Los Bengala – Festivos Incluso

LosBengala_RingMaster Review

If it is released by Dirty Water Records it is going to be worth checking out. That is a theory we have bred over time which once again is proven to be spot on as Spanish duo Los Bengala turn the day into one of devilish festivity with debut album Incluso Festivos. Seeded in garage rock but embracing many more prime flavours of rock ‘n’ roll, the ten track encounter is a perpetual feast of sound and fun.

The list of inventive and thrilling duos is a growth industry in world rock, but there are some which just step out from the crowd to steal the show. Canada has The Black Frame Spectacle, the US has bred In The Whale, and now Europe has the mighty sounds and thrilling creative instincts of guitarist/vocalist Guillermo Sinnerman and drummer/vocalist Borja Tellez to drool over, and since being introduced to Incluso Festivos that is what we have been doing. Hailing from Zaragoza, Los Bengala is another tasty proposition emerging from the flourishing garage rock Latino scene. Last year saw the pair win a national battle of the bands competition in their home country and now have broader fields in their sight with Incluso Festivos which is co-released on their own imprint Wild Lion and Dirty Water Records, the latter spotting them playing a show last August in London with UK’s own garage punk geniuses The Mobbs.

The seeds of addiction are laid straight away through album opener La Caza, a minute and a half of rhythmic slavery. Tellez needs barely seconds to have ears and appetite gripped, his opening thuds soon a rolling jungle of rhythmic craft and incitement which just gets keener and more virulent with every rally. That alone would have left nothing less than lust behind but things only get better as the guitar of Sinnerman adds southern honed hooks and enterprise into the instrumental revelry. It is a scintillating anthemic start which is potently backed up by Sé A Dónde Voy. The band’s garage rock inspirations are ripe colouring in the jangle and eager energy spread by the song, its riffs and beats a persistent invitation for the Spanish sung lyrics to leave their expressive lures on.

cover_RingMaster Review   No Hay Amor Sin Dolor has the scent of The Clash to its opening bait of guitar next, a spice which continues as Tellez springs another fresh dose of rhythmic tempting into the brewing mix. The song has a definite punk breeding to its r&b invention and tenacious stroll whilst revealing another shade and arm to the Los Bengala sound and imagination. It is diversity which continues in Jodidamente Loco, a track which jabs and roars its way into the psyche with a mix of noise punk and dirty rock ‘n’ roll twisted into contagion of steely guitar, badgering beats, and volatile vocals. The track is irresistible, a song taking an already high plateau to the album up another notch before Máquina Infernal keeps release and listener on the same high with Latin lures and sixties toned catchiness.

65 Días next seduces with a psychobilly/surf croon, its sweltering air and haunting balladry mesmeric even as it subsequently lifts its tempo and emotional discord within the dramatic landscape. Like Reverend Horton Heat in league with UK band Milton Star, the song is bewitching, and increasingly so with every listen, much as the album itself.

Things get hectic and scuzzier again with the brilliant Aaah, a riot which reminds of earlier mentioned In The Whale but revealing its own groove infested, rhythmically incendiary, and unique stomp. Rock music does not get much better than this, just finds new ways to match such glory just as the band does with the swinging devilment of Ataco. Arguably the most pure garage rock track on the album though its successor might have something to say about that, it just grabs body and energies in its contagion led grip to take the listener on a controlled but exhaustion inducing stroll.

Perfect Body is the only English sung offering on Incluso Festivos, a mischievous celebration and virulent romp flinging grooves, hooks, and rousing beats around like creative confetti. The sixties, seventies, and the now are all rolled up into its infection loaded alchemy, body and emotions the swift slave to its glorious tempting.

The album is close by the similarly sensational Abran Paso, a song which again shows glimpses of The Clash as well as others like The Jam and less so Queens Of The Stone Age, but emerges as its own fascinating and torrentially captivating protagonist. It is a mighty end to a majestic encounter, and another reason to understand why the guys at Dirty Water got excited when first seeing Los Bengala. Thanks to them we now have one exciting and invigorating release courting, nay demanding broader attention and quite honestly the bottom-line is that you and the world needs this album in a fulfilled rock ‘n’ roll life.

Incluso Festivos is available now via Wild Lion/Dirty Water Records on vinyl, CD, and digitally.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

http://www.zykotika.com/

The Graveltones – Love Lies Dying

The Graveltones _Reputation Radio/RingMaster Review

If the Devil had his own band it would definitely be The Graveltones, though we suspect the horned one has his dark seduction running through the band’s new hellacious slab of dark rock ‘n’ roll posing as new album Love Lies Dying anyway. The thirteen track hex on ears and passions is the most virulent and incendiary roar of devilish blues rock and dirt clad rock you are likely to hear this, last, or next year, a satanic bargain promising not its but your soul to the dark side.

In a time of some exceptional rock duos, The Graveltones stand boldly to the fore thanks to the creative and musical union of the Australian bred, UK based pair of vocalist/guitarist Jimmy O. and drummer Mikey Sorbello. The band emerged in late 2011, a subsequent adventure resulting from their meeting in London’s Tin Pan Alley and a mutual love of artists as diverse as Captain Beefheart, Howlin Wolf, John Lee Hooker and Queen Of The Stone Age. 2013 debut album Don’t Wait Down stirred up greedy attention and a new wave of lustful fans for their fiery and unique sound whilst live the band was soon sharing tours and stages with the likes of Rival Sons, The Temperance Movement, Boss Hoss, Monster Truck, and Cadillac Three, as well as playing a seriously successful slot at that year’s Download. As impressive as the album was, it was just the first step to the majestic rock alchemy that is Love Lies Dying, an encounter revealing the band and its sound as the inescapable real deal.

The devilment opens with World On A String, a track emerging with a heavy stride of rhythms and a thick blues soaking of riffs. From the first breath it also has a punk belligerence to its character, an attitude which fuels vocals and adds edge to the wine of grooves igniting its anthemic canvas. Like Rocket From The Crypt meets The Black Keys at a salacious stomp hosted by US duo In The Whale, a description which closest fits the whole of Love Lies Dying, the track is pure addictive rock ‘n’ roll setting the whole intoxicating riot off in contagious style.

love-lies-dying_Reputation Radio/RingMaster Review   The invigorating revelry continues just as masterfully in the following Fancy Things, its rhythmic bones bordering on predatory as they bounce on the senses as the guitar sprays flames of melodic spicing. With vocals emulating both aspects with a mix of both intimidating rapacity and infectious temptation, the song brews up an irrepressible stomp around the tangiest of grooves; a template emulated in This Love Is Gonna Break, though the song with colourful keys provided by Carl Hudson walks a more sixties garage rock kind of landscape. It is just as much punk and rock pop too, its cauldron of merciless temptation and a chorus even the dead would be unable to refuse, simply irresistible.

Things take on a slightly more shadowy turn with Running To You next, its scuzzy blues hues and catchy rhythmic bait something close to a stalking of ears, though with a mischief in those same beats and the great vocal dynamics, the song is as vivaciously light as it is menacingly toned. Once more imagination and appetite are inflamed, and four songs in it is fair to say that lustful greed is in the equation too, all swiftly encouraged and fed further by both Never Gonna Let You Go and Can’t Tell A Man. The first of the two is the band’s current single and a little fuzz pit of riffs and searing grooves badgered by another vital rhythmic trap. The song is stirring up major attention for the band and album right now and easy to see why as its creative agitation and frenetic enterprise is just punk ’n’ roll slavery. It pounds the senses as it embroils thoughts and emotions in inventive mayhem, leaving the listener exhausted and alive. Its successor is more of a smoulder in comparison; its fiery blues melodies bourbon running around jabbing beats and the ever expressive and increasingly magnetic tones of Jimmy. It is a barroom croon, sweat and liquor fumes as pungent as the emotive hues of voice and guitar, and just addictive.

In The Throes is of a similar proposal to the previous song, but less dirty and more restrained as it flirts with ears through acidic grooves and rebellious beats. Both songs bring strong variety to the album too, another good essence within Love Lies Dying, and indeed within this track alone things are a perpetual evolution as it gets heavier and darker before making way for the outstanding I’m A Ghost. Like The Stones reincarnated as Th’ Legendary Shack Shakers, the track is a maze of hypnotic beats and vocal incitement but flush with delicious surf punk imagination and garage rock resourcefulness. The song is exceptional, one of numerous pinnacles within the album but another which is sure fire manna for new ears as an introduction to release and band.

Surf seduction reeks in the haunting croon of Back To You too, the mesmeric dark balladry carrying a Nick Cave like hue to its melancholic embrace whilst Kiss And Fuck Off is psychotic brilliance shaped as a psyche/noise rock predation. Ripe with deranged imagination and masterful discordance, not forgetting rhythmic disturbance, the song forcibly hits the sweet spot which Come And Find Me stirs up even more with its aggressive and commanding rumble. Riffs snarl with alluring causticity whilst beats with a more controlled purpose prowl fuzzy air, contrasting elements uniting perfectly as the song twists and turns through varied creative scenery, including a passage of QOTSA like grooving.

Upcoming single Big Money steps forward next, slowly crawling over ears and imagination with boozy melodic vines with vocals from Jimmy to match. The relaxed percussive courting of Mikey is just as enticing, becoming punchier when the song erupts in a furnace of intensity and impassioned energy from time to time. It is not maybe the most obvious of single, compared to others within the album, but its smoulder is intensive and persuasion a lingering potency so that the song joins the major peaks of Love Lies Dying.

Together Again brings everything to a close, its low key melancholic finale a blues rock hug to drift off with until the urge to start the album all over again, which to be honest is a matter of seconds. Someone elsewhere said that The Graveltones have come of age with Love Lies Dying and you can only agree as the album song by song establishes itself as one of the thrilling irresistible proposals of 2015. There is still the feeling though that this, like its predecessor, is only a step towards even greater glories, an excitement as powerful as that bred by the album itself.

Love Lies Dying and latest single Never Gonna Let You Go are out now via Lagoon Dog Records @ https://itunes.apple.com/gb/album/love-lies-dying/id978331780. New single Big Money will be released in July.

http://www.thegraveltones.com/  https://www.facebook.com/thegraveltones

RingMaster 11/06/2015

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 Top Twenty Noise/alternative releases which had The RingMaster Review lustful in 2014

2014 saw a torrent of creatively inspiring and dramatically thrilling encounters from the inventive realms of noise and alternative incitement, a host of triumphs from which The RingMaster Review picks out twenty releases covered by the site which ignited the greatest hunger in our ears and imagination.

 

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01. The Mobbs – Garage Punks For Boys

https://ringmasterreviewintroduces.wordpress.com/2014/11/21/the-mobbs-garage-punk-for-boys/

02. Solar Halos – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/01/01/solar-halos-self-titled/

03. Slug Comparison – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/10/24/slug-comparison-self-titled/

04. Heavy Hand – Nothwoods Knives

https://ringmasterreviewintroduces.wordpress.com/2014/08/27/heavy-hand-northwoods-knives/

Juggling Wolves Album Cover

05. Juggling Wolves – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/12/10/juggling-wolves-self-titled/

06. Damn Vandals – Rocket Out Of London

https://ringmasterreviewintroduces.wordpress.com/2014/04/07/damn-vandals-rocket-out-of-london/

07. Pink Tatami – Chapter and Verse

https://ringmasterreviewintroduces.wordpress.com/2014/04/17/pink-tatami-chapter-verse/

08. Denim Snakes – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/10/26/denim-snakes-self-titled/

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09. Snack Family – Pokie Eye EP

https://ringmasterreviewintroduces.wordpress.com/2014/12/05/snack-family-pokie-eye-ep/

10. The Black Black – Boogie Nights

https://ringmasterreviewintroduces.wordpress.com/2014/12/12/the-black-black-boogie-nights/

11. Norm & The Nightmarez – Psychobilly Infection

https://ringmasterreviewintroduces.wordpress.com/2014/07/29/norm-and-the-nightmarez-psychobilly-infection/

12. In Love Your Mother – The Great Ape Project

https://ringmasterreviewintroduces.wordpress.com/2014/10/10/in-love-your-mother-the-great-ape-project/

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13. Wild Throne – Blood Maker

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/wild-throne-blood-maker/

14. John Bassett – Unearth

https://ringmasterreviewintroduces.wordpress.com/2014/03/30/john-bassett-unearth/

15. Fossils – Flesh Hammer

https://ringmasterreviewintroduces.wordpress.com/2014/03/03/fossils-flesh-hammer/

16. In The Whale – Nate & Eric

https://ringmasterreviewintroduces.wordpress.com/2014/06/27/in-the-whale-nate-eric/

Artwork by Katie Buckett

Artwork by Katie Buckett

17. Jingo – The Art Of loving

https://ringmasterreviewintroduces.wordpress.com/2014/09/01/jingo-the-art-of-loving/

18. Body Futures – Brand New Silhouettes

https://ringmasterreviewintroduces.wordpress.com/2014/08/13/body-futures-brand-new-silhouettes/

19. Death and the Penguin – Accidents Happen

https://ringmasterreviewintroduces.wordpress.com/2014/05/04/death-and-the-penguin-accidents-happen/

20. The Duel – Waging War

https://ringmasterreviewintroduces.wordpress.com/2014/05/21/the-duel-waging-war/

The Ghost Wolves – Man, Woman, Beast

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Rock duos have never been an absent feature of rock ‘n’ roll across the decades, the likes of The Everleys, The Carpenters, and alongside all those which spring to your mind right now The White Stripes all notable irresistible protagonists. It feels right now though that there is a real wealth and strength in depth to two-pronged innovative rock bands. The UK has the caustic garage punk/rock ‘n’ rollers The Creeping Ivies, Canada the raw and sonically insatiable might of The Black Frame Spectacle, whilst the US can offer up the country punk of The Barnyard Stompers and the blues punk fire of In The Whale. These are just four of the savagely potent enticements within the underground to which you can forcibly add The Ghost Wolves.

Hailing from Austin, TX, the duo of husband and wife Carley and Jonathan Wolf create a delta blues/garage rock inspired storm which stirs up the imagination and steals the passions like a fully loaded dose of sonic moonshine. Its raw and addictive recipe is irresistibly unleashed in a diverse mix of flavours within the band’s debut album Man, Woman, Beast. It is a rugged yet fuzzily seductive stomp of an encounter which leaves senses sore, bloated, and desperate for more.

Formed in 2011, The Ghost Wolves has spent the years since garnering more and more acclaim and support as well as a feistily growing fan base. Released on Nashville’s Plowboy Records, Man, Woman, Beast follows the success of the band’s 12” EP In Ya Neck! of 2011 and the following year the 7” single Getchya Hip Thrust, both on Pau Wau Records. The album already acclaimed in their homeland, has all the abrasing charm and enthralling enterprise, not forgetting sheer unruly beauty, to push the band into a wider world bred spotlight,

The first slice of infection is Shotgun Pistol Grip, the opening track an immediate sizzling bait to seduce ears and emotions. The heavy throaty tones of Carley’s guitar ignites ears right away to be joined within a breath or two by the tgw-620x620similarly coaxing crisp beats of Jonathan. There is an almost cantankerous swagger to the track, its rhythmic shoulders and melodic intent as feistily imposing as they are engagingly alluring. It is rapacious bait which steels its sinews to hold is tempting as the mischievously cute and flirtatiously melodic vocals of Carley caress ears, assisted as impressively by hubby. There is also an underlying surf rock breeze to the song which embraces the senses before making way for the fiery Gonna Live. Brewed in a richer distillery of blues, the track is an instinctively alluring prime rock ‘n’ roll canter. Guitars flame and groan with scuzz kissed toxicity whilst the vocals and chorus produce a rock revelry which demands attention from feet and emotions.

The ridiculously potent and thrilling start to the album is continued with Baby Fang Thang, a song which swings its melodic scuzz wrapped hips like a lap dancer from the first sway whilst beats punctuate the seduction with their own distinct potency. As with so many of the songs, verse and build ups are siren-esque especially vocally, but it is the toxicity of the chorus which sparks lustful passion, and in no greater success than on the third song. With a temptation which is like a fusion of Daisy Chainsaw and Karn8, the song licks at the senses with the salacious wickedness of a temptress and naive charm of a sultry breeze.

Both the coarse boned Grave Dollas and Ride The Wolf keep things aflame in quality and ears, the first a anthemic romp of energised rhythms and swinging vocal lures within another squalling blaze of blues lilted guitar colour. Its successor is a slow prowl of salaciously grinning vocals and sonic beckoning, the sultry seductive air of the song again reminding strongly of Karn8 whilst the heavier garage rock predation which equally crawls over the senses has a seventies psychedelic essence which also embraces flavours to be found in artists like Hasil Adkins, The Cramps, The White Stripes, and Morass of Molasses.

I Was Wrong uncages another sinew built stomp, rhythms casting a firm net for the twin vocals and smouldering guitar attack to tease ears with devilish efficiency, before the next up Itch unveils an earthy groove to lose inhibitions to. Whereas the last couple of songs richly pleased but lacked some of the lust breeding power of earlier tracks, this song is another Devil spawned seducing which wakes up the imagination and ardour fuelled passion like popping candy in the mouth, every note and beat a frenetic but fluid croon to set passions of eager edge. A welcome easily exploited by the intoxicating I’m Yo Mudda, its winding and swerving blues filtered grooves pure sonic manna.

The riveting limb enslaving Attack, Attack, Attack hits another pinnacle for the album, its veins pumped with fevered rapaciousness and hungry suasion driven by rhythmic stabs and vocal pokes. It is a sensational stomping which leaves the body breathless and hunger burning as greedily as the passions. Ensuring that the song’s glory is pushed to the final song, Dangerous Moves stands before ears with vocal enticement blazing radiantly within waves of blues toned guitar caressing, both leading to another crazily addictive and wonderfully toxic choruses. The song is a brilliant and pungent furnace of sound and anthemically evocative hues which sums up The Ghost Wolves perfectly.

Now we said these were the last songs and they are on the download version but we suggest going for the CD which comes with an extra trio of songs, tracks recorded live which you do not want to miss. The slow lumbering almost erotic beauty of Lies I Told is alone a treat but White Lily is the big prize, the song a scuzz lined dance of captivating beats and irrepressibly magnetic grooves all under the spell of the dual vocal temptation. The hypnotic rhythmic hex which opens up Mosquito is also a massive draw whilst the song once into its heart lays down a mesh of sonic bruising which ravenously grips an unrelenting appetite for the album.

Man, Woman, Beast is one of the real triumphs and pleasures of the year and The Ghost Wolves, a band to set the primal heart and beast in us all free.

Man, Woman, Beast is available now @ http://theghostwolves.bandcamp.com/album/man-woman-beast-2014 and on CD/vinyl through Plowboy Records! @ http://plowboyrecords.com/store/the-ghost-wolves/

http://www.theghostwolves.com

9/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

 

In The Whale – Nate & Eric

InTheWhale R! 2

This week sees the release of the Nate & Eric, a fireball of rock ‘n’ roll from US duo In The Whale. The album is actually the putting together of the band’s last two EPs and if they have escaped your attention this is an encounter you should urgently add to your collection of crucial sounds. As eclectic as they are ferociously contagious, the songs making up the release are encounters bred in everything from old school rock ‘n’ roll and punk through to blues, garage rock, and plenty more. It is uncompromising, honest, balls out rock ‘n’ roll, and quite simply irresistible.

Formed in 2011, the Denver band consists of Nate Valdez (vocals and guitar) and Eric Riley (drums and backing vocals), a pair which much like Canadians The Black Frame Spectacle, turn two sources of roaring instrumentation into a full-on rapacious beast of sound and energy. In 2012 In The Whale unleashed debut EP Cake, a well-received proposition which was followed by a just as impressive live presence, which has seen the band play with the likes of Murder by Death, Local H, Reverend Horton Heat, and Electric Six as well as The Airborne Toxic Event, Agent Orange, Bob Log III, The Pack A.D. and Slash. Second EP Eric hit ears in the latter stages of 2013 with its successor Nate being unveiled earlier this year. Now the last EPs come together to create one of the most inspiring and mouthwatering propositions of 2014.

Nate & Eric opens up with the Nate tracks, and specifically Robert Johnson. From its first breath a flame of energy and intensity hits image10-5the ears through intermittent strikes of raw riffs and punching beats beneath the equally imposing vocal call of Valdez. Bluesy air oozes from all aspects too before the track settles into a predatory dance of raucous riffs and anthemic rhythms to which the vocals burn and roar passionately. The track is like a mix of the previously mentioned Canadians, Reverend Horton Heat, and Eagles of Death Metal, and just as devilish as that mixture suggests. It is Devil music and unapologetically irreverent in its infectiousness and psyche twisting charm.

If the starter was mercilessly tempting than the following Wedding Bells should be labelled as dangerous, its initial southern psychobilly twang toxic bait to which the band erupts into a garage punk enslavement with impossibly addictive pop punk relish. For less than a minute and a half, the track stomps with nagging rhythms and agitated riffs, leading into a ridiculously commanding chorus; this all under the again gripping vocals of Valdez. It is a fiery mix that Valdez and Riley conjure; alchemy of sound sculpted with an adrenaline fuelled inventive voracity through simply one predacious guitar, an antagonism lit drum kit, and flaming vocals.

Both the hard rocking Lake of Fire with its again blues kissed rabidity and the feverish brawl of Grandpa Pete keep passions and ears greedy, the first a frenetic blaze of stoner-esque heavy rock with punk urges. Acidic melodies and darkly shadowed chords equally add their potency to the fire dance, hooks and grooves just as prevalent and mischievously compelling too. There is a little tint of Wall of Voodoo to the song, though admittedly for indefinable reasons whilst its successor is pure punk revelry with metallic appetite. Holding a touch of I Am Duckeye and Melvins in its barging garage punk tenacity and devilment, the track is pure aural addiction.

The Eric half of the album begins with On A Roll and immediately a scrub of blues guitar swiftly joined by muscular rhythms and honky-tonk piano covers the senses. As Valdez opens up the narrative everything settles into an ordered yet disruptive canvas of unpredictable rhythms and searing melodies beneath those dramatically expressive vocals. There is a rich feel of Queens Of The Stone Age to the riot but only as a potent spice in a loudly individual proposition. Its triumph is followed by the best track on the release, The Clash seeded Girlfriend. Beats set out a plain but gripping frame for both men to lay down their anthemic vocal call before the track explodes into a blistering punk temptation. The Vibrators meets Rocket From The Crypt with that Strummer and co blooding, the song is an incendiary trap to dive into head first for the greatest pleasure and lustful satisfaction.

The release closes with Sunbeam where again the pair step into a stoner landscape but this time with coarse rock ‘n’ roll and seventies garage rock scenery. It is a smouldering abrasing of sound and sonic tempting, keys again adding richer colour to the riveting and shifting terrain of the magnetic provocation. It is a glorious end to a sensational release, as mentioned one which if the EPs individually have evaded your sweaty hands, is a must have, do not dawdle purchase. In The Whale expels rock ‘n’ roll in its purest yet adventurous form, a furnace to get persistently and brilliantly burnt by; the proof is all there on Nate & Eric.

The self-released Nate & Eric is available now!

www.inthewhalesucks.com

10/10

RingMaster 27/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com