here but it only adds to the satisfaction. Sick Puppies and Fall Out Boy come to mind in varying ways, always good spices in a blaze of a song.

Never A Hero Artwork   A breaking storm and the drama of strings opens up Nightboy next, the track soon striding purposefully with feisty riffs and warm melodies, heading to a potent chorus which it maybe me but amazingly has a healthy feel of Bryan Adams to it. Never thought healthy and that name would escape these fingers together. The guitars of Thin and Kaji 2.0 recruit keen attention to the song alone but with the scything beats of drummer Daisy Lai and the ever alluring vocals of Phrixus, it is another easily accessible and pleasing proposition.

Not Too Cool To Dance takes another turn in the album, its electro punk like stomp almost Hollywood Undead like whilst the rapping vocals has a touch of bands like G.R.I.M and Hadouken to them . It is a stonking start which loses its allure a touch with the following melodic relaxation, strength soon regained as a mix of styles creates a reserved but tempestuous proposal. Again the song wins out and joins the opening pair in leaving ears and thoughts thoroughly contented before making way for the electro meets alternative rock exploits of It’s The Way. Hard rock textures and melodic flames add to the tempting, as do excellent female vocals leading to a touch of Forever Still to the encounter, but ultimately the track does not have the spark of those before it and feels a little safe to be honest. Nevertheless it keeps the album’s potency high as does the electro/hard rock mixed offering The Crow That Follows You Home, it too not sparking the same flame of emotion as the first trio of songs but leaving ears and appetite for the release more than happy.

The orchestral piece God Is Complex brings an interlude next though its epic and evocative presence which rather than allow a breath to be taken brings new theatre and anticipation to the imagination before it embraces the following Kramer. Electro rock with a whiff of Nintendo-core merges with melodic rock, a blend the band increasingly does well and makes strong persuasions with across UnEvolution it has to be said. The track proceeds to stomp and bellow as guitars stir up its canvas and the bass provides a great dark almost sinister attitude to the boiling vocal emotion. It is a great track re-igniting early pleasures whilst again making you wonder what is the prime Never A Hero sound or it starting point.

The more classic hard rock embrace of Falling Up is next and has ears aligned with ease before The Idiots Are Winning bounds around with its tempestuous and openly infectious revelry. Once again a wide twist of styles are tangled to create a recognisable but contagiously magnetic slice of pop rock, this the best way to generally describe the album maybe. The theatrical Succubus sees a clash of mature melodic rock with a more basic street punk narrative, but with guttural roars, grooved infestations, and psyche lit drama breaking out, the song is nothing but thrilling persuasion, especially when it breaks into a fiery swing at one point.

The album ends with the Time To Crucify, a song though individual feels like a reprise of all that came before in one final tapestry of sound and flavours. It is a good end to an increasingly enjoyable encounter. Bands with vast diversity are the most exciting and potentially important bands in music, and that part of Never A Hero makes a good album a great offering. UnEvolution might not be the best album to hit the year so far but it is one of the more enjoyable and that works for us.

UnEvolution is out later this year @ http://www.neverahero.net/shop

http://www.neverahero.net   https://www.facebook.com/neverahero/

RingMaster 17/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The BossHoss – Cowboys From Hell

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The first full week of November sees German rockers The BossHoss stomping with their inimitable presence and sound as support to Motorhead in a UK tour. To accompany the three date rampage and to commemorate ten years raising rock ‘n’ roll revelry, the Berlin septet has released a UK only compilation album. Cowboys From Hell is a sixteen track rabble-rouser consisting of The BossHoss classics and live staples, a selection of tracks unleashing the full uniqueness, depth, and diversity of the band’s country rock/rock ‘n’ roll voracity.

Listening to the album you are soon stirred up by the thick weave of flavours which make up the band’s propositions. Infused in the styles just mentioned, there are just as rich and healthy blazes of punk, funk, metal, and rock pop involved, and that is still only scratching the first few layers of their contagious enterprise. The band creates rock ‘n’ roll to have fun with, sounds to lose inhibitions to, and insatiable devilry to wreak mischievous havoc to. Like a mix of Volbeat, Gene Vincent, Johnny Cash, and ZZ Top in league with The Damned, Helldorado, James Brown and Faith No More, The BossHoss is an instant provocateur and best friend with songs as evidenced on Cowboys From Hell, which are somehow instantly familiar yet a brand new incitement for ears and body to romp with.

Opening with the bluesy twang and hard rock feistiness of Bullpower, the album swiftly has feet and imagination, not forgetting ears wrapped up in its impending revelling. The multiple and varied vocals of the track, as proven across the album, is a potent lure to match the sounds around them, whilst its straight forward and highly persuasive blaze of old school and modern rock ‘n’ roll united, is one infectious and muscular stomp.

It is a powerful start which never dips below full satisfaction across the release; the following Volbeat seeded contagion of new single Whatever an immediate and richer temptation for ears and passions. Brass flames heat up the busy sonic underbelly of the song whilst heavy rhythmic baiting grips ears with predatory intent. Ultimately though, the song is a party in the ears, its electro swagger and striding urgency an addictive canvassing of thoughts and passions.

Through the hypnotic and lively anthemic prowling of Liberty Of Action, with its sizzling guitars scythes and metronomic beats, and the country spiced rap breeding of the album’s title track, God Loves Cowboys continues to recruit greater submission of body and emotions, the second of the pair an irresistible calling which shares plenty with bands like Hollywood Undead. It is fair to say that The BossHoss is still a relative secret across the UK but already four tracks in they make a potent doorway into their rigorously eventful presence and sound for newcomers and vague acquaintances.

A western twang coaxes in the start of Do It next, but is only the initial spice and lead into the funk fuelled diablerie of the song, keys and brass especially saucy in the sultry Electric Six like seduction before the psychobilly teased Stallion The-BossHoss-God-Loves-CowboysBattalion charges into ears and imagination. Hooks and grooves play with a Queens Of The Stone Age colouring whilst the weighty striding of the track is part Turbonegro and part Tiger Army, and all The BossHoss. Both keep the blood racing through veins and feet locked in an inescapable carousing, the pair straight away backed up in might and infection by the R&B/fifties flavoured rocking that is Shake & Shout. As most tracks it feels as if it is already an old friend on the first play but it does not diminish any of its enticement and unpredictable hues.

As you would expect there are particular pinnacles in any collection of songs and one comes in the mighty presence of Backdoor Man. Smouldering in tone and temptation from the first breath, the song with brass sighs and low key vocals swiftly enthralling, is an instant trap from where rockabilly and heavy rock tenacity with jazzy mischief seals the deal. A heavy and fleet footed shuffle, the track is pure rock alchemy, every twist a primal temptress clad in salacious shadow and aural deviltry. Normally any following song would struggle to live up to such triumph but both the punchy funk loaded Don’t Gimme That and the energetically simmering My Personal Song make an irresistible continuation of great times and lingering seduction. There is no way anyone can avoid swinging their body and voice to the contagion of the first of the two whilst its successor is simply what would emerge if Johnny Cash did funk pop, again the blend of different voices as thrilling as the adventurous yet unfussy sounds themselves.

It is fair to say that certainly in recent times no album involves the listener’s body and voice as mercilessly and relentlessly as Cowboys From Hell, the jumpy enterprise and energy of Keep On Dancing being no different especially as the band craft another chorus which is as incendiary on the listener as it is explosive on the air. There is a spellbinding ingenuity in how the band sculpts such virulent eruptions to enslave their recipients yet never goes for the easy route into and out of what is pure creative toxicity.

Through the hard rock powered My Way with its country rascality and the punkabilly Last Day (Do Or Die) things only continue to inflame the passions whilst Break Free with its mellower fifties pop and melodic rock crooning wrapped in soothing harmonies, incites the imagination again whilst revealing yet another texture in the band’s invention. Each track leaves a licking of appetite’s lips and emotion’s lust before the release closes up with a couple of exhilarating cover songs. First the band takes on Motorhead’s Killers, a twisting of rockabilly/blues rock drama into pure infectiousness and mouth-watering temptation, before they rip up the Cameo classic Word Up, and give it the best make-over heard anywhere. It is rockabilly funk with the blood of cowpunk running through its veins, an addiction which would be topping lists in illegality if a drug.

God Loves Cowboys is The BossHoss’ first official UK album I believe and about time after ten years of tearing up Europe and the world. If the band is new to you then the album is a must, you will never hear a more delicious and devilish slab of epidemic rock ‘n’ roll anywhere.

God Loves Cowboys is available now @ http://www.recordstore.co.uk/recordstore/recordstore/God-Loves-Cowboys/3IJC0000000

http://thebosshoss.com

RingMaster 06/11/2014

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