The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Bernaccia – Awake

Bernaccia_RingMasterReview

British neo-psych rockers Bernaccia has perpetually caught ears and expectations by surprise with their insistently magnetic fusion of psychedelic mystery and desert blues atmospherics driven by tribalistic rhythms. Indeed across EPs and singles, the Newcastle band has grown into one of the UK’s most compelling propositions, beguiling and seducing with their dark and often cinematic rock ‘n’ roll. New single Awake though has arguably provided the biggest and admittedly most flavoursome twist yet with the ear catching addition of vocalist Ellen Chetcuti to the band’s ranks.

From their 2014 released Cinema EP, the foursome of vocalist/guitarist Jonny Noble, synthist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has persistently and increasingly lured attention and acclaim with their fascinating darkly lit psych/melodic rock explorations. Equally their live presence has only reinforced the potency of their emergence as shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People have come and successfully passed alongside the release of impressive proposals like the heftily acclaimed Light//-//Dark EP and last single Power To The Hills. The well-received track was the band’s most intense and dark tapestry of sound and imagination yet and now more than matched by the brighter lit but just as rousing and immersive Awake.

Keys caress ears initially as a percussive shuffle dances with the imagination. Swiftly the unexpected and quickly embraced voice of Chetcuti slips in. Listening to a release before doing research, especially in regard to a band already well known, can often catch expectations out, and here the presence of the band’s newest member certainly provided a rewarding surprise. In no time, Noble’s familiar dark tones step forwards alongside Chetcuti’s, synths rising with suggestive and exotic flames around their alternating and merging persuasions as ears and thoughts are quickly entangled in the song’s thick and shadowed drama. Drenched in similarly immersive atmospheric smog, the track reveals great blues and at times eighties new wave enterprise, playing like a mix of My Baby, Jingo, and King Trigger whilst emerging as another unique Bernaccia adventure.

Increasingly anthemic and spirit rousing with each one of its inciting minutes, Awake is a new step in the gripping rise of Bernaccia. Why the band’s dark and often sinister romances of body and imagination have not made then a name on the lips of multitudes it is hard to understand but maybe Awake will be the spark to tempt the broadest spotlights that the band deserves.

Awake is released April 8th via iTunes and other stores.

Upcoming Live Shows:

April 8th Club Fandango Presents – The Old Blue Last – London

April 28th TS ONE – Middlesbrough

April 30th Sawmill Sessions – Darlington

May 7th The Polar Bear – Hull

May 21st The Mining Institute – Newcastle

https://www.facebook.com/BernacciaMusic    http://twitter.com/bernaccia

Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

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Rosenthal – Heart EP

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Managing to sound invitingly nostalgic and refreshingly new, the Heart EP is a captivating full introduction to Rosenthal, a Danish band already drawing a healthy buzz around themselves. Consisting of five tracks which can be described as being bred from a merger of new wave, dream pop, and shoegaze with a psychedelic colouring, the band’s debut EP is an intriguing and increasingly enjoyable embrace for ears and imagination.

Rosenthal is the brainchild and project of Copenhagen-based songwriter and producer Jeppe Kiel Revsbech. Last year saw the release of two singles, both Lashes and Afraid of Stairs sparking keen attention and enthused reactions to the band’s presence and sound. Now fresh off their successful first UK tour, the band is set to reinforce and push forward again their emerging presence in a wider arena with the Magnus Vad produced Heart EP, and with Ask Kjærgaard (guitars) and Kasper Nyhus Janssen (drums) alongside Jeppe Kiel Revsbech (guitar, keyboards, vocals), Rosenthal is continuing 2015 in fine style.

The EP’s title track starts things off and sets an early pinnacle for the encounter. The resonating yet earthy bass tone which opens the track is alone an instant irresistible persuasion. It has the same dark flavouring which gave depth and potent shadows to the early sounds of The Cure and equally Joy Division. In no time guitars add their minimalistic but expressive colour too whilst the floating vocals of Kiel Revsbech glance over ears like Green Gartside of Scritti Politti. The emerging melodic elegance of the song is a radiant hue, uniting with the mellow and sizeably infectious air of the song to incite an eager appetite in response. It is a fabulous start to the release, mesmeric yet holding a slight agitation which only adds to its compelling presence.

The following April Eyes has a lighter and airier breath to its bouncy energy and presence. From the off melodies are caressing ears whilst the bass toning again carries a dark shade to its otherwise less heavy tempting, both courted by an imagination and unpredictability throughout which sees the song easily slip from its energetic stroll into a reflective calm. This peaceful passage though is soon at the centre of a brewing emotive and sonic tempest, a brooding climate which never erupts but certainly brings an edge and drama to its landscape.

The acoustic charm of the brief instrumental An End to the Trial comes next, the stringed caresses of guitars an evocative spark for the imagination before Void wistfully seeps into ears and thoughts, again guitar expression the leading colour. Its folkish, provocative simplicity makes the perfect canvas for the similarly reserved yet vibrant vocals. It is a simmering sunset of sound and emotion but as darker hues add their tints it evolves into a tempestuous atmosphere of dark alternative pop. From a potent start it grows into a bewitching proposal for ears and thoughts, spicy hooks and tangy melodies expelling mouth-watering noir bred temptation. The song is an enjoyable slow burner but grows even more thrilling in its latter climatic stages.

The closing A Dream is like the first song, one seeded in the post punk and dark pop of previous days whilst casting its own fresh character of sound. Resourcefully bred from a New Order/Bauhaus seeding, dark wave shadows ignite the passions instantly whilst the emerging Billy Momo like folk charm and Cocteau Twins like ethereal melodies, simply absorb and accentuate the whole unique adventure. Keys also add suggestiveness to the mix, an OMD spicing working within their poetic ambience. It is a tremendous song and end to the EP, Heart bookended by its best two tracks but with plenty to eagerly embrace in between.

As the final song slowly drifts away it leaves ears and thoughts keen to immerse once again in the Rosenthal sound. Heart is not exactly going to bowl you over with listen one but it lingers, luring the listener back time and time again, a rich success in any one’s book.

The Heart EP is available now via Afterimages via most digital stores.

https://www.facebook.com/rosenthalsite

RingMaster 10/03/2015

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://reputationradio.yooco.org/

 

 

The Permanent Smilers – One Real Big Identity Crisis

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One Real Big Identity Crisis, the new album from UK band The Permanent Smilers, is a release with no apparent direction or framework to its intent and enterprise; a release which basically lives up to its title but boy is it a slab of irresistible fun. Through thirteen songs, band and album take on a torrent of different styles and nostalgic flavours which really should not work alongside each other as coherently as they do, and all come with a humour and mischief which adds to rather than overrides the adventure of the individual characters. It is slightly deranged but not chaotic and thoroughly unpredictable yet not messy considering the vast sounds employed from song to song. Most of all though it is simply a compelling proposition which comes from left-field, keeps its heart there, and leaves the most enjoyable experience in its wake.

There is little we can tell you about the band itself, though The Permanent Smilers is fronted by Richard Lemongrower who was the songwriter behind Norwich band The Lemongrowers, a band releasing two albums on Noisebox at some point in time. Produced with Jonny Cole and mixed by David Pye, One Real Big Identity Crisis takes little time in lighting ears and imagination, though it opens with maybe its weakest song. That is a little misleading as it takes a song to get a handle, or try to, on the release anyway but certainly Identity Crisis did not really grip attention as much as elsewhere and left thoughts with a slight wondering of what have we got ourselves into. Strongly swung rhythms and similarly intensive riffs clasp ears within the first breath of the song, their bait a jabbing lure against the unpolished yet engaging tones of Richard. It is an easily flowing and energetic slice of rock ‘n’ roll with the bass of Jonny Cole pungent bait at the centre of the stomp. Truthfully there is little wrong with the song but it lacks a spark in its presence which evades the reaction it probably deserves and is easy to imagine being found with others.

The good if unsure start is soon a thing of the past as Uh-Oh takes over with its festive folk swagger and emerging carnival like devilment. Sporting a splash of Tankus The Henge to its relaxed but vibrant stroll, the song is a constant swing of melodic hips as it moves towards an unexpected and mouth-watering slip into a Dukes of Stratosphear like ethereal psychedelic charm and climate, returning back into festive mood soon after as if it had just emerged from a dip in the sea. The song is fascinating and bewitching, and just the first of numerous adventures into different landscapes, as shown next by the punk pop devilry of You Know Where To Go. Bred from seventies power pop and carrying a mix of The Flys and The Lurkers to its hookery, the song just hits the sweet spot with its insatiable energy and mischief, before making way for the more relaxed melodic embrace of Elastic. The keys and guitars of Richard weave another enthralling web of sound here, this time with a sniff of sixties pop to it which is punctuated by the crisp beats of drummer Pete Fraser and dark bass lures of Cole. By its close, the song somehow becomes a thumping anthem without losing any of its melodic and gentle elegance, a potent feat for any song to offer.

Both Just No Good and It Doesn’t Work Anymore keep album and ears bouncing with energy and pleasure, the first using a garage rock spicing again teased by a sixties almost Doors like toxicity, whilst the second again spawning from the same kind of seeding brings a rawer punk grouchiness with its presence. Each has feet and emotions joining their rigorous coaxing before Ghosts allows a breather for the body if not the imagination with its Simon and Garfunkel meets Burt Bacharach like embrace. The brass persuasion of Dave Land seductively flames over similarly captivating keys and vocal caresses through the song but as always there is a scent of devilment to the song with thoughts wondering at times if they should be enjoying this as much as they are. There is no escaping its thick charm though.

The next pair of songs brings a rich sense of XTC to their enterprise and persuasion, Rebel broadening that over time with a seventies kissed soar of progressive fuelled psyche rock whilst its successor, Voodoo has the stamp of Andy Partridge to its flirtatious pop and virulent enterprise. The pair leaves nostalgia glazed lips licked and, through the latter especially, ears basking in psyche pop of the most delicious kind complete with jazzy brass and funk spirited unpredictability.

You Know When To Go dives straight back into punk infused rock ‘n’ roll for its brief but sparkling instrumental before Unforseen manages to conjure an encounter which recalls the quirky indie pop of The Monochrome Set and the plainer but no less tasty essence of Tom Robinson. The song alternatively stomps and swirls around ears, every passing hook and melody it conjures an intriguing and quaint yet voracious tease before it moves off into the distance allowing the outstanding See Through You to make its lingering mark. Acoustically shaped with an avalanche of panzer gun delivered rhythms, the song initially is a smouldering and majestic sway of sound. It subsequently explodes though into a tempest of energy and revelry which only lifts a great song to a heady plateau. Imagine the volatile energy of De Staat at their most devilish with the epidemic hunger of eighties punk/power pop and you get a sense of the glorious treat.

One Real Big Identity Crisis closes with the acoustic lullaby of Sleepyhead, the album ending as it started with a track which does not catch the ardour triggered elsewhere but certainly graces ears with tantalising propositions. This album is one unexpected and seriously enjoyable adventure; not breaking down boundaries or venturing into the unknown but never providing a moment when you are not surprised or wrapped up in its refreshing simplicity woven by skill and invention. There is only time left to lick lips all over again as we close off and dive straight back into The Permanent Smilers’ irresistible arms, something we suggest you do too upon release.

One Real Big Identity Crisis is released in April via IRL Records with new single Identity Crisis out in March.

http://www.thepermanentsmilers.com/   https://www.facebook.com/pages/The-Permanent-Smilers/1539697962929725

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

SeaWitches – Stars

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On the surface Stars, the new single from UK band SeaWitches, is a simmering lake of melodic radiance but look deeper into its depths and the song is a discovery of compelling shadows and rawer, almost predacious textures. Making a strong first impression but becoming more fascinating and captivating with every embrace, the song also suggests Liverpool has yet another tantalising proposition blossoming in its musical heritage.

The seeds to SeaWitches began with the meeting of Jo Herring (vocals/guitar/bass) and Laura Caldwell (bass/guitar/keys through friends in 2007. Their creative talent and musical passion SEAWITCHES ARTWORK PRINT finalsoon united and from being initially called The Woods, brought SeaWitches to the Liverpool music scene. Drummer Tilo Pirnbaum joined the band in 2012, a year also seeing the release of their well-received debut, the Spacegun EP. Since then venturing successfully further afield into places like Manchester and London, the band last year unveiled new guitarist Jamie Jenkin and second EP Tear back the sky, again to potent responses and praise. Now the quartet casts Stars on the country through Edge Hill University’s The Label Recordings, run by Carl Hunter of The Farm and assisted by media students, the song a blaze of radiance sure to catch a host of new appetites and lure further eager attention.

The song’s first breath brings a rich melodic enticing complete with a spicy hook which would not be out of place in an Echo and the Bunnymen offering. Alongside it though a dark throated bassline brings a more post punk flavouring whilst vocally and infectiously the song has a whisper of The Passions to its discord kissed pop. Similarly though a shoegaze ambience and dark folk temptation manages to loudly whisper within the feisty and pungent energy of the song, more flavours emerging with each passing moment in the potent underbelly of the increasingly bewitching and riveting encounter.

In many ways Stars is a puzzle to explore, a seemingly warm enticement leading to more unpredictable and slightly turbulent sinister explorations but thick exciting rewards. SeaWitches spin a spellbinding hex through their new single and we suggest they and we can expect big things ahead.

Stars is available via The Label Recordings from 16th February

https://www.facebook.com/SeaWitches/

RingMaster 1602/2015

Copyright RingMaster: MyFreeCopyright

https://www.youtube.com/watch?v=pU37ylCYa-A

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Brain Pyramid – Chasma Hideout

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As impressive debut albums go, Chasma Hideout from French psych rockers Brain Pyramid is right up there amongst the most enthralling and scintillating propositions. The seven track sonic exploration is a transfixing adventure of ear bending, mind warping psychedelic revelry, but one equally bred on the finest stoner rock grooving and experimental mischievousness. At times it feels like one massive glorious jam but throughout there is an enterprise and inventiveness which just as potently leaves senses basking and passions greedy. If the album is your introduction to Brain Pyramid, be prepared for one ruggedly spellbinding ride.

The Rennes band was formed in 2012 by guitarist Gaston Lainé and drummer Baptiste Gautier-Lorenzo drawing on inspirations from the likes of Led Zeppelin, Hendrix, Sabbath, Motorhead, and Blue Cheer alongside those of Kyuss, Sleep, Nebula, Earthless, and Orange Goblin. Last year’s well received Magic Carpet Ride EP put ears and attention on notice but now with bassist Ronan Grall of Huata alongside the founding duo, Brain Pyramid is ready to really stir things up with their thrilling offering.a0031606373_2

The earth bound spatial adventure is started by Living in the Outer Space, a country twang and kick over of a truck engine the lift off to a groove driven flight through sultry skies and flaming sonic landscape. Instantly riffs draw a raw canvas framed by an unpredictable rhythmic incitement. It is a compelling coaxing but it is the similarly unpolished vocals and senses entwining grooves which brings the strongest colour to the contagion. A flirtation with a noir wrapped jazzy seduction provides a new twist of pleasure before the fiery surface and enterprise of the song re-establishes a forceful and gripping presence. Continuing to surprise and enthral, the song is a sizzling and immersive treat but only the beginning of the fun.

The following Lazy instantly unveils its funk seeded heat and tenacity, the lure bubbling with relish and energy the more the song reveals itself. Grooves and rhythms make a flavoursome embrace whilst the bass with its throaty temptation offers intriguing shadow soaked hues. It is a roaring blaze of melodic and sonic toxicity, the song worming under the skin through the excellent slightly deranged craft of Lainé and the irresistible heavy stoner-esque stroll of the track. Its success is soon surpassed by the even hotter creative breath and climate of Landing on the Pyramind. Soaked in tenacious and intensive blues flavouring, the song twists and entwines ears with serpentine agility through scorching grooves and another deliciously imposing bass tone. It is a big boned temptress with all the moves and invention to enrapture anyone with a lust for dirty riffs, thunderous rhythms, and caustic sonic beauty.

The pair of Lucifer and Twin Headed Giant provides strong individual temptations, the first a mesh of lumbering intensity and sci-fi noise which leads into a smouldering psychedelic wash of sinister persuasion. This in turn slips into something ferocious and fiery, heavyweight riffing and destructive beats punctuating burning grooves; The Doors meets Orange Goblin and Desert Storm if you will. Though it does lack something compared to its predecessors, the track’s dark demonic texture and presence leaves ears enthralled before its successor draws on even stronger seventies psychedelic and heavy rock inspirations to cast its pulsating and pleasingly raw mind-bending adventure. Guitars and keys radiate hallucinogenic sonic colours aligned to a warped imagination whilst rhythms just as voraciously impose upon and stalk the psyche with the gripping cleaner vocal delivery.

  

The song is a fireball of sound but even its qualities and potency cannot match up to the album’s pinnacle, Into the Lightspeed. The instrumental is sensational; an impossibly addictive and infectious stampede of hooks and grooves bound in another seemingly organic and improvised majesty. Its opening is a riotous almost chaotic coaxing which flirts with disaster as eagerly as the senses before settling into a gloriously robust and hungry swagger of rhythms from Gautier-Lorenzo. Every swing resonates through to the bone even when Hammond-esque keys wind around its spine with taunting relish and the bass of Grall adds its own irrepressible throaty resonance. Spicy grooves and deeply rooting hooks are no strangers either as the piece continues to grow and increase its enslavement on ears and emotions. The track is a mind-bending, thought twisting journey and quite brilliant.

   Chasma Hideout sees its title track bring its triumph to a close. Flowing out of the previous track, its celestial exploration proceeds to soar across an expansive melodic and cavernous ambience, guitars and bass slowly swaying with evocative radiance and imposing enterprise as the good ship Brain Pyramid fuels its flight with a transfixing creative sonic illumination. The song leaves listener and album on a high, its energy and incitement continuing to increase with every second of its creative hunger and technical urgency.

The track is a captivating end to an awe inspiring release. Managing to impress and offer more with each and every listen, Chasma Hideout is one of the year’s real treasures and Brain Pyramid a band destined to leave psychedelic rock aflame now and ahead.

Chasma Hideout is available now via Acid Cosmonaut Records @ http://acidcosmonautrecords.bandcamp.com/album/chasma-hideout

https://www.facebook.com/brainpyramid

RingMaster 02/10/2104

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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Pale Fires – Mammoth EP

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Taking little time to excite but increasing its psychedelic seduction with every listen, the Mammoth EP from UK psych rockers Pale Fires, is a tenacious little offering which just does not let go even after it physically departs. With flirtatious hooks, transfixing melodies, and raw sonic temptation, the release grows from a flavoursome warm proposition into a glorious shimmering blaze over time whilst its creators show themselves to be a prospect to breed real anticipation over for their subsequent growth.

Formed in 2010, the Camden quartet of vocalist Leo Runswich, guitarist Oli Swan, bassist Harry Wreathall, and drummer Jean Stevens has built an eagerly followed presence across London and beyond, igniting audiences across venues such as The Cavern Club, 93 Feet East, The Purple Turtle, and Scala with their explosive set. Their EP Louring Skies earlier this year has equally wowed acclaim and support but it is with the Mammoth EP that a sense of something about to break for the band is truly inspired. It has a festering potency which as mentioned makes a strong first touch but continues to expand and enslave over time through six tracks which are as enthralling as they are fuzzily striking.

Opener River simply cups ears in a rhythmic enticing to set release and attentive appetite in motion before laying out a gentle scuzz lit stroll of guitar aligned to bass bred shadows and the distinctive tones of Runswich. Into its stride the song swings with a gentle melodic sway whilst guitars turn up the sonic heat in between the vocal coaxing. Runswich has a voice somewhere between Boy George and Brian Molko and increasingly impresses as song and subsequently EP immerses ears and imagination. There is not a real fire to the first song, at times missing the spark to ignite as expected, yet it is a smouldering temptation which dances with ears and passions for a highly enjoyable start to Mammoth.

The following title track offers a heavier toned bass coaxing from the off, its throaty bluster inciting a greater fiery breath in the guitars and their intensive sonic designs wrapping the excellent track. That wind relaxes for Runswich’s vocals Cover Art2caress before breaking tout again across the mesmeric heart and rumble of the track. A fuller sixties psychedelic wash and warmth flows through the song than in its predecessor, taking the listener on a sultrily glazed shoegaze infused harmonic flight. The song simmers feistily throughout, again never coming to a boiling point but flourishing in its temptation before the brilliant Peace Of Mind glides in. Once again shadows and melodic flames converge and merge around the senses, gentle grooves seducing as vocals invite subsequent sonic roars to join the irresistible slavery of the passions. When the track’s kindling does catch to set a fire, it is veined by superb guitar enterprise soaked in fuzzy and caustic beauty before drifting back into the mellow embrace of the song.

The Boat That Is Rowing Slow does not match the songs before and after it, though it is a skilfully crafted and presented slice of fuzz draped blues and Oasis like melodic balladry. With a sonic acidity to its climate and expressive elegance to its raw canvas the song does present a strong addition to the EP others will bask in but misses personal tastes here, especially when up against the closing pair of majestic sonic tempting.

First comes Howl, a slow burner of a song which almost yawns itself into existence before guitar and vocals stretch their melodic and harmonic abilities ready for the subsequent expulsion of their fiery psychedelic waltz. There is a sense of The Cult in their early days to the track in many ways, its predominantly instrumental adventure almost meditative and shamanic as it transfixes ears and imagination. It’s delicious presence is followed and matched by Earth Mother, a similarly captivating exploration of warm vocals and infectious radiance within this time an, and there is no other word for it, earthy landscape of unpolished and crystalline sonic hues draped in a melodic colour lit further by scorching sax and blistering guitar drawn flames.

Both tracks are scintillating, the richest creative tempting to bask and immerse in which over time becomes inescapable for thoughts and emotions, much as the whole of Mammoth. They make a ravishing end to a stunning release, one as said that only increases its strength and dramatic alchemy with each and every taking of its creative journey.

The Mammoth EP is available now as a name your price download and @ http://palefires.bandcamp.com/

http://www.palefires.com/

RingMaster 29/09/2014

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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