The Hostiles – Last Call

The Hostiles Promo Shot_RingMasterReview

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The Hostiles Cover Artwork_RingMasterReviewThe band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Helldorado – Bones In The Closet

Helldorado pic

Basking in the sultry heat and sweltering ambience of Bones In The Closet, the new album from Norwegian narrators of scintillating murder stories and rapacious shadows Helldorado, the overriding thought whilst within its seductive devil spawn arms is that you are being cradled by one of the major contenders for album of the year. The twelve track release is sensational, evocative beauty and dark intent saddling the senses for a Tarantino/ Morricone sculpted ride of the purest pleasure and imagination.

Bones In The Closet is the fifth album from Helldorado and again draws on a startling and provocative mix of blues, country folk, rock, and shadowed misdemeanours with a stroll through Mexican deserts and tequila soaked climes for this release. As across their previous releases the cinematic lures of their music is as potent as its sensory incitement and here leaves the listener perpetually wiping the dust from their eyes and pulling their mental stetson/sombrero down whilst chewing on a cigar Eastwood style. There is strong diversity running through the release too though, from walking through the smokey hauntings of a hanging man scenario down in the south you can find yourself breaking into a garage rock soundtrack to a Russ Meyer film or a blues bar atmosphere with whiskey in hand. It is a thrilling and evolving encounter which with essences of the likes of Johnny Cash, Tom Waits, Nick Cave and Stan Ridgeway joining those of Mariachi El Bronx, Guano Padano, or Dennis Hopper Choppers, never gives the passions a moment to grab their breath.

The trio of Dag S. Vagle (lead vocal, guitar, organ, piano, autoharp, mellotron), Hans A. Wassvik (bass, backing vocal) and Morten Bones in the ClosetJackman (drums, saw, percussion), immediately cast the long arms of the sun onto the neck with opener Gallow´s Bird whilst sizzling the surrounding air with a blaze of brass persuasion from the trumpet of Ole Ellingsen which springs from an instantly inviting drum burst. The guitars gather in the senses with devilish temptation whilst the bass of Wassvik adds its individual prowl to the dawning scene soon narrated by the excellent tones of Vagle. Passionate and soulful he bellows out with emotive glory whilst the guest backing vocals of Pål Jackman play co-conspirator in drawing thoughts deeper in to the compelling song. Virtually dripping sweat from the humid embrace driven by vocal and musical fire, there is an instantaneous ardour bred with the track such its intensive might and rasping charm.

As the following Misery And Woe boldly steps forward with melodramatic keys framing the door into its expressive heart and Vagle cast his spellbinding delivery upon the ear again, it still is hard after many listens to the album and previous tracks that the band is Norwegian. They make the likes of Chris Issak sound less American than Helldorado and it just enriches the imagery and adds the deepest depth to the transportation of thoughts into their aural paintings. The second song is a slowly burning reflection of despair and regret, the tale of an unavoidable destiny with thick emotion swamping every syllable and melodic beauty from the cursed soul.

Dead World with its garage rock stomp switches the scenery for a sonic kaleidoscope of psychedelic colours and mutually vibrant emotions, the keys dazzling the ear whilst the guitar twists and turns with melodic enticement. With harmonic squalls thrilling with rich textures of The Stones to their crowd and The Doors like bait of the keys, it is a raucous and vital storm of blistering joy and an exciting temper between the surrounding songs. Its successor John McMiller like the second song on the release is a powerful and demandingly evocative piece of songwriting and staggering realisation. Another dark hearted soul laying open his past and looking for an end to his life’s previous purpose, the track carries his declaration forward on a gait which is a shadowed romp, its lively surges breaking out from more restrained and arguably redemption searching melodic caresses though the centre of the tale is not asking for such. It is another varied and staggering discharge of invention and imagination which is rewarding with further rapture from the heart.

Only four songs in and no more convincing is needed to the triumph before the ear but the release just continues to exhaust the passions, the likes of the feisty and magnetic Please Come Back which again features Pål Jackman on support vocals, the brilliant and irresistible Times of Trial a true authentic  mariachi classic, and the title track with its muggy noir corners and western sparks, continuing the impossible addictive influence of the album whilst Two Headed Horseman with its garage punk tipped crescendos within more sun-baked glamour and the sixties lilted road trip of ´69 Camaro just rip further furnace hot lust from the heart in their and the album’s direction.

Completed by a final trio of brilliance in the haunting Lost Highway Motel a place home to lost souls of all inclinations, the black tale of love and violence Johnny´s Song, and a delicious version of the Morricone piece Sixty Seconds To What?, there is little left to say but sigh like an overfed diner and declare Bones In The Closet one of the major highlights of the year so far and will certainly be acclaimed so by the closing of its eyes too. With a mention also for the slide guitar contribution on the album from Ry Krüger required, this is a release everyone should dive into without reservation, and Helldorado a cemented lustful passion for this site.

http://www.helldorado.no

https://www.facebook.com/HelldoradoOfficial

10/10

RingMaster 25/04/2013

Copyright RingMaster: MyFreeCopyright

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Native Roses: Colours EP

Instantly enamoured by and in love with the single Out of the Water from UK band Native Roses which was released a mere few days ago as a teaser for this their forthcoming EP, there was no holding back when the chance to fall within the arms of said release came immediately after. Released July 16th the Colours EP is a glorious continuation on the passion and emotion seeded by the single. Containing four songs which light up thoughts and senses like a burning sunset, the release leaves one immersed in a caress of melodies and harmonies brought by uplifting sounds borne of touching and incisive songwriting.

The Brighton based folk rock band, to find some kind of tag, formed out of the band Modern Fighting Vehicles. Initially Native Roses alongside James Knaggs, Jacob Stevens, Moses Bogarde, and Jessica Illsley, also contained Jasmine Bogarde the sister of Moses, now better known and successful as Birdy. As her career took off she left the band whilst as the new release shows Native Roses grew into something rather special themselves.

Released on Creek Records, the EP was created alongside former Roxy Music member Guy Fletcher and multi-platinum songwriter and Dire Straits founding member, John Illsley. More importantly it sets Native Roses as one of the most inspiring and imaginative bands to emerge recently, their charm and emotively striking sounds destined to captivate and mesmerise all hearts whatever their genre preferences.

The title track opens up the release with an ear stroking blend of lone guitar and male vocals which makes for an instantly absorbing start especially when female vocals paced by a velvet bass notes joins the affair. As the song spreads its embrace the band draws senses, emotions and heart into a vibrant blazing sun of inspiring melodies and harmonies fused with striking and perfectly textured sounds. As the track departs the urge to fall into its arms immediately again rather than delighting in the other songs is almost overwhelming, though by its end that is repeated on every one of the treasures with Colours.

As much as the other tracks are excellent the aforementioned single Out Of The Water still leaves the deepest pleasure and its presence within the EP only raises the already heated temperature to a dizzying height. In the single review we did of the song we compared it to a heated hybrid of Chris Isaak, Dennis Hopper Choppers, Mariachi El Bronx, and Arcade Fire and in hindsight that is still the most apt description. Like a walk through a Summers day in the West under a hypnotic eager sun the song is a weave of beauty in sound and voice. The dual male and female vocals leave one swooning in their majesty whilst the contagion of sultry and sublime sounds is nothing short of magnificence. By its end you easily find yourself wiping the beads of sun drawn perspiration from the brow having been pulled fully in to its world.

Jungle Moon Ballad brings a change in energy as well as showing the strong variety to the Native Roses sound and songwriting ability. It moves carefully through the senses in reflection and reserved passion reminding of the heart driven sixties epics from the likes of the Walker Brothers and Roy Orbison. Whether you call it folk, country, or Americana the song has a persistent pull upon the heart as its dawning emotion and resourceful caress leaves warm lingering fingerprints upon the senses.

The EP closes with Reconciler’s Hymn another deeply emotive song which is in no hurry to come to the boil, its initial air a brooding piece of creative grace. As it emerges from its shell the song without entering a riot throws over the ear an anthemic eagerness and irresistible urgency.  As before vocally and musically the band are nothing less than stunning and skilled.

Native Roses is a mighty creature which it is impossible not to find deep affection for. Whether they will consume the hearts of all musical creeds time will tell but the Colours EP is one impressive way to start trying.

http://nativeroses.com/

RingMaster 067/07/2012

Copyright RingMaster: MyFreeCopyright

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Native Roses: Out Of The Water

July 2nd sees the rather teasing and convincing invitation to their forthcoming new EP Colours from UK alternative band Native Roses in the shape of initial track Out Of The Water. Released as a free download the song is a delicious and hypnotic welcome into the distinct sound of the band, a quite outstanding and compulsive slice of haunting Americana brought with a disquieting yet mesmeric atmosphere.

Brighton based Native Roses was formed by members of Modern Fighting Vehicles, James Knaggs, Jacob Stevens, and Moses Bogarde. The band soon swelled its ranks with Jessica Illsley and for a short time also contained Jasmine who subsequently left when her solo career as Birdy accelerated. Their forthcoming second EP Colours is released on Creek Records and has been created alongside not only former Roxy Music member Guy Fletcher but also multi-platinum songwriter and Dire Straits founding member, John Illsley. If Out Of The Water is an indicator of what is ahead the EP will be at the very least a definite must do investigation.

The song is a heated hybrid of Chris Isaak, Dennis Hopper Choppers, Mariachi El Bronx, and Arcade Fire. It has a dusty western air to its irresistible sound and mesmeric breath. It opens with expressive male vocals and a discreet guitar strum before opening its weave of warm melodic embraces and eager stirring beats. It is with the addition of simply wonderful female vocals though that the song ignites the biggest flames of passion and impressiveness, the combination of dual vocals perfectly and inventively crafted. Out Of The Water is a sultry stroll across the senses which stirs up the passions and leads one by the hand into an emotive garden of irresistible and heart feeding sounds. It truly is a magnificent song which if the tracks on the EP are half as good will be a sure pleasure too.

Out of the Water will be available for free from the official Native Roses website from July 2nd @ http://nativeroses.com/

RingMaster 27/06/2012

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