Of Allies – Night Sky

As release by release they have realised and pushed on the promise which came with their first steps into the UK rock scene, Of Allies has similarly step by step grown into one of the most riveting and exciting prospects within its grasp. Because of the potential and craft shared through their previous EPs, and enjoyment found, anticipation for their first album has been patient and increasingly eager with the reward being one rather wonderful encounter going by the name of Night Sky.

Emerging in 2013, Of Allies soon had intrigue and pleasure stoked with the release of their first EP, Tempers the following year. It was a beyond solid and skilfully accomplished introduction which suggested bigger and bolder things to come, that suggestion part realised and supported by its successor, the Fragments EP in 2015. Everything has now come together within Night Sky, all the promise and craft uniting with adventurous enterprise for a kaleidoscope of sound and imagination where you know there is still a tease of even bigger, bolder things to come.

Night Sky opens with its title track, an atmospheric invitation cast by the guitars of Tom Hewson and Rich Nichols against an electronic fizz. The latter’s ever impressive vocals soon intensify the lure; a Voyager meets An Entire Legion like hue soaking the blossoming encounter. Soon the vigorous muscle and stroll of the song takes hold, a rich grip of sound never quite let of the leash and all the more impacting because of it.

It is a striking start swiftly rivalled by the following 17, its calm equally as magnetic and subsequently fevered as the energies and emotions boiling up around the swinging rhythms of drummer Danny Barrick and the alluring groan of Nick Tyldsley’s bass. Controlled yet tempestuous, the song is a rising infectious blaze of invention and captivation before making way for the equally compelling presence of Collapse. Its grumble is heavier, more rapacious, but superbly tempered by its melodic dexterity and the instinctive catchiness which runs through the Of Allies sound. Like Breaking Benjamin meets Shattered Skies, attention and appetite are quickly enslaved.

The haunting beauty and melancholic grace of brief instrumental Apparition leads the imagination into the waiting harmonic drama of Run. As guitars spin a beguiling web, Nichols croons with organic temptation being just as potently backed by the vocal chords of Hewson as the song flows evocatively through ears. It is a caress of aural sunlight with emotive shadowing which only draws the listener deeper into the heart and emotion of the album; a prowess as deftly conjured within the celestially warm and increasingly volcanic Waiting For You where progressive and melodic textures collude with metallic trespasses. With a capricious character and mercurial climate, the track is nothing less than thick enticement for ears and plaudits.

The steelier Lost Not Found has a firm grasp on rock pop boisterousness in its similarly skittish gait and eventful body while the lapping waves of scenic seduction and undercurrents of gloom clad aural thoughts within the suggestive slither that is Drifting leads the imagination into the spatial and immersive fineness and deceptive calm of Open Sea. It too has a dark edge and underlining predaciousness which perfectly aligns with the heated drama of voice and sonic enterprise.

The warm atmospheric succour of Solace lifts emotions up from those darker hues, the instrumental piece as provocative as it is manipulative before passing an open imagination over to easily the best track within Night Sky. The open ingenuity of all songs frames the sheer magnificence of CMD-Q. Straight away post punk instincts are gnawing on the passions, guitars and bass linking up in agitated discord and melodic trespass as beats scythe across their glory and vocals skilfully wrap their addictive throes. The track is just majestic but so frustrating when it just leaves lust hanging at two minutes.

It is a hunger soon satisfied though by the robust but graceful exploits of Glass House, Of Allies showing how inventive and artful they at aligning contrasting elements. It is a quality never far from the surface of their music even the slim moments of atmospheric instrumental haunting as shown once again in Stranded.

The album finishes with In Low Light, an echo of all the diversity and craft across the release in its own individual theatre of adventure and imagination with a bite to its nature and dynamic drama to its breath.

Night Sky is superb, easily one of the most captivating propositions this year and most importantly, one of the most enjoyable; both aspects only increasing listen by listen.

Night Sky is out now on iTunes.

 http://ofallies.com/    https://www.facebook.com/OfAllies/    https://twitter.com/weareofallies

Pete RingMaster 30/11/2017

Copyright RingMaster: MyFreeCopyright

Figures – Chronos

Barely giving the acclaim laden dust time to settle after the release of their self-titled debut EP this past February, Australian outfit Figures have just unleashed its predecessor in the similarly striking and fiercely enjoyable shape of Chronos. Offering five more slices of the Melbourne quintet’s alternative rock/melodic metal blend, the EP also has a new fresh breath and seeming richer maturity which defies the mere four months between releases. Obviously we cannot say when the songs of either release were written but the step is maybe surprising but greedily taken as Chronos eclipses the equally outstanding first offering from the band.

Formed as 2013 turned into its successor, Figures has risen up the ranks of attention with notably increasing success in recent times due to that critically acclaimed first EP and a dynamic live presence which has already seen the band  share stages with the likes of Caligula’s Horse, Twelve Foot Ninja, and Superheist. Broader focus and support for the band has without doubt been aroused these past handful of months and is sure to escalate again as Chronos is discovered by more and more. Instantly it has ears and attention in the palms of its creative hands as opener Recoil raggedly simmers into view and proceeds to uncage a gnarly groove as primal as it is magnetic. The guitar continues to growl and tempt as the lively rhythms of drummer Josh Sforzin and Jen Fletcher’s moody bassline join the blossoming affair; vocalist Mark Tronson soon in the mix with his agitated roar. Predatory and magnetic, the track needs mere seconds to entrap the senses and imagination, sealing the deal as Tronson’s melodic prowess unites with his rawer tones as steely metal and melodic rock textures equally collude.

The stunning start is matched by the equally dramatic and even bolder exploits of Alpha. Guitarists Paul Callow and Simon Edgell spring a lure of wiry riffs and sonic temptation around the harmonic delivery of Tronson, though as the music he allows harsher textures to escape his throat to keeps things unpredictable. Virulently infectious and persistently imaginative, the song is pure captivation; its heart earnest and body a tapestry of melodic and sonic intrigue with just the right richness of volatility to keep things intensely fascinating.

Tied Around follows, winding brooding grooves around ears as Fletcher’s bass groans with matching seduction while again Tronson enthrals with his impressive vocals. There is an agitation in the riffs and beats of Sforzin which is transferred to the steely grooves but tempered by the elegant beauty of melodies and harmonies floating across the song’s inner oasis. As with the first pair, creative magnetism is at play sparking an elevated greed which Point of Doubt feeds with its cosmopolitan almost shamanic nature. Sultrily exotic melodies align with anthemic rhythms within the song’s fiery blaze, its riveting landscape tempestuously sharing warm and irritable climates.

The EP concludes with Crying Door, a mellow melancholy lined croon shaped by keys and voice and their suggestive beauty, Tronson again a magnet in its midst. Darker hues walk the song’s edge, bassy shadows lurking as skittish beats court a more portentous edge. It is an entrancing close to a second seriously striking encounter with Figures. Musically the band has been compared to the likes of Incubus, Deftones, and Karnivool, all justified but add a touch of Voyager and possibly even Porcupine Tree and you get a fuller impression of what, to be honest, is a sound distinct to one truly exciting proposition.

Chronos is out now @ https://figuresbandofficial.bandcamp.com/album/chronos and other online stores.

http://www.figuresband.com/    https://www.facebook.com/figuresbandofficial

Pete RingMaster 21/06/2017

Copyright RingMaster: MyFreeCopyright

Pigeon Lake – Barriers Fall

Three years after the release of their striking and quickly acclaimed debut album, Tales of a Madman, Norwegian quartet Pigeon Lake return with its successor in Barriers Fall. The time between has seen changes within the band and a reassessment of the way forward; a shift sparking an evolution in sound too which is actually hard to pin down but openly inflaming the Oslo outfit’s new offering and release which like its predecessor at the time, will make a definite rival to those around it for one of the most essential investigations of the year.

Since emerging in the opening smiles of 2012, Pigeon Lake has grown to be one of the most compelling propositions on the melodic rock/metal landscape. Founded by vocalist/guitarist Christopher Schackt and completed by childhood friend and drummer Andreas Prestby and bassist Kenneth Stiansen, the band instantly sparked attention and praise with the I: Mindrape EP later in that first year. Its themes of domestic violence, sexual assault, and mental health were as striking as the raw sounds inciting ears. The three became four with the addition of lead guitarist Magnus Engemoen soon after while the following year saw Stiansen replaced by Anders Børresen. As their sound moved towards a flavouring more akin to the likes of Katatonia, Stone Sour, and The Ocean, the band’s live presence escalated before they got down to work creating Tales of a Madman, its release coming in the Autumn of 2014 and followed by the band heavily hitting the road again including taking their first steps touring Europe.

Linking up with Wormholedeath Records in recent times provided the spark for that previously mentioned re-assessment and the resulting highly amicable departure of Børresen and Prestby which was soon followed by the joining of bassist Håkon Bechholm and drummer Jonas Rønningen. Now the new line-up has unveiled Barriers Fall, an encounter feeling darker and rawer than that first album yet their most melodically seductive and inventively mature adventure yet.

The album opens with Ragnarok, grooves instantly wrapping ears with shadow lined radiance. There is a portentous edge to them though, nothing imposing but clearly there as rhythms jab and riffs collude around them. Magnetic straight away, the track settles down into a heavy prowl where all those imposing elements erupt for a few rapacious seconds before Schackt’s cleaner tones steer the tempest into kinder waters. Abrasive growls remain alongside him though as the song merges predatory and seductive sides, luring the imagination into a provocative squall of emotion and intensity.

It is a striking start soon eclipsed by the just as tempestuous roar of Lyra. Nagging riffs align with Schackt’s distinctive tones initially, the bass prowling around them before the incendiary heart of the track erupts with fiery melodies and antagonistic tendencies. Harmonies and melodic tempting bewitch as the song subsequently shares its evolving soundscape, contrasting textures blending their potencies in one beguiling encounter. There is definitely something of the aforementioned Katatonia to the song and indeed album but equally the likes of Opeth and Swallow The Sun come to mind though in all honesty Pigeon Lake here and across Barriers Fall only reveal their own character of sound and imagination.

The album’s title track is next, seducing with a mesmerising poetic melody and calm vocal reflection before Rønningen’s beats add increasing threat. In time, as things increasingly simmer with greater intensity, everything comes to a head, vocals spilling their psychosis as a sonic causticity descends. A relative relief in the storm comes with the closing breaths of the excellent track before the more mercurial presence of The Futility of You takes the listener into a controlled yet seemingly unstable emotional embrace. Again the music is a web of trespass and radiance, vocals matching the changeable mood with suggestive prowess as wiry hooks and almost toxic melodies tempt and trap the imagination. Epitomising the album as a whole, the track only reveals new layers and textures with every listen, each time within it seeing growing attraction and the blossoming of image painting thoughts.

Hide and Seek runs a fine line of control and lawlessness, its cauldron of corrosive energy restrained and held back by the harmonic and melodic beauty hugging the senses though it is never more than a breath from breaking free while within Sunder it shapes the predatory nature of a track which equally is as much an oasis of elegance and gentle repose as a turbulent tempest; a beauty and beast of inner and worldly turmoil.

Senses harrying riffs brings A Familiar Problem to bear on ears next, delicious bait opening up into a just as enticing fusion of roaming grooves and brooding rhythms around feral toned vocals. That previously mentioned raw element of the release has its head with the harsh throated presence of Schackt adding to the psychotic edge of the track with clean and melody woven radiancy just as powerful before Perfect Place casts its variable cyclone on the passions. Irresistible within its first moments and only stealing greater lust thereon in, the track breeds an addiction as rich as its unpredictability to provide if not the pinnacle, one of many.

Closing track Let’s Pretend takes the listener into one final embrace of emotional restlessness and creative anxiety, the song as the album whilst being intricately woven and layered is almost anarchic in its nature and heart. It is a fine end to another encounter with Pigeon Lake which simply blossoms and further impresses with every listen.  To be fussy, personal tastes would see Schackt’s throat scarring vocal side reduced to allow his excellent clean and emotionally suggestive tones to have an even larger say but it is a mere passing thought in a release which stirs every part of body and mind.

Barriers Fall is available now through Wormholedeath Records across most online stores.

http://www.pigeonlake.no/    https://www.facebook.com/PigeonLakeMusic/   https://twitter.com/PigeonLakeMusic

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Blacktop Mojo – Burn The Ships

The past four years since forming has seen Texan rock band Blacktop Mojo court a potent reputation for their sound and live presence, all the time increasingly nudging global attention to turn their way. The release of second album Burn The Ships is the moment that awareness just might happen, the release a striking and thickly accomplished slab of highly flavoursome, sinew moulded rock ‘n’ roll.

Formed in September 2012 by vocalist Matt James and drummer Nathan Gillis, Blacktop Mojo swiftly leapt into the live scene with the intent of playing as many shows and tours as they could. It is a hunger which prevails to this day, the Palestine, TX quintet sharing stages with the likes of Bon Jovi, Candlebox, Drowning Pool, Aaron Lewis, Saving Abel, Puddle of Mudd, Whiskey Myers, Dirty River Boys, and The Bigsbys among a great many others over the years. Debut album I Am stirred things up at home with its release in 2014, similarly inviting broader notice of the band’s hearty hard/melodic rock sound. Burn The Ships though is a wake-up call to bigger spotlights upon the band, the Philip Mosley produced and Austin Deptula mixed and mastered encounter a fiery roar very hard to ignore or avoid finding a healthy appetite for.

The Blacktop Mojo sound is arguably not the most unique, the band drawing comparisons to the likes of Shinedown, Black Stone Cherry, and Soundgarden yet has an individual character and diversity which lifts it from the crowd with ease. All the evidence lies within Burn The Ships and its inventive and impassioned rock ‘n’ roll; a proposition hitting the ground running with its majorly rousing opener Where The Wind Blows. A lone melody with a country rock twang makes the first beckon, a sister lure swiftly by its side before muscle bound rhythms loom over ears amidst the continuing invitation of that initial welcome. Soon into its thick and potent stride with the growling tones of Matt Curtis’ bass rich bait alongside the meaty swipes of Gillis, the track has its infectious claws firmly around ears and appetite with James’ delivery leading the way and in turn the listener into one peach of a chorus impossible not to get fully involved in. With the riffs of rhythm guitarist Kenneth Irwin equally steering the temptation as lead guitarist Ryan Kiefer spins wiry grooves, it is a seriously compelling proposal,

The following End Of Days is just as formidable and satisfying, its robust rhythms and gnarly grooves alone gripping body and an instinctive passion for heart bred rock ‘n’ roll. As its predecessor, the song carries an irresistible chorus to back up the already successful lures at play and the album’s powerful start, success its title track continues. As provocative guitar temptation wraps its flame lit charms around ears, Burn The Ships quickly shows itself an equal to those before in enticement, gaining even greater strength in that trait as its groove takes on a nagging quality as it meanders around the vocal potency of James. With Seether-esque hues involved, the song croons and roars; flexing its muscle as it spins its inventively intoxicating sonic web with each passing second. The track is pure drama and the pinnacle of the album though challenged throughout.

The earnest strains of Prodigal follow, its Staind lit serenade a mellow emotive caress allowing for a breath whilst enjoying its melodic heat, suggestive flames building  into a bigger blaze before Shadows On The Wall smoulders and erupts in a 3 Doors Down scented fire next, subsequently  followed by the virile throes of Sweat. The trio do not quite teach the heights of the first three tremendous tracks but each with their individual natures and temptations leave plenty to embrace and firmly enjoy.

The snarling properties of Pyromaniac bring the album back to its loftiest heights, the song as heated as its title suggests with irritability in its riffs and a bass grumble so easy to grow lustful for. Melodically, there is a 3 Days Grace air contrasted and complimented perfectly by the grungier textures at work on the senses, both linked by an instinctive catchiness  which again features in potent form within the predacious 8000 Lines, a song stalking ears with rapacious riffs and antagonistic beats as sonic enterprise and vocal drama ignite. The track is outstanding; its unpredictability enhanced by melodic beauty as an oasis of calm shares ears with its tempestuous heart.

Both Dog On A Leash with its red-blooded plaintive call and the reflective cries of Make A Difference leave satisfaction full, each revealing further twists in the album’s make-up and enterprise while Chains brings a web of athletic grooves and beefy rhythms in a burly persuasion raising the ante again. It is pure captivation preying on an already eager appetite for sound and encounter.

Concluded by the emotionally charged Dream On and the melancholic musing of Underneath, the impressive Burn The Ships has plenty to see the band make the next step towards global recognition. Its songs are shapely and sound rich if not always on the truly unique side. Its craft and imagination more than compensates though as ears embrace the open potential also lying within a triumph of a listen.

Burn The Ships is out now through Cuhmon Records @ https://blacktopmojo.bandcamp.com/releases or http://www.blacktopmojo.com/store

http://www.blacktopmojo.com/   https://www.facebook.com/BlacktopMojo   https://twitter.com/blacktopmojo

Pete RingMaster 15/03/2017

Copyright RingMaster: MyFreeCopyright

Sertraline – Guilty

Sertraline

Sertraline

March sees the release of a new EP from British melodic metallers Sertraline, an encounter earning a fair amount of anticipation due to its well-received predecessor and the band’s increasing reputation. The Guilty EP offers five potent slices of rock and metal fronted by the quickly engaging tones of Lizzie, tracks which revel in the new growth of sound and imagination spawning them from within the band.

Formed in the Autumn of 2014, the Stoke-on-Trent hailing band quickly stirred up a loyal local fan base and close attention, their first single a couple of months in, Set The World Alight, luring strong radio play and support from BBC Introducing. Their well-received debut EP Bury The Ghosts pushed the band into national spotlights in 2015, its success more than backed by Sertraline’s dynamic live presence which has seen them shared stages with the likes of Butcher Babies, Toseland, Kobra and the Lotus, Skarlett Riot, and Normandie along the way. Last year saw a new line-up in place and the further honing of the band’s sound, Guilty showing the enjoyable results from the evolution.

The EP title track is first up, ears consumed by a wall of carnivorous riffs and intrusive rhythms. It is a striking appetite raising start soon relinquishing its threat as a wiry melody escapes the guitar. Any disappointment from losing that raw trespass dissipates as Lizzie’s tones dance on the emerging web of riffs and grooves from Mike and Wilson. With beats still swiping with fierce intent as the bass of Hendo enticingly grumbles, the song takes a firm grip of ears and imagination. Throat raw growls intermittently join the adventure, contrasting with the harmonic beauty of Lizzie but for personal tastes lacking the bite to be as successful as their certainly welcomed addition could have been. Nevertheless it only adds to the strong character and increasing potency of the excellent track.

sertraline-cover-artwork_RingMasterReviewSuccessor Snakes opens with a melodic coaxing, atmospherics gently kissing a lone melody before a weave of Periphery scented enterprise sparks song and imagination. As the first, the individual prowess of the band is a captivation, their combined adventure just as compelling if lacking the imposing impact of the first track. It is the subtlety of its twists and turns which predominantly make that difference resulting in the song taking longer to reach the same heights though with listens it surely does.

New video/single Change Of Heart is next, an even mellower proposal with a poppier catchiness to a harmonic stroll courted by cantankerous riffs, rhythmic punches, and that coarser expulsion of voice. It is obvious single material, melodies and Lizzie tantalising but does not quite live up to those around it for personal tastes though still adding to the EP’s success.

Nyeevise gets the appetite keenly back on track, its opening brooding presence carrying a whiff of Breed 77 to it before bolder sinews spin a glorious web of steely riffs and rapacious senses twisting grooves. Like a mix of Halestorm and Forever Still, the song growls and seduces; vocals and guitars providing an alluring blend of contrasting textures and creative drama.

Bringing the release to a highly satisfying close is I Admit The Blame, an emotive serenade with fire in its heart and melancholic beauty in its roar as well as creative attitude in its body. Another which grows with every listen rather than making a swift impact, it is a fine end to a thoroughly pleasing encounter. We are still not sure about the harsh side of the vocals, they missing the ‘savagery’ desired, but still an inventive part of the fresh blaze fuelling the Sertraline sound which will only take the band to higher plateaus.

The Guilty EP is out March 3rd @ http://www.wearesertraline.bigcartel.com/

https://www.facebook.com/WeAreSertraline/   https://twitter.com/wearesertraline

 Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Raptor King – Dinocalypse

raptor_king_2016-23_RingMasterReview

As a new threat looms to trespass his domain Raptor V and his cohorts have risen again to take on the trespass. Raptor King are back with new EP Dinocalypse, a compelling successor to the well-received Dinocracy EP, to take on the new trespasser of their apocalyptic landscaped world.

Dinocalypse sees Raptor V, a dino king from the cretaceous era which ended up in 2015 via a temporal gate, once again linking up with his acolytes in guitarist Nightsmoke and drummer Don Coco to thwart new protagonist Pelletor. The Boulogne-Billancourt hailing outfit have also enlisted the guest help of bassist Strange Kid Armageddon and guitarist Indian Shredder for their second outing, a release showing a broader web of diversity in sound and bolder uniqueness in its character compared to its predecessor. As impressive and highly enjoyable as the first release form the band was, Dinocalypse easily and swiftly eclipses it in all departments.

The EP opens with its title track, Dinocalypse rising from its ‘sleep’ with a dawning of textures and essences, all entwining each other in a heated embrace until from its midst a thrash fuelled fury escapes. With the three pronged vocals as confrontational and belligerent as the riffs and rhythms surrounding them, things are soon a tempestuous assault challenging the listener as readily as the hunger of those in its tale to take on the invader of civilisation. Infectious grooves and brassy toxic flames add to the volatile and increasingly compelling mix of flavours and styles now colluding with bedlamic potency within the excellent starter.

pochette-raptor-king-dinocalyspe_RingMasterReviewThe dark lures of The Witch comes next, a web of sinister grooves and heavily swung beats gripping ears as a sludgy swamp of sound in a mutually thick climate envelops the senses. It is an alternatively rapacious seduction and invasive proposal veering further into the jaws of the latter as vocal and sonic antipathy boil up with a blackened edge to their intrusive attributes. Equally though, melody woven calm aligned to deception carrying elegance lures with siren-esque intent, a mercurial web of suggestiveness heading towards a devouring concluding tempest of extreme metal and grievous rock ‘n’ roll.

The Long Way To Rock (Pom Pom Pom Pom Pom) reveals its own infectious hand at spinning addiction sparking grooves and raw contagion next. A blend of melodic metal and rock with grungier tendencies in its intent, the song dances flirtatiously in the ears with vocals as varied and contrasting as the sounds alongside them. Whereas the first album was a collusion of truly familiar flavours and elements, the third song and the EP as a whole quickly reveals that exclusive nature and enterprise suggested earlier whilst still making for a proposition which roars like an old friend.

The stand-off between Raptor V and Pelletor is a raucous rumble in Fight’n’Roll, the track a riot of destructive and fiercely catchy rock ‘n’ roll embroiled in combative agitation. Corrosive and anthemic, the song simply hits the spot with hungry endeavour before leaving Lonesome Raptor to bring things to an excellent close. A melodic embrace around the reflective croon of Raptor V, it is a noir lit bluesy smoulder of seduction and another side to the imagination incited escapades with the release showing the striking growth of the Raptor King writing and sound.

Dinocracy majorly pleased last time around but Dinocalypse breaches a whole new landscape of craft and fun and as the closing seconds of its final track suggests is just the beginning of a new rousing conflict of bruising adventure to come and eagerly anticipate.

Dinocalypse is out now @ http://raptorking.bigcartel.com/product/dinocalypse-ep

http://www.raptorkingrocks.com/    https://www.facebook.com/raptorkingrocks    https://twitter.com/raptorkingrocks

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

The Kreoles – Psycho

the_kreoles_RingMasterReview

Psycho is the new album from Italian melodic metal/ alternative rock quartet The Kreoles, a release which makes a highly enjoyable first impression but continues to sneak up on the imagination as each track passes with diversity and inventive fun; the result an encounter very easy to get rather excited about.

The Kreoles emerged in 2011, the realisation of an idea by founder Ivan McSimon, a Como-based producer, songwriter, and guitar player who previously played with Dyve. The new project was born from the intent to explore new creative paths and subsequently saw McSimon linking up with vocalist Valentina Merlo, bassist Marco Francesco D’Elia, and drummer Davide Piccolo. 2014 saw the release of their well-received debut album Touch The Sun, the potent base from which Psycho now blossoms from with even greater adventures.

Released through Sliptrick Records, Psycho makes a strong and steady start with opener The Last Man. Coaxing attention with its initial country scented melodic jangle, the track soon breaks into a muscular stride with swinging rhythms, an irritably steely bassline, and the fiery roar of guitar. In the midst of it all, the instantly engaging and impressive voice of Merlo lures with siren-esque quality drawing ears even deeper into the rousing heart of the song. Slips into melody rich emotively calmer passages only adds to the alluring drama of the encounter, McSimon scorching the senses with his volcanic melodic tapestry as the album roars into life.

Disease takes over with the same kind of imposing but welcoming intensity to its body, more classic metal hues colluding with the band’s enterprising canvas of textures and sounds. Again there is an instinctive nagging snarl to the underbelly of the song driving the melodic fire consuming and pleasing the senses; Merlo enticing and the open individual prowess of the band uniting in a similarly explosive and anthemic proposal.

With exotic keys to the fore, Empty steps forward next, that early charm soon entwined and vocal in a web of sonic and rhythmic rapacity embraced by an Animal Alpha like character of song. Infectiously irresistible and a fierce flame of melody and tenacious energy, the track stirs the spirit before making way for the equally creatively hungry and energetically dynamic Too Fast To Live, Too Young To Die. Breeding a great punk pop essence recalling seventies bands like The Photos and The Adult Net whilst infusing it in a tapestry of heavy rock/melodic metal enterprise, the song similarly catches attention with swift ease and potency, only increasing its hold minute by minute.

Though just as heated, a calmer climate embraces next up Don’t You Know, a Pretenders spiced offering with more of the southern hues which the band skilfully infuse in many of their songs. With the vocal beauty and expression of Merlo sheer magnetism, the song boisterously smoulders, its touch a burning seduction as catchy as anything upon the album.

Through Obsession with its rhythmic irritability and melodically metallic confrontation and the tempestuous confrontation of Like A Scream, The Kreoles keep enjoyment high even if neither song ignites the appetite as imposingly as their predecessors. Both tracks are missing the same kind of surprises lighting up those around them but ensure there is no wandering of attention before Dolomites installs itself as our favourite moment. A rolling contagion of country punk pop as inescapably infectious as the flu but a hell of lot more fun, the song just cannot fail to place a smile on the face and in the heart with its virulent exploits.

Black Star’s Night is another which weaves familiar essences into its own creative domain to forcibly satisfy without turning emotions lusty before the album’s title track brings things to a thrilling close. There is cantankerousness to the rhythmic enticement of the song, a predatory edge lining riffs too as among them Merlo beckons with every syllable shared. Its eventful presence though is also a haven for melodic imagination and an evolving intensity as unpredictable as it is scintillating.

Psycho, song and album, is a masterful enslavement of ears and imagination from a band destined to real and eager recognition ahead and if their new enticement has its deserved way, beginning right now.

Psycho is out now through Sliptrick Records across most online stores.

http://thekreoles.com/    https://www.facebook.com/TheKreoles/    https://twitter.com/thekreoles

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright