Kabbalah – Spectral Ascent

For everyone there are certain encounters which forge an instinctive union with personal tastes; records which more than most tap into the creative imagination. We have come across a great many over recent years, having the privilege to listen to and assess a constant flood of offerings, but few have made the immediate lustful impact as Spectral Ascent, the new album from Spanish psych/doom trio Kabbalah. The release is a siren for the senses, an enchantress for the imagination, and one of the most desirable proposals heard in recent times.

Kabbalah is the creation of Carmen and Marga, former members of Pamplona rock band Las Culebras. 2013 saw the well-received release of their self-titled debut EP, its success followed and backed by the Primitive Stone EP fourteen months later. Both lured keen attention towards the band’s fusion of occult rock, 70s retro, and classic heavy-psychedelic sounds of the late 60s; a mix creating a cauldron of temptation and dark suggestion, a snarling trespass of predacious uniqueness nestling often irritably under the beauty of alluring vocals and swarming harmonies. With Alba completing the current line-up in 2015, Kabbalah sound has blossomed again for Spectral Ascent, hints of its fascinating evolution coming in the 2016 single Revelation and earlier this year its successor Phantasmal Planetoid, both prominent lures within nothing but across the album.

Spectral Ascent quickly coaxes attention with its opening title track; a short intro of melodic flirtation with a shadowy undercurrent which plays like a music box enticing entrance to an alluring dark realm. It’s elegant if sinister coaxing leads into the equally beguiling lure of Resurrected where from the heavy throb of bass and the magnetic pull of vocals the song has ears and appetite swiftly engaged. Guitars similarly draw the senses with their melodic sparkling, teases leading into the more formidable and imposing heart of the track. Never deviating from its seductive swagger though, the song twists and crawls through ears right into the psyche, moments of almost carnal intensity and calmer flows of romancing melodies igniting the imagination and body like few other encounters.

The sheer drama of the outstanding proposition continues through next up Phantasmal Planetoid. Its climate is instantly darker and more formidable as the bass snarls, never losing its heavy trespass as the song moves on to court a boisterous gait with turns of tetchier growls. It is masterful stuff, stoner and doom essences colluding with those earlier mentioned flavours as vocals and harmonies soar. No lightweight on addiction loaded hooks either, the song is manna for ears and instincts, a consuming persuasion also bred in the voracious antics of The Darkest End and immediately after within The Reverend. The first of the two aligns carnivorous riffs and bass irritability with spell spun grooves and the ever bewitching vocal union across the band. It resembles a fusion of Blood Ceremony and Jess and The Ancient Ones, yet is as individual to Kabbalah as you could wish for. Its successor is almost punk like at times, an underlying crabby edge flaring up across its psych and post punk spiced tapestry like a hybrid growth from a union of Au Pairs, Cradle, and Deep Purple.

Following their triumph, The Darkness of Time offers a funk fuelled swing of psychedelic rock, its body a web of heavy and classic rock honed enterprise which might miss the more predatory traits of its predecessors but has body and spirit wrapped up with ease. Its occultist lure only adds to its relentless charm; bait which is taken to more threatening places within the outstanding Dark Revelation. Its first breath has a garage punk taste, the subsequent canter more of that Au Pairs like post punk tempting before Kabbalah turns it all into a compelling and virulent, almost unruly, tango of creative flirtation.

The Shadow slinks up to ears in its own inauspicious way, tempting and warning with portentous charm before its fires break from an initial smoulder into a white hot rock ‘n’ roll stroll while the album closing Presence shares a calmer though no less heated weave of retro and modern nurtured adventure to further enthral. The dancing prowess of the drums, not for the first time, is almost consuming in its rousing and resourceful drive of the magnetic sounds bringing the album to a masterful conclusion.

The need to go again is controlling as Spectral Ascent drifts away, and the pleasure in doing so ever rewarding. The album is immense and rich food for a passion for psych/doom infused rock ‘n’ roll. Some bands feel destined for greatness from their first moments; Kabbalah is one and their new offering commandingly intensifies that belief.

Spectral Ascent is out now via Twin Earth Records and available @ https://kabbalahrock.bandcamp.com/album/spectral-ascent

https://www.facebook.com/Kabbalahrock/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Chainflower – Self Titled EP

chainflower band

There is a blaze brewing in alternative rock, an incendiary storm even if their self-titled debut EP is anything to go by, and it goes by the name of Chainflower. How intensive their assault on the rock ‘n’ roll scene will be we will see as it seems more a side project tight now than an on-going rampage, but with offerings like the two songs making up their first provocation, we are in for a gloriously uncompromising ride however things pan out.

Chainflower features guitarist and songwriter Kelly Wheeler, a veteran of the L.A. music scene who has played with members of Jane’s Addiction and Tool. He has also lit ears and appetites with his bands SexTapes and Ultraject, the first which featured long time Guns N’ Roses member Chris Pitman on lead vocals now on hiatus. Also bringing the Chainflower roar is vocalist Erika Renee who had previously performed with previous musical partner, A.H.M.A.D. The pair united when Renee sent Wheeler a video clip of her performing at the Whisky a Go Go, the guitarist looking for a singer after Ultraject’s previous frontman left the band. Though he was looking for a male voice, Renee more than impressed and a meeting/audition was set up. The rest is history and Chainflower the outcome.

Chainflower     Swiftly a powerful live protagonist, the band entered the studio with producer and engineer Doug Grean (Stone Temple Pilots, Velvet Revolver, Scott Weiland, Sheryl Crow, Cyndi Lauper) to record the tracks making up the new EP, and the outcome is one ferocious blaze of compelling rock ‘n’ roll which straight away stirs up ears and appetite through its first track, The Fever. A spicy stroking of guitar sets the song in motion, quickly followed by a thick explosive air and the vocal might of Renee. There is an immediate intensity to the sound and weight of the song, as well as a dirty seduction which flows through every riff and enticing bassline. Punchy rhythms make their potent impact across the song too but it is the gripping and powerful tones of Renee which steal the ears and passions. As much as its verses come in a heavy smog of sonic enterprise and energy, the chorus of the song expels a swagger and virulence which easily induces a physical involvement from the listener, its lures like a mix of Spinerette and Stone Temple Pilots with an infectious dash of Eagles of Death Metal. The song is an irresistible proposal, intimidating and invigorating in equal measure and equipped with a healthy dose of antagonistic seducing.

The same description applies to outstanding second track Dissolve In The Sky, though its body has a more welcoming energy until the raw crescendos and expulsions of brawling riffs and bracing intensity. Blues rock flames across the encounter worm under the skin of the song and into the imagination too but not as deeply as the soaring roars of Renee or the addictive enticing of clanging guitar, piercing hooks, and forceful rhythms. Essences of darker rock bands Jess and the Ancient Ones hint away during the track, another appealing additive in the simultaneously caustic and contagiously enticing encounter.

We can only hope that Chainflower is a more active proposal than an interim between other exploits because introductions like their debut release only breed a real hunger for more.

The Chainflower EP is available now @ http://chainflower.bandcamp.com/releases

https://www.facebook.com/Chainflowermusic/

RingMaster 28/04/2015

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 Kut – Rock Paper Scissors

The Kut Promo

More captivating with every listen, Rock Paper Scissors is one of those encounters which make a bigger impact in four songs than many bands can in a handful of song loaded releases. The new EP from UK rockers The Kut; it is a ferocious yet alluring mix of grunge, alternative rock, and punk. Each of the tracks offers something different to those before it without departing from the core heart of the band’s sound. It is pop, punk, grunge all at once, but predominantly it is anthemic rock ‘n’ roll to rage and romp with.

Taking inspirations from bands such as Deftones, L7, Hole, Incubus, Placebo, Nirvana, and Faith No More, the London trio whipped up keen attention with their first EP Make Up last year whilst singles and songs like No Trace, Mario, Closure, and Doesn’t Matter Anyway have bred keen support and appetites for their emergence in fans and media alike. Now is the turn of the more dramatically imposing yet virulently contagious James LeRock Loughrey (Skindred,White Zombie, My Vitriol, Page & Plant, Bjork, Def Leppard) produced songs of Rock Paper Scissors to make their persuasions, and there seems little will stop them awakening an even hungrier spotlight upon the band.

Artwork- The Kut RPS   Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.

   Alekhine’s Gun steps up next and has a mellower more relaxed touch to its opening, though again there is menace in the rhythmic framing and atmosphere shadows surrounding the excellent vocals and infectious melodic tempting. The rage which seems to fuel the EP erupts in abrasing vocal bellows throughout the encounter but persistently it manages to return to a less volatile and equally compelling state, subsequently offering great unpredictability and adventure throughout.

The best tracks on the EP complete Rock Paper Scissors, the first coming with the rock/punk pop excellence of I Don’t Need Therapy. Brewing essences of bands like Spinnerette and Valentiine into its own distinct landscape of dirty rock ‘n’ roll, the song strolls boldly with simple but voracious riffs speared by gripping hooks whilst the bassline running through all is sheer grouchiness. The track has an inescapable familiarity to it but that only adds to the rich flavouring offered and enjoyed.

The closing Bad Man emerges as the favourite, everything about it preying on ears from scything rhythms to caustic riffery. Even its melodic passages have a sultry yet sinister occult/psyche rock colouring which would not be out of place in a Jess and the Ancient Ones or Blood Ceremony offering. The track is outstanding; the pinnacle of The Kut’s invention for personal tastes and a fine way to leave the listener with a long and lingering excited impression of the release.

Listening to Rock Paper Scissors it is still easy to feel there is plenty more to come from the threesome, in songwriting and sound as well as invention, to truly set the band aside from the rest and give the UK a band to rival the statures of bands like Hole and L7. Right now The Kut provide a thoroughly enjoyable and impressive proposal which goes just down a treat.

The Rock Paper Scissors EP is available now via Criminal Records digitally and on CD at https://thekut.bandcamp.com/album/rock-paper-scissors

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

Saturday 23rd – 24th May: Strummercamp Festival, Manchester

Saturday 30th May: The Harvest Home, Haughton Regis, Bedford

http://www.thekut.co.uk/   https://www.facebook.com/thekutgirlsrock

RingMaster 15/04/2015

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

 

 

Solar Halos – Self Titled

Solar Halos 3 HiResSmall

Setting the new musical year off to a stunning and potent  start, US rockers Solar Halos unleash their debut album, a release conjuring a tantalising mesmeric brew of stoner and psychedelic rock with further explorations which simply seduces the imagination and passions into hungry life. Out 20th January via Devouter Records, the self-titled album is a masterful temptation and beautifully crafted evocative expanse of heavy unrelenting rock leading the listener into one of the first great adventures of 2014.

Hailing from Chapel Hill, North Carolina the trio certainly comes with a rich pedigree to its line-up. Consisting of guitarist/vocalist Nora Rogers, formerly of Horseback and Curtains of Night, Caltrop and Horseback drummer John Crouch, and Fin Fang Foom bassist Eddie Sanchez, Solar Halos feed expectations bred from its line-up and then shows them another creative level through imagination and sonic invention. Soaked in a doom like weight yet finding a radiant and transfixing resourcefulness generally absent in the genre through varied textures and sounds, the band’s first album is an enthralling and intensive examination of and feast for senses and emotions. A travelogue of heated and dusty climes brought through an ever shifting provocative aural landscape.

The album opens with The Vast White Plains and immediately hits the appetite with a delicious grizzly bass sound within ear Artworkentwining sonic guitar lines, all caged by the hypnotic rhythmic sculpting of Crouch. Within its first seconds the song has attention rigidly glued to its magnetic lure, a hold which is only cemented further once the distinctive and absorbing vocals of Rogers begin the lyrical narrative. The combination is unstoppable as the track winds the passions around its rhythmic fingers, its sonic persuasion drifting into continual enterprise and bordering exhaustive intensity. With additional vocals from Sanchez as effective and pleasing as those of Rogers to further flavour the rich lure of the song, it is a mighty and riveting start.

The following Tunnels takes a more reserved approach as its entrance but one with melodic flames and a tempered rhythmic gait which only engages thoughts as eagerly as its predecessor. A crawling journey through seemingly doom seeded psychedelic waters, the track heavily leans on the ear yet with the warm life filled vocals and incendiary melodies cast by the guitar it feels like a plunge through dark emotional depths lit by a beacon of hope and warmth. As with the first track every aspect of the song coaxes out rapturous responses, its twisting and inventive enterprise reinforcing the lure and lingering beauty of the wonderfully intrusive feel of adventure. There is a definite Horseback tone to the music as well as elements of Kyuss and at times Jess and the Ancient Ones but as the second song finishes there is no denying that Solar Halos crafts a sound which is uniquely theirs.

Both the soaring rigorous flight of Migration and the atmospheric scenery of Frost continue the impressive presence of the album, the second especially with a carnivorous tone to the bass and another mouthwatering rhythmic taunting by Crouch igniting another wash of emotional rabidity within for its offering. Their triumphs are soon followed by the chilled touch of Wilderness, a song which builds mountainous sonic ranges and heavyweight rhythmic caverns to explore and spark the imagination within. The most doom washed track on the release but again one which teases and invites bright burning flames from within its dark shadows, it builds a thick tide of scuzz filled provocation and melodic heat provoking thoughts and emotions to delve only deeper with each excursion through its fascination.

Resonance brings the album to a close, the track eight minutes of sonic incitement and rhythmic enslaving. It is a glorious slowly invasive triumph to complete a breath-taking release. Everything from the great vocal blend of Rogers and Sanchez, the guitar’s senses encircling spirals of expressive melodic suasion, and the almost goading and certainly anthemic rhythmic bait of the bass and Crouch’s outstanding drum craft, enslaves ears and imagination. Like the album as a whole, the track just gets better and impresses more with each course through its striking landscape and steals top honours on the release though it is constantly challenged by the other tracks.

Solar Halos instantly stand aside the likes of Horseback and Royal Thunder through their debut and it is not hard to suspect that the threesome will be forging major heights in the future. 2014 could not be off to a better start.

www.solarhalos.com

10/10

RingMaster 01/01/2014

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

Shinin’ Shade – Sat-urn

SS

Taking the listener on an evocative and intensive journey of heavy lumbering riffs, bulging rhythmic resonance, and a fire of melodic rock ridden by quite compelling vocals, Sat-urn the new album from Italian band Shinin’ Shade is a masterful triumph which thrusts the band into a certain spotlight. Creating a riveting fusion of progressive and stoner rock with the dark shadowed intensity of doom and searing psychedelic blazes, the release even without the band yet arguably finding their true unique voice, offers a classy irresistible persuasion which cannot be dismissed. The seven track beast leaves the listener exhausted, enthralled, and most of all richly satisfied with the thrilling offerings laid before the ear.

Formed in 2005 by Allen Kramer (guitar, mellotron) and Roger Davis (bass), the Parma based band first made a mark with their self-titled demo in 2009 which was followed immediately by Mike De Chirico replacing the departing original drummer to join the pair and Mek Jefrey (guitar, vocals).  The following year saw Shinin’ Shade release their debut also self-titled album via Italian label Moonlight Records like the demo and subsequent releases, to strong responses. Then in 2011 vocalist Jane Esther-Collins joined the band and as their Slowmosheen EP showed upon release in in January 2012, the band found it’s most potent and formidable presence. Draped in strong acclaim the release was backed up by impressive performances across festivals and shows in Italy and Europe. The new album SatUrn is their most accomplished release to date, a powerful and imagination capturing journey alongside a burial procession through dark and desolated landscapes into the deep, sacred desert of Wiriguta.

The adventure starts with Our Time And Space, thick plunging bass grabs spearing lumbering fiery riffs and concussive rhythms 554097183-1before the track elevates all aspects into a sweltering furnace of sonic declaration. There is heavy treacle like ambience soaking the breath of the song with guitars and bass crawling intensely over the senses whilst the cracks of drum maliciousness attach themselves to bone and emotions. Once the wonderful vocals of Esther-Collins walk all over the encounter with pure majesty the track rises to a pinnacle which instantly sparks up a form of hungry rapture. Brewing a blend of beauty and intimidation with her stunning voice and delivery, her presence has the strength to bring the best out of song, sounds, and the passions in the same way that Jess does for Jess and the Ancient Ones, the songs impressive pieces of craft but the vocals turning them into a different terrific experiences. The track itself almost stalks thoughts and feelings, its evolving gait and intent unveiling dark corners and invasive shadows within perpetually changing aural scenery.

From the scintillating start the release ventures through Keyhole/Inner Saturn and Over-Sea Nightmares, two tracks which bring stunning ports of call in the overall emotive trek of the album, the first a track enriched with stoner grooves and seductive melodic temptation within a rapaciously encroaching atmosphere and labouring enveloping energy, the seamlessly almost toxic move from energetic flames to white hot smouldering sonic malcontent as impressive as it is corrosively invigorating. The second of the pair immediately slaps Sabbath like riffs to the ear before the guitars fire up another contagious dance of sonic alchemy and melodic acidity for a continued expressive satisfaction to the extensively pleasing release.

The following Through the Wires of Your Mind initially sways in front of the listener with a fascination of progressive/psychedelic elegance wrapped in an almost wanton invitation before stretching it into an exotic flame of delicious temptation further expanded into a part caustic part golden allurement energetic wash. As with all the tracks there is no obvious prime direction, the song moving through numerous avenues of light and dark as well as emotive climaxes which is as compelling as the sounds sculpting their narration.

Before coming to the end of its quest, Sat-urn unleashes more impressive and creative enterprise with the excellent Nowhere Dimension and closing song Epic Talk but sandwiched within them both is the best song on the album. Denied Lovers has a carnivorous voice and texture to the drums and bass especially, which incites the predatory instinct of the guitars as they expose the senses to a scorching fire of sonic consumption. Within the tempest though Esther-Collins tempers the heat with her exceptional voice, its forceful and harmonic fusion demanding its own slice of the passions and thoughts to steer alongside inventive guitar craft a thoroughly entrancing victory.

Though the release shows that Shinin’ Shade is still in the process of developing its own unique voice, and it is not that far away on the evidence of the album, Sat-urn sets the band up as one of the brightest beacons in the rapidly expanding genre of doom/progressive rock. With elements fans of the likes of Blood Ceremony, Jess and the Ancient Ones, Pentagram, and Electric Wizard to name a few, will devour this band is set to rise to a very potent destiny for them and us.

https://www.facebook.com/pages/SHININ-SHADE/169113931530

9/10

RingMaster 11/05/2013

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