The Sourheads – Care Plan For The Soul

Since forming in the Spring of 2016, UK rockers The Sourheads has drawn increasing attention and support through their live presence, singles, and most of all their dirty, multi-flavoured rock ‘n’ roll. Now the band has added another accelerant to their emergence with the release of debut album Care Plan For The Soul. Offering nine slices of rowdy but skilfully woven incitement embracing classic and fresh rock diversity, the release thrusts the listener into a grubby cellar of salacious intent and irreverent sound; a temptation the body gets the urge to dance to and appetite the need to increasingly devour.

Hailing from Wakefield, West Yorkshire, The Sourheads embrace an array of inspirations in their sound ranging from Deep Purple, Kasabian and The Doors to Kyuss and Clutch. It is a web of punk and garage to psych and classic rock which is just as grungy as it is melodically enticing and within Care Plan For The Soul an incitement which makes a potent first impression but really grows in persuasion listen by listen. Mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2), the album swiftly grabs ears and appetite with opener Demon. Straight away it is enticingly grumbling in ears, bass and riffs an irritable lure soon bound in sonic tendrils as familiar and new endeavours collude in the blossoming growl capped by the slightly gnarly tones of Jake Coxon. The bass of Ben Taylor continues to be a belligerent presence in the caustic captivation, guitarist Mik Crone and drummer Chris Lambert adding their bold touches to the ever evolving roar maybe best described as Turbonegro meets The Senton Bombs meets Guns n’ Roses.

It is a great start to proceedings which Morally High continues with its spicily grooved stroll. Carrying similar essences and flavours to its predecessor in its own individual way, the track is equally as infectious and magnetic with again classic and modern textures rubbing excitedly again each other within its controlled yet salacious swing. As the music, Coxon has a snarl to his croon, attitude dripping from every syllable and note before My Rock And Roll steps up to coax bad behaviour with its blues skinned devilry entangled in more of the great guitar enterprise which veins the whole of Care Plan For The Soul.

Power Of Addiction shares some of that psychedelic influence next; keys and melodies a sultry tempting while Rag And Bone Man has a great scruffy feel and character to its predacious gait and rhythmically rousing proposal. The song alone sums up the variety of flavours within The Sourheads sound, a host of rock bred essences embroiled in its inescapable command of body and imagination. It all adds up to one of the biggest highlights of the release, one quickly matched by the voracious punk ‘n’ roll of Don’t Get Caught (I Am The Lotus). Like The Stooges and Eddie and The Hot Rods caught in the act by The Vibrators as AC/DC hold the camera, the track is superb, taking best song honours with its manipulative temptations and craft.

Both Secret Cigarette and Warbird take a firm grip of release and listener next, the first an invasive but seductive fire of blues and classic grooves with punk bred kindling while its successor merges sullied rock ‘n’ roll with some of the most addictive melodic hooks and enterprise within the album for another pinnacle. As with many songs, it openly draws on some classic punk hooks and teases but equally shares psych rock imagination for the album’s most imaginative moment to stand alongside its best.

Care Plan For The Soul concludes with Mad Dog, a song rising from an initial Queen/Skid Row like invitation into an invasive and volatile ballad which becomes more captivating by the minute and listen, much as the album itself.  Indeed just as many will take to the release within seconds many others will need time to explore and discover its qualities; the big rewards for the attention we can vouch for as too the finding of a potential of even greater fun and adventure ahead with the Sourheads.

Care Plan For The Soul is available now through Oak Island Records on CD, Vinyl and Digitally.

https://www.thesourheads.com/    https://www.facebook.com/thesourheads    https://thesourheads2.bandcamp.com/

 Pete RingMaster 23/11/2017

Copyright RingMaster: MyFreeCopyright

IAmFire – From Ashes

With the self-titled debut Mary Beats Jane album one of our all-time favourite releases, we have kept a close eye on the exploits of vocalist Peter Dolving especially with his time in The Haunted. So there was certain anticipation when news of a first album from IAmFire emerged, a project originally seeing Dolving linking up with bassist/vocalist Mikael Ehlert, guitarist Peter Ahlers Olsen, and drummer Ulf Scott. Now completed by drummer Jakob Mygind with Rasmus Revsbech, the Copenhagen outfit swiftly and increasingly surprise, feed, and captivate with From Ashes and its feast of heavy psychedelic/stoner rock bred adventures.

From its first breath From Ashes imposes its presence and qualities upon ears and imagination, opener Magpies and crows forcibly prowling the senses with ominous riffs and hefty beats. It soon settles into a heavy footed magnetic stroll though as the contrasting but equally tempting warm tones of Dolving settle upon the trespass. Fusing essences akin to Electric Wizard, Black Sabbath, and Kyuss with the grungier spicing of a Gruntruck, the track submerges the listener in a weighty embrace of sound and hypnotic charm.

It is a compelling start carrying on into next up Did you find your name, the song sauntering in on a mellow melodic breeze driven by boisterous and instantly rousing rhythms. As its predecessor, its presence is immediately contagious, Dolving vocally and the band musically weaving a celestial tapestry of suggestion with a lurking lining of shadow bred implication. That dark inclination erupts with increasing intensity as the song twists and turns, its rapacious Palms spiced heart sharing its creativity with melodic stimulants and increasing imagination.

Burn your halo shares a more irritable nature in its grunge lined rock ‘n’ roll next with its successor, Eyes wide open, descending into psych rock foreboding and seduction, again with an ever present edge which keeps the senses wary and ears transfixed. Both songs infuse unpredictable and tantalising twists in their already riveting bodies, the second casting a sonic incantation with a raw Jane’s Addiction like air, and each leave ears and appetite just wanting more.

That need is potently fed by For what it´s worth, its tribal rhythmic predation and invasively dancing grooves as addictive as Dolving’s vocal incitement which carries as much portentousness as reassuring calm. Bordering ritualistic, the track is creative manipulation with increasing dexterity before a similar but individual persuasion is cast by Beamer. It too has a volatility which maybe threatens rather than erupts but adds to the song’s body and imagination involving mastery with the drums an addictive ringleader once again.

The album concludes with firstly My mistake, a ravenous cosmic infestation, and lastly through the caustic yet suave tenacious shuffle of Inside. As the album overall, both tracks simply get under the skin with the puppeteer qualities of the rhythms and irresistible trespass of the grooves, they just two aspects in their individual multi-layered and flavoured examinations.

From Ashes is psych/stoner manna with rabidity in its enterprise controlled by an imagination which barely recognises restraint itself, in its midst Dolving may be exploring his own finest moments yet. Simply it is striking irresistible stuff; so seems we have another to add to our persistent favourites.

From Ashes is out now via Elevation Denmark and available @ https://iamfirerocks.bandcamp.com/album/from-ashes

https://www.facebook.com/IAmFireband/    https://www.instagram.com/iamfireofficial/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Bloodclot – Up in Arms

Pic Rick Rodney

Bringing together the highly recognised talent of certain individuals from various acclaimed bands does not always guarantee something special but in the case of Bloodclot, it feels a given such the instinctive union between its collective. The band is the coming together of Cro-Mags vocalist John Joseph, former Danzig and Murphy’s Law guitarist Todd Youth, drummer Joey Castillo formerly of Queens of the Stone Age, Danzig, and Eagles of Death Metal, and Mondo Generator frontman and ex- Queens of the Stone Age, Kyuss bassist Nick Oliveri. Together they confirm that given with debut album Up in Arms, a physical and lyrical roar of hardcore defiance.

Unleashing twelve ravenous slices of punk rock with more inescapable hooks than found in Leatherface’s pantry, all fuelled by raw irritability at the state of the world today, Up in Arms is a crowd uniting battle cry. It fuses familiar essences with the fresh appetite and invention of a quartet seemingly destined to come together at some point. Everything about it is as organic as it is rabid, as challenging as it is rousing; taking no prisoners but rewarding those who it devours time and time again.

The album’s title track crashes in on the listener first, springing from an invasive sonic mist with a slavery of guitar and rhythmic predation as Joseph pokes and stirs the senses with voice and word. Castillo’s beats are rapier sharp and imposing, Oliveri’s bass carries an infectious brooding whilst Youth’s riffs and hooks ensnare across four eventful minutes.

It is an ear gripping, appetite inflaming beginning which only kicks up a gear with the following Fire, a belligerent brawl of punk ‘n’ roll instantly chaining ears with a  virulent hook as rhythms jab and incite. If the Angelic Upstarts was merged with Sick Of It All, this could be their anthem while Manic infuses an even greater physical psychosis and unforgiving attitude to the torrential gait of its predecessor in its own addictive multi-flavoured rumble.

Through the sonic call to arms scourge of Kill the Beast and the Dead Kennedys scented Prayer, new twists of sound and invention force themselves through ears, each with a virulent strain of spiky hooks and body twisting grooves, while their successor has things bouncing like a dervish. Siva / Rudra is a contagion of enterprise as cantankerous as it is exotically seductive marked, as all three, by Oliveri springing basslines as funky as they are carnal. Alongside, Youth’s riffs and grooves come as primal as they are compelling whilst Joseph squeezes every ounce of uncompromising adventure and emotional incitement out of tone and syllable.

Soldiers of the New Babylon locks metal and punk together in its prickly vent, a testy proposition woven with nagging riffs and a magnetically throbbing bassline before Kali throws all those attributes into an insatiable maelstrom of punk rock temptation, taking best track honours along the way. Barely seeing the one minute mark, the track is irresistible but swiftly rivalled by the crabby assault of Slow Kill Genocide, the catchiness moment within Up in Arms and arguably the most choleric.

Pure punk rock truculence shapes the breath-sapping antics of the following Slipping into Darkness, Oliveri spawning his most addictive moment within the album bound in the searing flames of Youth’s guitar as vocals and beats vent their animosity with Life as One backing up its triumph with its mercurial but always commandingly imposing tapestry of quarrel and imagination.

The album is closed by You’ll Be the Death of Me, a slab of rock ‘n’ roll taking big chunks out of the senses as it excites with its Lard-esque espionage. Addiction has never been more vicious and seductive within three and a half minutes, certainly in recent times, as that spawned by the outstanding finale to one of the year’s biggest treats so far.

Produced by Zeuss (Hatebreed, Revocation) and mixed by Kyle McAulay at NRG, Up in Arms transcends being just a great release from another so called ‘super group’, it has given hardcore a fresh new breath and snarl which we can only hope is the first of many gales from Bloodclot.

Up in Arms is out now on Metal Blade Records across most stores and @ https://bloodclot.bandcamp.com/album/up-in-arms

https://www.facebook.com/bloodclotofficial/   https://www.instagram.com/Bloodclot2016/

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Widows – Oh Deer God

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

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

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

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

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

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

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

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

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

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

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

Desert Kingdom – Self Titled

desert-kingdom_RingMasterReview

Hailing from the suburbs of Melbourne, Desert Kingdom recently made their introduction to greater attention with their self-titled debut release offering seven slabs of fiercely muscular stoner bred rock ‘n’ roll relishing the band’s inspirations. Certainly uniqueness is not as forceful as the physical power and prowess of the band but there was no escaping a richly pleasing and rousing first glimpse of the potential loaded quartet.

Consisting of vocalist Ritch, guitarist Emmett Young, bassist Brett Wright, and drummer Paul Coste, Desert Kingdom swiftly get down to business as opener You’ll Burn descends on ears with sinew woven riffs and swinging beats. Instantly infectious, it is a commanding coaxing for ears only increasing its potency as choppy tenacity infects those initial chords and a heavy grumble escapes the bass. The raw scowling tones of Ritch are equally as persuasive, it all combining for a fiery slice of stoner heaviness clothed in the influences of bands such as Orange Goblin, Kyuss, and Down.

desert_kingdom_art_RingMasterReviewThe atmospheric, drama soaked entrance of Mafiaso Opera deceptively makes a gentler proposition but its sinister air is soon a tempestuous torrent of catchy beats and predacious riffs. As vocals rage spicy grooves wind around the rhythmic temptation, varied metallic strains linking arms in a familiar yet fresh incitement. Brawling with the senses through every passing second, the track quickly eclipses its impressive predecessor, stomping with raw aggression and captivating enterprise before Doghouse Blues prowls with an equally rapacious intent to that of the previous track while military seeded rhythms impose their agreeable authority. Like a blend of Gruntruck and Pantera with a whiff of Mary Beats Jane, the track irritably rumbles leaving satisfaction full if not quite matching the heights sparked by the pair before it.

If the last track prowls then 7 Years stalks the senses with its doom bred trespass, sonic flames erupting within the pressure as choice grooves entwine voice and the engaging ponderous gait of the rhythms. It too lacks the sparks of those early successes but again only and increasingly pleases as its waspish sound intensifies in tandem with the song’s boisterous aggression with subsequent blues toxicity adding to the fun.

Abstainer rocks like a lustful dog next, its hungry riffs and heftily swung rhythms alone a carnal incitement while Fuck You is sonic belligerence and muscular aggravation bred to raise the spirit as the release re-hits the early plateau it began upon. With spicy hooks and scorching grooves, the track has all the attributes and open potential to raise expectations that Desert Kingdom will come under the scrutiny of the broadest spotlights if not now in the time ahead.

Concluded by the boozy blaze of Whiskey, sawdust and spit rock ‘n’ roll with all the groove laced liquor you could wish for, the release is a very easy to return to stomp. Originality might be a touch on the scarce side but enjoyment is full, something never drawing complaints.

The Desert Kingdom album is out now via Black Bow Records across most online stores.

https://www.facebook.com/heavyrockHQ/

Pete RingMaster 01/03/2017

Copyright RingMaster: MyFreeCopyright

The Big South Market – Muzak EP

the-big-south-market_RingMasterReview

Weaving strands of hard and blues rock with grunge and stoner essences for a sound equally familiar and enterprisingly fresh, The Big South Market is an Italian band making a powerful introduction to themselves with their debut EP Muzak. Five tracks of rousing rock ‘n’ roll the encounter is an impressive offering from yet another duo showing that you do not need multiple bodies to make a mighty roar.

From Barletta, The Big South Market was formed in 2015 by vocalist/guitarist Giuseppe Chiumeo, founder of the crossover band The Rest Side, and drummer Ruggiero Ricco from thrash metallers Cancrena. Quickly they made a potent impression playing all across their homeland, broader attention now being tempted by Muzak and its fiery contents.

Opener Big Deal immediately threatens welcoming ears with thumping beats as wiry grooves wrap around. It is an intoxicating start which only blossoms in strength and sound as Chiumeo and Ricco unite their imposing enterprise. Like a blend of Gruntruck and Crobot, the song growls and seduces, getting under the skin in no time as it vocally snarls and musically sears the senses.

tbsm_cover_RingMasterReviewIt is a stunning start swiftly matched by the similarly fiery lures of Before (You Make It Deeper), itself a fine blend of stoner and blues endeavour as raw as it is imaginatively woven. As with its predecessor there is plenty which seems familiar yet more than enough to create a proposition which stands apart from the crowd, riffs and grooves a web of instinctive adventure in an imposingly big yet uncluttered roar of sound.

A southern air lines the blues rock of next up Moodrink, its grooves and rampant rhythms a spirit sparking enticement as soulful vocals roar. Hinting at the likes of bands such as Pantera, Kyuss, and Royal Blood, the track robustly croons and writhes in ears while the following Red Carpet involves its predecessor’s creative liquor in an even richer slice of virulent blues infused rock ‘n’ roll.

As it strikingly began, Muzak ends on a major highlight with Desert Motel, a slab of desert blues built on enjoyably intrusive rhythms and boozy blues tenacity around the ever potent vocals of Chiumeo. A less energetic proposal compared to earlier tracks, it replaces a full throttle charge with emotively suggestive grooves within melodic fire as an underlying intensity soaked in attitude and ferocity murmurs.

It is a fine end to a thoroughly enjoyable first look at The Big South Market, a pair showing the potential of eventually matching the stature of other great rock n’ roll duos.

Muzak is out now across most online stores.

https://www.facebook.com/thebigsouthmarket   https://twitter.com/tbsmofficial

Pete RingMaster 11/01/2017

Copyright RingMaster: MyFreeCopyright