The Atomic Bitchwax – Force Field

This is the time of year that the media generally gathers up their thoughts on Best Of lists and here to holler ‘hold up contemplate this first’ is the new album from New Jersey power trio The Atomic Bitchwax. A virulent tour-de-force of balls swinging rock ‘n’ roll, Force Field is a chest beating riot in the ears and ignition for the spirit which hits top gear in every aspect from its first breath and never takes its foot off the rock ‘n’ roll pedal until its very last.

Formed in 1993, The Atomic Bitchwax are on to their sixth album with Force Field and have never felt more energetically insatiable and creatively fevered or indeed irresistible.  The release sees bassist/vocalist Chris Kosnik and drummer Bob Pantella, both also of Monster Magnet, alongside guitarist Finn Ryan, formerly of Core, unleashing twelve slices of space rock infused stoner soaked proto-metal which assaults the senses like a rapacious virus. It ferociously careers through ears, gets into every pore to leaves a rich lingering taste which only inflames the appetite for more and more. Force Field might be one of the latecomers to the year’s party but immediately is the inescapable focus of attention.

It roars into action with Hippie Speedball, the kinetic thump of Pantella’s swings swiftly joined by the raw fuzz of Ryan’s riffs and the rebel rousing stroll of Kosnik’s bass groove. In no time the whole band is fingering an instinctive appetite for groove slung rock ‘n’ roll, the bassist’s vocals tones riding it all like a tenacious surfer as two and a half minutes are eagerly swallowed up the slab of sonic contagion.

Infestation one leads to number two in the shape of Earth Shaker (Which Doobie U Be). Instantly its muscle has bones shuddering, its sonic toxicity the imagination hooked as the listener is thrust into a whirl of melodic temptation and boisterous catchiness with a Rob Zombie-esque tinge. A robust rock ‘n’ roll waltz bound in stoner/psych dexterity, the mouth-watering escapade is soon outdone by the following Alaskan Thunder F*ck where a maze of melodic strands around rhythmic trespasses are thrust through ears with insatiable creative adrenaline. From vocals to grooves, hooks to rhythmic badgering, the song hits the spot dead centre yet is still in turn eclipsed by the outstanding Shocker. If the previous track was a hungry nagging its successor is an infernal itch with the most salacious row of hooks rich in aural bait. Neck muscles are worked out, limbs stretched from start to finish, the track so infectious and manipulative it is almost vindictive.

Next up, Crazy is an orgy of lecherous grooves and libertine rhythms, an electrified wash of temptation while Fried Dyed And Layin To The Side dances on the senses with the wantonness and devilry of a Wickerman worshipping cult with its instrumental a psyche twisting incitement. Each has body and imagination wrapped up in eager involvement, a feat even more vice like in the hands of Shell of a Man and its own randy antics. A song sure to have even a graveyard bouncing, it is sonic lasciviousness leading to unfettered addiction.

To be honest, that welcome dependence was installed from the first strains of Force Field, only gathering pace and hold track by track and continuing to accelerate as the likes of Houndstooth with its feral rock ‘n’ roll, the blues grooved stoner web of Tits and Bones, and the incessant rumble of Humble Brag lustfully seduce and hungrily incite.

Choosing favourite track within the album is a revolving whirl of indecision such its constant might but the glorious infection loaded charge of Super Highway is always to the fore, the song as virile a contagion as you will ever meet sonically or physically.

It all ends with Liv A Little, a mesh of seventies pop/ psych rock seduced by Hammond keys and entangled in blues lined stone grooves as fuzz soaked vocals flirt. Limbs and energies are defenceless to its merciless lures, the track a tapestry of decades courting flavours.

With every song rampaging pretty much in the time two minutes becomes three the album is a series of rousing bursts and arousing stomps. It draws on styles and inspirations past, weaving them into roars fresher and more adventurous than most heard this year and pretty much more vital than all.

Force Field is out now through Tee Pee Records.

http://www.theatomicbitchwax.com/    https://www.facebook.com/The-Atomic-Bitchwax-86002001659/

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

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

Baronen & Satan – Why Does The Blood Never Stick To Your Teeth? / Satan Is A Lady

As each year passes it seems harder to find something truly unique to feast upon so those encounters which do carry that special character make a most striking impact and hopefully temptation. The sound of Swedish outfit Baronen & Satan magnificently fits that claim and hope, its nature a psyche twisting trespass and voice a senses searing incitement which together go to make one glorious seduction on body and imagination.

Though formed in 2014 after guitarist Philippe Jean-Piere Dominique Sainz met vocalist Linda Rydelius, the pair uniting in love and creativity once meeting, our introduction to Gothenburg hailing Baronen & Satan is now through Dirty Water Records USA and their releasing of the band’s new EP, Why Does The Blood Never Stick To Your Teeth? in tandem with the re-release of 2016 album Satan Is A Lady. It is a long overdue meeting as hindsight shows the band has been teasing attention across a horde of tracks and years but one we like so many others are greedily devouring. Completed by bassist Marie Bergkvist and drummer Stefan Young Sik Olsson earlier this year, Baronen & Satan create what we assumed has been self-penned as “Garagedeath”.  Whatever you call it, the Baronen & Satan sound is a wonderfully invasive yet flirtatious trespass of reverb grafted adventure conjured from a mix of garage and psych rock, garage punk, noise, and punk rock with plenty more teasing away in its predacious and haunting swamp thick sonic psychosis.

Produced by Jim Diamond (White Stripes, Dirt Bombs), Baronen & Satan’s new EP greedily consumes the senses from its first breath. Why Does The Blood Never Stick To Your Teeth? opens up with new single Elisa and instantly consumes ears in a tide of riffs and rhythms entangled in spicily melodic tendrils. As a bass grumble teases, beats fly with fevered energy, Sainz’s guitar weaving away with salacious grooves as the distinct and unique tones of Rydelius deliciously ‘whine’. Her presence almost steals all attention but with the devilish textures and enterprise at play around her, the whole song seduces in equal measure to get things flying.

The following Buttermilk Sky has a similar but fully individual presence and sound, its psych and garage rock bred rock ‘n’ roll an incitement to appetite and hips as it dances provocatively in ears. Its citric melodic spicing is less kind in the second track compared to its predecessor but just as alluring; the song offering a beefier intrusion taken to darker temptation yet again in the EP’s title track. With the swinging biting beats of Olsson rampant and Bergkvist’s bass sound gnarly, seduction is swift from personal tastes; add the sonic squall of Sainz and Rydelius hellish beauty in voice  and submission to the track’s rapacious rock ‘n’ roll is welcome slavery which the melodic toxicity with its tinge of Echo and The Bunnymen compounds.

All three tracks unite for one unwavering increasing addictive proposal to have us reeled in hook line and sinker; a triumph equally matched by last year’s album, Satan Is A Lady. It similarly needs mere seconds to tempt and begin brewing up a tight grip as opener Lady Creature lies its initial sonic nagging upon ears. Quickly the boisterous beats of Olsson descend and romp; the track bouncing around with eager tenacity as Rydelius casts her riveting vocal antics into the stomping devilment of a proposal. At times Scottish trio The Creeping Ivies is provoked in thought by the track but a great spicing to something again as unique as all the subsequent essences and adventures across the album prove to be, all hues in viral sonic toxins particular to Baronen & Satan.

Next up is Catwalk, its feline prowl lively and predacious with Olsson’s swings marking every step with zeal. Always fuelled by a boisterous spirit, the song stalks the listener as vocals wrap their flirtatious clutches around psych and garage infestation. Magnetic drama, the song sublimely bewitches before the even more energetic exploits of Asskisser bound in. With shimmering sonic suggestion and more rhythmic rascality, a PiL-esque sheen invading its bold canter, the track commands the listener like a puppeteer, its noise nurtured tendrils veining its wonderful manipulation.

Headcuts lurks and taunts with an instantly open Cramps inspiration, continuing to size up its victim before launching into a rapacious garage punk stroll with fifties rockabilly spicing. As its predecessor, the track is glorious; caustic manna for ears and instincts which a fine line of sixties garage rock a la Cradle to add another twist.

Expanding and thickening its ravenous enterprise and character, Satan Is A Lady hits another sweet spot with the sonic buzz of The Projects, a minute and a breath of irresistible niggly punk rock which Comet emulates in success with its own demonic affair for ears and imagination. As most tracks, its core is a relentless nagging which gets right under the skin; heavy dark bait bred on rhythmic and sonic almost wanton dexterity honed into a cauldron of virulent temptation as carefully woven as it is rabidly unleashed.

The album’s title track swings in with muscles tensed next, a riveting PiL meets Siouxsie and the Banshees hook circling ears as once more the compelling tones of Rydelius grip the bold intrusion. Sainz’s initial bait swiftly develops a Buzzcocks spiced essence as the track flexes its animated imagination, every second a beguiling and infectious scheme to enslave.

Through the psychotic stomp of Pony and its sonic Cramps meets the Orson Family moonshine pleasure only escalates, the latter of those hues a bolder essence in the dark saunter of Sugarwalls which too only inflames an already greedy appetite for band and sound. Invasively ethereal and ravenously portentous, the song also gives a glimpse of what you might imagine bands like Blood Ceremony and Jess and the Ancient Ones could sound like if mutant off springs of Lux Interior and Jim Morrison.

The album ends with the invasively haunting Underwater Love, an immersion into a sonic sea of intrigue and unpredictable imagination steered by the alluring vocal ingenuity of Rydelius. It is dark, bordering on suffocating and a compelling end to a quite thrilling and refreshing album.

Uniqueness is rare but when it comes it should be devoured especially when it bears the dark discord and beauty of Baronen & Satan.

Both Why Does The Blood Never Stick To Your Teeth? and Satan Is A Lady are out now @ https://baronenandsatan.bandcamp.com/album/why-does-the-blood-never-stick-to-your-teeth  and https://baronenandsatan.bandcamp.com/album/satan-is-a-lady respectively.

https://www.facebook.com/baronenochsatan/

Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

The Ugly Kings – Promised Land

With their debut album slated for release early next year, Australian rockers The Ugly Kings recently provided a rather flavoursome teaser for it with Promised Land. Offering two tracks cast in the band’s “power blues” sound, the EP weaves a temptation as atmospheric and haunting as it is bold and fiery, both songs rich in a potential suggesting that forthcoming full length just has to be checked out.

Formed in Melbourne in 2011, The Ugly Kings draw on the inspirations of bands such as Led Zeppelin, The Doors, The Black Keys, Muddy Waters, BB King, Black Sabbath, Dead Weather, and Royal Blood for their sound. It is a mix which brought the band’s mini-album, Of Sons, praise carrying attention in 2015 and now makes a striking invitation within Promised Land.

Though you can quibble whether a two track release is an EP or single, there is no denying Promised Land inescapably grabs ears and appetite with its title track. An opening sultry stroke of guitar courts the imagination though it is the instantly striking tones of vocalist Rusty which really hook attention; his potent presence backed by the imposing drama brooding beats of Andy. As further elements unite, the song raises to yet another level, hitting a majestic stroll which initially is almost predatory before becoming a celebratory fire of energy and suggestion.  Its masterful cycle repeats, increasing its hold on body and imagination second by second; the guitar of Christos creating a web of fiery temptation as the bass of Nick makes a grumbling, almost irritable trespass easy to greedily devour. Imposingly infectious and skilfully manipulative, the track is glorious and reason alone to explore that future album.

Even so, personal tastes just took to companion song, Wash Me Of My Sins, with instinctive lust. Like an aural equivalent of a flickering sepia hued film, the song shimmers with the twang of guitar and those ever compelling vocals. Its slow crawl is a shadow wrapped enticement more rejoice than funereal leading to an energy fuelled, spirit arousing canter which still embraces a reserved intensity in its dark country/psych rock canter. With a harmonic tapestry of voices around the ever compelling presence of Rusty, the song seduces listener involvement and imagination with sublime ease; just stealing best song honours and uniting in suggesting that the next encounter with The Ugly Kings is not to be missed.

Promised Land is out now and available @ https://theuglykings.bandcamp.com/album/promised-land

https://www.facebook.com/TheUglyKings/    https://twitter.com/theuglykings

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

Bridport Dagger – Wolves/Trembling Sky

Sometimes you just do not know the goodness which is on your doorstep. Recently we had the pleasure of being introduced by one of their numbers to Bridport Dagger, a band which it turned out rehearsed and recorded in their singer’s home studio merely ten minutes away from The RR. Even more enjoyably, the meeting left us with the UK outfit’s new single in our eager hands and the urge to tell you about its rather tasty contents as well as the important message to constantly check out and support your local scene as you never know what treats you may find.

There is not a great deal of info we can tell you about the band except that it consists of vocalist/guitarist Jason Idnani-Powdrill, guitarist Lawrence Rice, bassist/guitarist Chaz Foster, and drummer/keyboardist Arran Goodchild. The quartet draws on the inspirations of artists and flavours such as Suicide, Nadine Shah, Roy Orbison, Guadalupe Plata, Clinic, The Gun Club, Flamenco, Get Your Gun, Fado, Ennio Morricone, and film noir especially the work of Wim Wenders and recently performed in an echo chamber under the river Thames and supplied sound design for a seven day immersive play in Berlin. But their sound you ask…well the most important thing here is a dark and seductive collusion of numerous flavours and textures but is maybe best described as Nick Cave and The Walker Brothers meeting Echo and The Bunnymen on a Tarantino set as Japanese Fighting Fish share their creative devilment. What emerges is something individual and magnetic to Bridport Dagger as epitomised by the double A sided lead of new single Wolves/Trembling Sky.

The single is actually a real meaty chunk as it also includes the band’s previous EP Knife through Water including a re-mastered version of its lead track and a couple of songs from that earlier mentioned soundtrack . The single opens with Wolves and an immediate clash of sound as rhythms and guitars collide. From within the inviting clamour a rumble brews; its tone rockabilly like as the guitars between them wrap a jungle of riffs in a sultry melody as Idnani-Powdrill’s vocals begin the shadowed croon of the song. Already the magnetism is addiction level, the subsequent scythes of guitar compelling across the captivation of bass and beats as the band’s rock ‘n’ roll shares dark flirtation. Every passing second brings a new twist of drama and sound, unpredictability as thick as the imagination flowing through the outstanding encounter.

Its partner, Trembling Sky is instantly a less intense proposition, a psych rock melody dancing over the darker hues of bass and again grumbling riffs. There is a Doors-esque air to the song, a shadowed lining to its lively spirit and bounce, and a sixties instrumental tone to the guitars which only adds to its instinctive attraction. As its predecessor, the song just hits personal wants and tastes full on though at two and a half minutes or so it frustrates when it ends just as lust rises.

The rest of the release starts with tracks found on that previously mentioned EP released last year with a re-worked mix of acclaimed track Harry Dean Stanton first up. As this piece is being composed news has just come through that the actor has died; a sad timing which instantly brings a poignant edge to song and its embrace of ears and focus. The song is a dusty shimmer on the senses, a poetic sigh spiked by shards of glassy guitar and soaked with the serenade of keys; a proposition which is masterfully enthralling from start to finish.

Next up is Cowboy Drone, a track which nags and teases like a menacing mix of The Birthday Party and The Doors that sizes up the listener with every note and breath before taking them through a tombstone littered climate soaked in post punk/psych rock discord and theatre. The track is glorious, a noir drenched drama of sound and voice which thrusts the imagination into the heat of dark trespasses.

Taken from the soundtrack of the Twin Peaks inspired theatre performance Bridport Dagger created the music for, The Dangling Man is one of two original songs it was bookended by, the following Lyra the other. The first is a sombre, almost caliginous play for ears and imagination with vocals and music a shadowy lure and the melodramatic caresses of sax courtesy of George Cleghorn sublimely suggestive while the second is a fifties hued dark ballad with more than a touch of Roy Orbison to its emotional humidity. Both tracks transport the listen to a dark and intoxicating place impossible to resist lingering within.

The livelier rock ‘n’ roll of The Butcher of Rome has hips swaying and appetite dancing, bass and beats alone a rousing shuffle to be enslaved by, a trap tightened by the teasing jangle of guitars, the seductive strokes of keys, and the storytelling prowess of the vocals.

The release is completed by the sweltering emotional drenched spectacle of Wilderness, a song which gets bolder and more psychotic and discordant with every passing minute for a mouth-watering finale of provocative noise and melodic toxicity.

Wolves and Trembling Sky as a single is one of the year’s most riveting experiences on the year so far; add the rest of its treats and you have one of the most essential come its release in October.

Wolves/Trembling Sky is released October 13th.

Upcoming live dates:

21st September: Bethnal Green Working Mens Club, London

29th September: Insomnia, Berlin

8th October: Twin Peaks UK Festival, London

10th October: Half Moon Putney, London

13th October: The Lexington (with the Flaming Stars and Get Your Gun), London

4th November: Paper Dress vintage 4th Birthday Party, London

https://www.facebook.com/bridportdagger    https://bridportdagger.bandcamp.com/

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Sly Palms – Self Titled EP

As they introduced themselves to us with their debut release, we introduce you to the individual Weirdo Wonk sounds of Sly Palms and one magnetically enjoyable self-titled debut EP. From the ever giving Bristol music scene, the British quintet brew up their own individual fusion of garage, psych, and blues rock described as “Nick Cave meets Go Go Bordello through the Doors.” All are references which add up as you listen to the five tracks making up their first release but also imagine the involvement of essences from My Baby, 13th Floor Elevators, and Horse Party and you have a fuller if still not quite accurate inkling to the band’s imaginative adventure.

Recorded at Malthouse Studios with Dom Mitchinson (Spectres, Oliver Wilde), the EP quickly has ears enticed with Bottle Of Sin, the new single from Sly Palms. Immediately the opener teases and tempts with its spicy percussive grooving and new wave like movement, early XTC coming to mind in the song’s unpredictable quirkiness before things settle a touch around the vocal lure of keyboardist Louise Schwarz. Poking beats and jabbing swings collude with her fine vocals, that eighties hue merging with a brewing blues revelry as the song grows even more flirtatious and irresistible with each passing second. Additional discord only adds to the pleasure, the song mere notes away from chaos at times and only blossoming with boldness because of it.

Things are a touch more reserved from hereon in across the EP but no less enjoyable as the swarthy rock ‘n’ roll of Spanish Song proves. With sultry blues melodies uniting with hazy psych nurtured sighs, the song has the same mischievous nature as its predecessor but strolls along with a less agitated gait. Lead vocals this time are taken by guitarist Ian Cross, or it could be fellow string picker Alex Davies or indeed drummer Jake Cheesman; whoever the supplier their grainy tone only adds to the Tom Waits spiced proposal swiftly tempting and pleasing ears. The warm keys and floating harmonies of Schwarz similarly enthral and add to a creative drama which is no less potent within next up River Rhein. With a rockabilly/country rock coaxing to its catchy shuffle, the song has the body bouncing, gently at first but with increasing vigour as crescendos of rock ‘n’ roll erupt across its increasingly heated body.

The bass of Jaime Botella is a perpetually appetising throb within all tracks, adding an instinctive pulse and often growl which is especially alluring within the more unkempt climate of Slaughterhouse. The track is superb, challenging the first for best track honours with its rowdy rock ‘n’ roll and expectation defeating devilment of sound and imagination.

The more lo-fi presence and touch of Wall brings things to a potent close, the song a dance of harmonies and rattling rhythms as the band weaves another slice of off kilter sound as blues, garage, and psych rock as it is simply ear exciting rock ‘n’ roll.

With potential as vocal in every song as existing imagination and adventure, Sly Palms have made a powerfully persuasive introduction to themselves with their debut. Already they have nurtured something unique about themselves and intriguingly we, like they, have only just scratched the surface.

The Sly Palms EP is released July 14th.

14/07/17 – E.P. Launch Party @ The Old England

10/08/17 – The Louisiana, Bristol

24/11/17 – St. James’ Wine Vaults, Bath

https://www.facebook.com/SlyPalms/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright