Tyrannosaurus Nebulous – TLK/Straight Jacket

Tyrannosaurus Nebulous is a British hard rock roar which ahead of a highly anticipated new EP, have just uncaged a highly irresistible stomp in the shape of double A-sided single Straight Jacket/TLK. Two slices of multi-flavoured irresistible rock ‘n’ roll; the release marks all cards on a new spirit raising proposition very easy to find an eager appetite for.

Based in the Black Country, the foursome of Stourbridge hailing guitarists Matt and brother Paul Darby, their Dudley hailing cousin James Miles on drums, and South Wales (Caerphilly) bred Lee Jenkins draw on inspirations from 70’s hard rock and the likes of Budgie, Black Sabbath, Lynyrd Skynyrd, AC\DC, Status Quo, Led Zeppelin, Rush, and Thin Lizzy for their own adventurous proposals. As shown by their 2014 debut EP Never Gonna Be, which featured former vocalist Justin Catton, Tyrannosaurus Nebulous use all flavours in a sound crafted in its own identity. The new single continues that evolution, offering the band’s most unique sound yet without defusing what is an easily accessible and seemingly instinctively recognisable prowess. With a strong reputation building live presence across the Midlands and South Wales which has included shows with the likes of Captain Horizon, Twisted State of Mind, Buzzard, Vicious Nature, Sister Shotgun, Healer of Bastards, No More Numbers, The Delta Rhythm, Sour Mash, Swamp Donkey and numerous more, Tyrannosaurus Nebulous is ready to stoke up national fires with the upcoming Deal With My Evil EP in July and before it the fiery stomp that is TLK/Straight Jacket.

TLK comes first, a song introducing “the band’s very own T. Rex called Terence, sent to us from a faraway galaxy to teach us the ways of pure rock ‘n’ roll, so that we can defeat inferior talent show chart drivel and put hard hitting rock back on top where it belongs !!!” No matter the story, behind it, the track is pure rock ‘n’ roll which hits the ground running as riffs and rhythms entice and enslave with boisterous catchiness and chest thumping energy. It is no slouch in providing melodic temptation and spirit rousing virulence either, it all led by the dusty anthemic tones of Matt backed by the similarly potent tones of the band. As suggested there is something familiar about the song and the band’s sound yet it refuses to be pinned down while offering thickly fresh scented rock ‘n’ roll. Like its companion, the track feels like a returning best friend with a new line in fun and diversely flavoured rock devilry.

Whereas there is a great classic rock spicing to the track, Straight Jacket infuses some southern rock flavouring to its melody thick blaze. Within seconds guitars are spinning a web of juicy grooves and rampant riffs as bass and drums create heavy duty contagion. Again, it is a song which is infested with pedal to the metal energy but equally explores some just as stirring moments of smouldering melodies and sonic suggestiveness.

Both the Gavin Monaghan produced tracks hit the sweet spot with ease and are sure to please any hard rock fan with a taste for rock ‘n’ roll unafraid to show its influences whilst creating a new mighty roar.

TLK/Straight Jacket is out now @ https://tyrannosaurusnebulous.bandcamp.com/

Upcoming Gigs:

Saturday 16th July – E.P. Launch Party – Barge & Barrel, Tipton
Friday 18th November – Supporting ‘Children of the Gravy’ – Black Sabbath tribute – Roadhouse Birmingham

http://www.tnebulous.com/   https://www.facebook.com/TyrannosaurusNebulous   https://twitter.com/T_Nebulous

Pete RingMaster 16/06/2016

Copyright RingMaster: MyFreeCopyright

Heartbreak Remedy – Midnight Groove

Embracing a host of flavoursome flavours in their energy loaded sound, UK quartet Heartbreak Remedy create rock ‘n’ roll which just rolls with the instincts to party. The weight of proof comes in their self-released debut album Midnight Groove, a collection of tracks which may have found variable success with personal tastes at times but all left an appetite for more of their feisty enterprise.

Hailing from Cumbria, Heartbreak Remedy emerged in 2013 with the intent of merging LA’s classic rock sound with seventies bred grooves. The band’s founders, vocalist/bassist Matty Penn and drummer Stephen Jackson soon linked up with guitarists Callum Glynn and Luke Blair, that union the springboard for Heartbreak Remedy and a live presence which began with a debut show at Trillians in Newcastle playing alongside Enuff Z’nuff. 2014 saw the band playing across the UK, their own potent gigs beside support spots with the likes of The Quireboys, The Electric Boys, Kory Clarke/Warrior Soul, The Burning Crows, Bad Touch, Falling Red, and Knock Out Kaine. A full UK tour with The Last Vegas only added to their emerging presence and reputation whilst with two well-received EPs also under their belts, the band more recently has shared stages with Hardcore Superstar, Keri Kelli, and Brad Gillis, and played the Hard Rock Hell Road Trip in Ibiza. Now with its national release, it is the turn of Midnight Groove to awaken new ears.

Heartbreak Remedy seemingly gets referenced to the likes of Mötley Crüe, Lynyrd Skynyrd, and Deep Purple most often, something relatively understandable as the opening track of Midnight Groove erupts in ears. There is certainly something familiar to their sound and seemingly no real intent to be dramatically adventurous but for heart bred rock ‘n’ roll there is little to dismiss the album over or first song Convoy. As soon as a single groove entangles ears attention is awake and seriously intrigued, especially once increasingly anthemic rhythms pave the way for a vocal bellow from Penn and the riff driven stroll it sparks. The beats of Jackson become even crispier bait as the bass of Penn offers a great grumbling lure whilst with acidic hooks and sparkling guitar endeavour wrapped in blues rock hues dancing in ears, the track gets more adventurous and compelling with every passing minute.

  The following Already Gone is a slightly mellower proposition energy wise and in tone, and maybe because of this lacks the same spark as its predecessor, though the guitars again potently entice with their melodic narrative before Cocked and Loaded from a great devilish bassline emerges as another fiery slice of blues/hard rock. Vocally Penn is a touch wayward at times but equally more expressive as the track dangles spicy grooves and magnetic bait from the bass in ears.

Things really pick up with Tell Me Why, the track a sonic floozy of southern grooves and seventies seeded funk ‘n’ roll. Rhythms add a dark edge to the encounter, the muscular tones of the bass aligning to jabbing swipes from Jackson as the guitars of Glynn and Blair weave a contagious temptation of sultry grooves and riffs. Quickly establishing itself as a major highlight of the album, it seems to ignite something in the release as the following pair of All You’ll Ever Be, with its tangy lining to a nest of writhing grooves, and the pulsating Girl At The Bar keep the new plateau of good times rolling. Both tracks enjoyably explore contrasts and essences of discord, with the latter also slipping into something more eighties glam rock coloured to pleasing effect. The fact that there is a constant raw almost punkish surface and inner flame to the band’s sound only adds to the potency of indeed all three tracks and those to follow.

The skittish beats and southern seducing of Heartbreaker provides feet and imagination with the base for a good time which the southern/seventies hard rock textures of Southside recruit in its own dusty stroll before Rose clams things down with its soothing melodic croon. Guitars cradle ears with their tantalising melodies and evocative reflection whilst Penn almost mesmerises with his emotive croon. The song reveals more of the depth and diversity in the band’s sound, than arguably all the previous songs added together, simultaneously adding another high point to the release.

Next up Perfect Crime reveals more of the punk essence which lies within the band’s sound, fusing it with a dirtier hard rock proposal before its successor Thrill Me. Kill Me musically snarls around more restrained but nicely diverse vocals and Ice Queen sizzles in a bluesy climate, its guitars a sonically bubbling and hazy protagonist around funky rhythms and plainer vocals. It is a slim yet rich fusion of contrasts which works a treat though is over shadowed by the album’s closing triumph it is fair to say.

Like Rose earlier, Far Away is a captivating ballad with Penn really coming into his own as acoustic guitars embrace every syllable and escape of emotion. An increasingly impressive treat, it is a fine end to a rather enjoyable proposition from Heartbreak Remedy. Midnight Groove suggests at times that maybe the band’s sound is more potential than realisation right now, but to that offers the promise and excitement of bigger and bolder things ahead.

Midnight Groove is released on Friday 11th September through all stores.

Pete Ringmaster 10/09/2015

Potergeist – Crocodile Teeth

The lure of a southern blues swamp is unleashed once again by Greek band Potergeist through new album Crocodile Teeth, and once more ears are treated to a contagion of dirty uncompromising rock ‘n’ roll which is as unique as it is familiar. The band has a sound which even with constant evolution across releases has a recognisable presence but comes as something undeniably individual to the Athens quintet. As the new album shows it is fresh and it is invigorating, and one thoroughly enjoyable stomp.

When forming in 2004, Potergeist had a more straight forward Kylesa /Down like southern metal sound as evidenced on debut album Southwards two years later. By the time of its successor Muddy Mermaids in 2012, the band’s sound had got harder and more aggressive whilst delving into the darkest depths of blues. Tagged as swamp metal by the media, the Potergeist sound was matched in progression by the attention given them and a live presence seeing the band share stages with the likes of Lynyrd Skynyrd, Monster Magnet, Pro Pain, The Haunted, The Shrine, Kylesa, and Paradise Lost. The outstanding Swampires unleashed its swamp toxicity in 2013, Potergeist’s third album darker and more voracious in sound and presence again. Though not outgunned in attack and ferocity, fair to say Crocodile Teeth takes the Potergeist sound to yet another depth of quality and invention.

Feeling as intense and intimidating at times as the last release the Peter Rutcho (Falling in Reverse, Revocation, Bury Your Dead, Havok, Seemless, The Ghost Inside) produced and mixed Crocodile Teeth reveals the band’s fullest and rounded sound yet, settings its stall out in the brief intro Swamp Muse Summoning before going for the throat straight after with its title track. Riffs and rhythms are an immediate barrage and temptation backed by a quickly emerging tangy groove. It is the first bait to the sturdy stride of the song quickly accompanied by the grizzled tones of vocalist Alex S Wamp. He is soon showing the great prowess of his grouchy and clean tones as guitars and bass cast their own intimidating and dynamic enterprise. There are no major surprises in song, or indeed album, yet as suggested earlier there is freshness and distinctive essence which ensures this is no run of the mill metal or Potergeist offering.

   The following Visit From A Swampire canters in on an infectious swing, riffs as rampant as the energetically skilled swings of drummer Tolis Toleas whilst grooves are as fiery as the melodies and solos which breed throughout. The track easily has body and emotions involved in its anthem as does What Then which comes next. The song is a touch more restrained in aggression and energy initially, but soon a bracing canter of raw riffs and rapier like rhythms entwined in the spicy grooves and bluesy melodic hooks of guitarists Nick XP and Stratal. Complete with an irresistible swagger, the song keeps things boiling over before in turn making way for the southern metal drawl and heavy rock brew of Truth. The track begins with the same groove the previous song left on but is soon sculpting its own tenacious and aggression roar. There is a touch of Crowbar in some ways to the song as the bass of Kostis Vihos brings a predatory proposal against the as dramatic but more welcoming vocals and sonic adventure cast elsewhere.

Atonement takes over next and is soon spreading a weave of southern rock inspired melodic spicing around the ever formidable and engaging rhythmic strength of the Potergeist sound. Featuring guest backing vocals from Anna Stephanou, the song is a warm slice of blues rock ‘n’ roll equipped with a dark edged groove and a blaze of imagination around the constant lure of Wamp’s vocals.

Roaming ears with a thick stance of sinew swung beats and bestial riffs The Preacher And The Witch stalks the appetite next with its magnetic web of sound. Both Fotis Benardo and Penelope Anastasopoulou add additional vocals to the tapestry of sonic and melodic craft. It is a fine song if without the spark of certainly the early songs, though much is down to a big personal appetite for when Potergeist go hell for leather in their rock ‘n’ roll, and quickly over shadowed by the excellent Eve. It too is more reserved in its gait and coveting a more classic metal whisper to its body but moulds everything and more of the band’s potent enterprise into a pungent slab of anthemic persuasion.

The album closes with Last Punk Standing, a compelling bellow of a song aligning mellower melodic tempting with a rigorous snarl resulting in a dramatic and impressive end to another mighty offering from Potergeist. We will admit that the previous Swampires still has the steal on the passions but there is no denying that Crocodile Tears is the band’s most accomplished proposition yet and one of the most enjoyable and satisfying slabs of metal driven rock ‘n’ roll you will hear this year.

Crocodile Tears is available digitally now and on CD and Vinyl via G.O.D. Records

https://www.facebook.com/potergeist

RingMaster 08/06/2015

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

 

One Last Shot – First Gear

You just have to love a bruising stomp of rock ‘n’ roll where you feel dirty, battered, and exhaustingly contented at its conclusion, and few come more satisfying than the First Gear EP from French rockers One Last Shot. Without worrying about setting new templates for others to follow, it inspires by simply unleashing heavy passion drenched sounds in a blistering antagonistic and aggressive, not forgetting exhilarating form. The five track release is rowdy and refreshing rock ‘n’ roll at its prime, a riot of metal and rock everyone can lose their inhibitions to.

Consisting of ex-members of The Outburst and Crack Ov Dawn as well as the bassist of Sin And Death, One Last Shot creates a roar which takes essences from the likes of Lynyrd Skynyrd, Motorhead, and Guns N Roses but equally involves groove and stoner metal tenacity with punk belligerence in tempests which easily spark attention and hungry appetites for more. Described by some as dust metal, the quintet’s sound is a take no prisoners brawl with the devilry of the sleaziest salacious and thrilling romps. It is an unbridled and seriously accomplished sonic provocation bound in inescapable fun.

Brawler is the first track to accost ears, casting a melodic enticing instantly through one then the two guitars sculpting the emerging song. It is a restrained but spicy opening awash with southern winery which opens up into a raw and raucous incitement through the gravelly tones of vocalist Sky and the anthemic riffs of guitarists Shelby and Scarsid. With rhythms as imposing as the hooks and grooves are magnetic, the track virulently strolls with punk hostility and heavy rock intensity. A great solo only adds to the rich lure and enterprise of the track before it all makes way for the even more impressive Skateboard Song. An enslaving hook is the first thing to escape the lips of the song, swiftly followed by the crisp beats of drummer Kmy and a throaty bassline from Void. This is in tandem with great caustic vocals and a contagious blend of ravaging riffs and seductive grooving. The encounter is glorious, again part punk, rock, metal and quite irresistible.

The following G.A.S. is in no mood to let levels drop either, its busier opening a furious mix of snarling riffs and sinew swung rhythms ridden by the abrasing vocals of Sky which are backed by the anthemic calls of the band. Once again infectiousness soaks the guitars as tangy grooves grip ears and passions with consummate ease whilst as in its predecessors, imagination and unpredictability add their own distinctly flavoursome and tenacious bait. By this point in the release, if not earlier, it is hard to imagine anyone not being lost to the impressive craft and addictive hell-raising of First Gear but to make sure another pinnacle consumes the senses through the next up Headbangers. A roll of drums triggers a waspish lure of riffs, each wave coming with a web of toxic grooves and barb loaded hooks. It is a sensational start soon joining a tide of eager intensity and melodic spicing. As elsewhere, there is a gang feel to the presentation and energy of the song, a united front taking on all-comers whilst like an arrogant peacock it simultaneously expels sonic and melodic colours to seduce all before.

Closing with the maybe less dramatic and gripping but no less enjoyable Prophesick, the EP comes to a great imposing end. The last track puts on its heaviest rhythmic boots and harries and batters ears with belligerent enterprise and heart and without lighting the same fires as earlier songs, it still unreservedly pleases as it completes what is an excellent and refreshing proposition.

It is hard to do anything but heartily recommend First Gear; yes maybe originality is not high on the agenda but it twists established weaponry into a ferocious and riveting storm which quite honestly leaves most other similarly bred offerings in the shade.

The First Gear EP is available via Just For Fun Records now and digitally @ http://onelastshotofficial.bandcamp.com/releases

https://www.facebook.com/onelastshotofficial

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

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

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Boiling energies and contagious storms: an interview with Rikki from Sister

Swedish metallers Sister has built and earned a strong reputation for their raw and voraciously energetic sounds as well as live performances which leave a swarm of other bands in the shade. Creating a mix of punk and sleaze rock with horror punk and metal bred tendencies, it is a contagious and at times anthemic brew which is increasing in potency all the time, as proven by the band’s brand new album Disguised Vultures. The release is an encounter which increases infectiously and addictively the more time you allow its persuasion,  proving the Stockholm quartet a band very hard to ignore or not find a sweet spot for. To learn more about the band we had the pleasure of talking with bassist Rikki, at the same time finding out about the new album, the band and horror punk, touring and much more…

Hi Rikki, welcome to the site and thanks for agreeing to talk with us.

What was the spark which brought Sister to life and did you have an immediate direction you wanted to explore?

Sister came to life in early 2006 and I joined one year later. There were a few years with all intentions of being a band reaching high but at the same time making all the mistakes and being all about having a good time all the time. Maybe one year before the debut album Hated, that was released 2011, we felt that we were something to be reckoned with without putting much effort into it and started thinking of what we could do if we make something real out of it. I think it pretty much was at that time all the things fell into the right places.

We called your sound and album in our review of your brand new release Disguised Vultures, ‘Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting’. How would you describe the Sister incitement to newcomers?

You got the raw and contagious there and I like that he he. I would add a high energetic live act. We are a band that love being on stage and that’s our place in this world.

What are your most potent inspirations as a band and as an individual?

We are all about all kinds of music. From bands like Misfits and Guns n Roses to bands like Lynyrd Skynyrd and Roky Erickson. We get inspirations from everything around us. I find inspiration in everything I like and respect.

We mentioned new album Disguised Vultures earlier, your recently released second album; how were the feelings on the eve of its release and since?

Last album was a big chaotic process since we signed with Metal Blade and had to write songs, record and release an album in a pretty short time period. This time we had a lot of time getting everything done and deciding how to go through with it. Like the first time, we finished in the last second this time as well though. It has to be done that way I have learned by now. The songs were written one year ago so it feels great to finally get them out.

There seemed to be a rather strong anticipation and now a hungry appetite for the album, was this something even with your confidence in its potency you expected?

It’s the way it should be. Would be pretty boring the other way wouldn’t it. We just go for all the stuff we want to achieve with an album or whatever we are doing at the moment. I knew this album would be the perfect follow up to Hated and the new album really feels like a step in the right direction.

How do you see you music and style has evolved between Disguised Vultures and its predecessor?

I loved the fact that we recorded the drums, bass and rhythm guitar live this time. It was a thought that appeared very early, maybe shortly after the last album was released. That next time we’ll do it live in the studio. I think we achieved a more organic sound and it’s a much rawer and heavier sound than the last time. I think also it’s a more diverse album as well. On the debut it was all about fast punk songs. We are exploring more grounds this time.

Did you approach the new album differently to Hated, were there lessons learned first time around you could utilise and build on?

Yeah make sure you have time haha. Actually it could be a good thing to do an album without having the time to think about everything. It becomes very honest. But if problems turn up you are pretty fucked. We’ve learned a few things about being a band and to record the last couple of years as well. Not much but a few hehe.

You may disagreed but it seems like earlier releases, Hated and before that the Deadboys Making Noise EP, certainly lyrically and in sound may be too, embraced expectations with a typical horror punk provocation. Disguised Vultures feels like in both aspects Sister has moved on to try to evolve and sculpt its own identity. Has this been something you have given a focused attention to look at or it has been just an organic progression in your writing?

I actually have no idea when the horror label people put on us even took place. We have never written songs about horror movies or stuff like that. We write music about real life not after life haha. I guess when you look in a certain way people try to put you in the genre that they think is the closest one. We have always considered ourselves being a band that like a lot of different music genres and we have since the EP just decided not to think about genres and just play what we want. It is always different depending who you talk to. Some say we are sleaze, some say horror, some say just pure punk music. I consider us being a bit more confusing genre wise than just being just one of those.

Tell us about the recording of the new album. Did you have a deliberate intent with it and its sound?

Our friend Martin Sweet produced it and Linus Nirbrant did the mix together with him. The mix process took the longest to get right since we really knew from the start what we wanted. We were very much, like always, involved in all parts of the process. We knew what we wanted to do and how to do it and since we have worked with Martin earlier we know each other very well. He got us from the start.

Do you write songs and have them worked out fully before the recording process or a band which likes to create predominantly in the studio environment?

Everything was written half a year before we entered the studio. You always make a few changes in the studio but the main stuff was already written this time. On the first album we changed more while recording than this time.

How does the writing process within Sister play out generally?

Someone has a song which is taken to the rehearsal. Usually there is a melody or a half-finished song and then we pretty much finish the song in there. It can be very different from song to song but usually it’s like that.

Are you more often than not a put the lyrics to music band or vice versa?

It can be either way.

There is a definite anthemic and stand up against the wrongs of society etc. provocation to your songs lyrically which transfers to the music on the album, but how much do personal issues, reflections, or experiences also inspire your songs?

Cari and Jamie have written the lyrics on this album. Some songs are pure angst about things and some more complex. The song Disguised Vultures for example is about the clash between the world on tour and the world back home. On tour playing in front of big crowds and then being back home without any money and all that. It can be two very different worlds.

Disguised Vultures like its predecessor has been unleashed on Metal Blade Records; they seem like a rewarding home for Sister?

Yeah it’s been good. Their reputation and arms reach out over most parts of the world and that can be very good for us of course.

The band has toured and played around Europe extensively over the years, as well as playing at some prestigious festivals; the biggest highlights for you so far?

Playing the big stage right before Mastodon on Sonisphere Madrid 2012 was a highlight of course. I can get used to doing that stuff haha. The tours with Hardcore Superstar, Crashdiet and Wednesday 13 have been really good as well. We have played in northern Europe a lot since the EP (Germany has been like a second home country hehe) so it has been great playing in Italy, Spain and France the last couple of years. Our first two tours in the UK were done last year and were awesome as well. Hope to be back there real soon!

Is there any particular country or nationality of fans which unite and ignite to Sister over all others?

It’s been real good all over Europe the last few years. Northern Italy has always been crazy. Manchester and London on the UK tours have been awesome. Paris was really great, Berlin as well. Hard to pick a favourite.

What does Sister have in store for 2014 now the album is out?

We are in the middle of discussions about some real cool stuff tour wise. We’ll see if it can be done. It would be big! The booked official stuff is a release party here in Stockholm in the middle of February and some shows in Sweden and Finland. We just want to hit the roads soon!

Big thanks for chatting with us; any parting thoughts you would like to leave the readers contemplating?

Likewise! If you haven’t been to a Sister show, make sure that you do when we’re around! And check out our album Disguised Vultures!

Read the Disguised Vultures review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/21/sister-disguised-vultures/

www.sisterofficial.com

Pete RingMaster

The Ringmaster Review 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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Tombstone Highway: Ruralizer

    Ruralizer is one of those unexpected gems which come out of nowhere awareness wise, to thrill and invigorate the emotions and ear. Unleashed by Italian band Tombstone Highway, the album is an immensely satisfying encounter of stoner rock, blues, and southern rock all soaked in the sinews of doom metal. Refreshing in its imaginative use of existing formulas within the above genres all captivatingly transformed into something distinct to the band, the Agonia Records released album leaves an insatiable appetite for much more from and strong passion for Tombstone Highway.

The band comprises of duo H.M Outlaw (vocals, guitars, banjo) and Emilio Sobacchi (drums), and has its beginnings back in 1999 with the pair inspired by the likes of Black Sabbath, Lynyrd Skynyrd, traditional Root Blues, and Bluegrass emerging as Leaf Season Death. Employing the heavy shadows of low-tuned guitars and bass to their ideas, the band failed to take off through the lack finding additional members to create their invention. The duo moved into other bands soon after but then 2006 saw them join up again and begin writing new material, with bassist Mike B. of Viscera brought in to the line-up.  Debut EP Padus River Graveyard Blues followed the next year and received strong responses to its limited release. Another hiatus for the band followed with Mike B. leaving but in 2011 the Piacenza pair united again to write and record their first album, the mighty creation Ruralizer.

The album combines the heaviness of a Corrosion of Conformity and Down to the southern fires of Lynyrd Skynyrd and ZZ Top before immerses them in the heavy metal power of Black Sabbath. It is an inspirational result which is soaked in the rural and folklore essences of its homeland to further ignite the flames of all its other fires of sound. Outlaw and Sobacchi also brought in additional musicians in the shape of Mario Percudani (HungryHeart), one of the very best rock guitarists in Italy, guitarist Razor SK (Forgotten Tomb), and Paolo Apollo Negri whose Hammond keys bring another flavoursome persuasion to the album.

Opening track Old Blood is a sensational invitation to the album, the weighty lure of the riffs and basslines veined by irresistible banjo teases to immediate intrigue and please. The track strolls through the ear with purpose and a sure hunger which with ease demands eager attention whilst leaving a depth of pleasure which is immeasurable. The guitars carved a place in the passions with skill and enterprise whilst the rhythms without unleashing their full venom cage it all with craft and intensity.

From the startling beginning the album piles on the thrills with firstly Acid Overlord, a track with grooves as addictively sour and sharp as you could wish within its snarling insatiable presence, the sweltering Graveyard Blues which has whispers of Soundgarden within its Orange Goblin coated furnace, and the outstanding Hellfire Rodeo. The last of the trio is a virulently infectious romp with riffs and sonic taunting causing an epidemic of ardour within the emotions. As in all songs vocally Outlaw has a dust coated growl which ignites the whisky fumes of the music into another hot wind of satisfying enterprise, the union of all aspects within the band and songwriting forging something new and inspiring within a familiar context.

The title track employs that irrepressible banjo sound again within more searing sonic mastery, its swagger and muscular gait an imposing yet deeply stimulating instigator to feet and passions. Up to this point every track ignites the fullest hunger for their contents and the same can be said for Bite The Dust (and bleed) and At The Bitter End though both despite their quality and energy fail to quite match up to what came before. The two songs do not quite find that something to step forward into their own unique spotlight but nevertheless cannot be offered any real negatives.

Completed by a strong and inviting cover of the Mountain track Mississippi Queen and the excellent closing inventive maul of the ear Hangman’s Friend, Tombstone Highway has brought the world an album which is rock at its most rousing and bracing. If references mentioned above work for you than Old Bones is a real awaiting treat.

https://www.facebook.com/Tombstone.Highway

9/10

RingMaster 15/03/2013

Copyright RingMaster: MyFreeCopyright

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Smokey Fingers – Columbus Way

With a sound steeped in the southern rock inspirations of the likes of Lynyrd Skynyrd and Allman Brothers, Italian rock band Smokey Fingers release their debut album Columbus Way on Tanzan Music. Fusing hard rock, blues and country to their southern base sound the quartet from Lodi have brought a fresh and invigorating feel to their music, creating songs that do not hide their open influence but instead excel in its spirit and glory whilst bringing it into a modern arena.

Smokey Fingers began officially in 2008 when drummer Daniele Vacchini and guitarist Diego “Blef” Dragoni teamed up with old friends in vocalist Luca Paterniti and bassist Fabrizio Costa, the various members having played with another in such bands as Smell Of Dog, Dixie Line and in the Double Trouble Lynyrd Skynyrd Tribute band. Together they began working on new songs as well as revisiting and developing tracks and melodies from songs written as far back as 2006. What evolved was a flavour of southern rock in the distinct style and touch of Smokey Fingers and a self produced EP Smokey Fingers in 2009 that first brought them a strong attention. Now with Columbus Way and its solid and creative sounds the thought that Smokey Fingers will wake up an unsuspecting world to their music is rife and really there is no reason why it should not be so.

The album consists of twelve tracks that ooze class and vibrancy, with stirring guitars, firm and engaging riffs, and playful smart melodies and harmonies. There is strength across the whole release that not only eagerly grabs attention but satisfies and pleasures. There is also in many ways something for everyone, even those who head for the heavier assaulting riffs and intense attacks. Smokey Fingers brings rock ‘n’ roll to trigger anyone’s inner rhythm. 

The album opens with ‘Old Jack’, a get down and get dirty track that plays easily upon the ear. With a catchy chorus, a great resonating bass, and scorching guitars the song sets the scene for the band’s sound and the album to come, lively and fun it is the perfect lead into the release.

Immediately second track ‘The Lover’ comes in with confirmation of what one first noticed in the opener that Costa is a classy and accomplished bassist. For the second time and not the last on the album, his bass resonates and throbs to give the song an organic feel, a pulse that brings the track even more alive. The other notable thing is how American the band comes over, the expectation was of a sound, certainly vocally, tinged with an Italian flavour but far from it. It also does not feel wrong either, usually one complains of a European band trying to sound American but here it is so natural and easy the thought does not arise.

Across the album produced by Mario Percudani (Hungry Heart), there is a good variety and a very strong consistency with tracks such as the skilful ‘Chains Of Mind’, the emotive grace of ‘Ride Of Love’, and the album’s best track ‘Die For The Glory’ complete with another addictive bassline and stunning creativity, all reinforcing what an extremely well written and performed collection of songs this is. The guitars of Dragoni as everywhere lay down mesmeric patterns with his play and the beats of Vacchini keep everything controlled and neatly paced. Vocally Paterniti is spot on; there are no negatives to send his way even if he sounds more American than should be possible. Combined the band bring America and “the sunny and dusty roads of Alabama!” to the ear but in their own stylised way.

Columbus Way is an essential listen for all Southern and hard rock fans, but anyone who enjoys great melodic rock ‘n’ roll should take a listen. Smokey Fingers has one tasty release for all rock fans to feast upon.

Ringmaster 23/09/2011

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