Vienna Ditto – Hammer And A Nail

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All seductions should come with a little essence of raw and dirty temptation and that is something you certainly get with the sound of Vienna Ditto, especially in new single Hammer And A Nail. The release is a sultry affair; a steamy and climactic persuasion but equally offers a mellow croon with intimate charm, a mix which simply enthrals and excites. The British band has been nibbling away at major attention for a little while now, with increasing success through their releases, but Hammer And A Nail might just be the spark to lure in the most potent of spotlights.

London based Vienna Ditto is the creation of Hatty Taylor and Nigel Firth, a duo meeting when the latter started teaching the former guitar when she was 11 years old. After a couple of years the two lost touch but a chance meeting in the street in 2009 sowed the seeds to their union as Vienna Ditto. Reaping and weaving the essences of smoky blues, psychedelic rock, and electronica for their fascinating sound, the pair has found interest and air play with the likes of BBC Radio One, BBC6 Music and XFM, as well as highly praising reviews across numerous publications. Now it is 10919057_10152609779061517_1589235084162101861_nthe new single’s turn to push the band on and lure more to join their already strong and devoted following.

Hammer And A Nail opens on a gentle caress of guitar within an electronic wind, a barren landscape already being suggested to the imagination as the continental vocal delivery of Taylor flames within the broadening climate. Melodies come with a sixties colour and character, something persistently and enjoyably spicing their songs generally, whilst Taylor‘s voice has, as everyone seems to mention, a bewitching Edith Piaf quality to its tempting. The song itself brings a Morricone cultured soundscape with a soundtrack cast by a fusion of The Animals and Portishead. It holds an atmospheric breath which swirls around ears and Taylor whilst the skills and invention of Firth provide a transfixing maelstrom of enterprise and expression which is almost tempestuous in character and compelling in its precisely sculpted beauty.

Hammer And A Nail is also a proposition which lingers long after its parting with the senses; worming under the skin, into the psyche, and ultimately into the passions with sublime efficiency. The single is truly a mouth-watering temptation from Vienna Ditto, their finest moment yet, and the next major step in the band’s spellbinding of the UK music scene.

Hammer And A Nail is available from February 23rd

http://viennaditto.com

Ringmaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

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Sperø – Pride EP

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Crafting a sultry weave of blues and folk rock which is as intriguing as it is openly magnetic, US rock band Sperø makes a richly flavoursome proposition which is just as potent for the imagination as ears. The quartet has just released the Pride EP, a spicy collection of songs which sparks everything from feet through to emotions with sublime ease. Its initial touch admittedly was strong if not striking but by half way through the first track there was the realisation that it had wormed under the skin and seduced the psyche with inescapable majesty, and from there submission was inevitable.

The beginnings of Sperø come with self-taught guitarist Jesse Hofstee and classically trained pianist Hillary Laughery rehearsing together daily in Southern California in 2013. Exploring and crafting a sound which infuses classic and modern influences from the likes of Neil Young and Manchester Orchestra, the band subsequently expanded with the addition of bassist Nick Hankins and drummer Ryan Malette. They were soon taking their unique rock ‘n’ roll around the San Diego area to an increasingly growing and inflamed fan base. That first year saw the release of the well-received debut album Rational Paths, a potent entrance backed by the band’s live expansion touring up and down the West Coast and appearing at RedGorilla Music Festival. Now they unveil the Pride EP, a release “written as a testament to the great benefits of believing in yourself and working hard to get what you want”, and a proposition to seduce a new wealth of hearts and appetites it is easy to suspect.

Recent single Can’t Get More opens up the release and soon has ears grasped by vocal harmonies and fiery riffs. It is an attention sparking start which as swiftly relaxes into a smouldering Spero_Pride_Coverstroll of inflamed grooves cored by a tangy bassline ridden by the vocals of Hofstee. It’s a potent coaxing but still does not ignite a lot more than intrigue initially. That changes once Laughery opens up her rich and seductive tones as the chorus suddenly comes alive and feistily tempts, which in turn seems to incite the rest of the song. As mentioned earlier it is around halfway that feet and voice find themselves involved and that enslavement is realised and binding. The track is a glorious slice of emotively hued expression under a sultry climate, but even with its rich persuasion soon surpassed by the outstanding Friend.

From the first stroke of its acidic and irresistibly captivating groove the second song is in command of thoughts and passions, it’s aggressively shimmering air, a gripping wrap to the two vocalists and the dramatic elegance of Laughery’s keys. Growing with every chord and syllable, the track is soon rocking speakers and ears with a mix of blues and old school rock ‘n’ roll, a stomp sounding like The Black Keys meets Jerry Lee Lewis under the persuasion of The Lumineers. It is a blaze of a treat, a song as comfortable and commanding whether gently coaxing or rigorously stoking the fires of it and the listener’s passion.

The EPs title track idles in next, a lone acoustic guitar beckoning before welcoming the mischievous drama of beats and keys. As with the first two songs, there is a swagger to the encounter which even in its initial slow steps is unmistakable and inviting. There are also outbursts of creative urgency and intensity, again as in the previous song, which only ignites air and imagination as a tenacious blues tempting binds the whole climactic web. Everything aligns for another irresistible highlight of the release before the full on seduction of Better Man. With a shimmering crawl of a slim evocative melody courting the delicious vocals of Laughery, the song simply glows as it sublimely and tenderly enthrals the senses. Unbridled temptation from its first breath and atmospherically cinematic throughout, the song is pure magnetism of voice and electrified strings, with only the restrained ambience of keys for company.

The pungent presence of Talking Up makes the perfect contrast next, its bulbous bassline and electro baiting a thick shadow to the again sultrily laying sonic endeavour of guitar and keys around compelling vocals. Its psychedelic blues tinged air over another slowly strolling gait makes the brilliant track as gripping in drama and sound as anything before it, whilst the expulsions of sonic flame courted by just as inflamed vocals is pure mesmerism.

The release closes with the acoustic led revelry of They Say, a track part folk quick step and part funk induced devilry which with its layers of blues tempting and classical hued keys, ensures the EP leaves on richly lingering persuasion. The diverse two prong enticing of vocals is just as unpredictable and thrilling as the sounds around them and leave their and the band’s infection deep rooted and burning in appetite and emotions.

The Pride EP is a gem of an encounter from a band which manages to turn recognisable essences and spices into something unique and impossibly addictive. Quite simply Sperø and their sound is a hex on the ears and quite irresistible.

The Pride EP is available now https://speroband.bandcamp.com/

http://www.speroband.com/

RingMaster 13/11/2014

Copyright RingMaster: MyFreeCopyright

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Jingo – The Art Of Loving

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One of the artists which has truly excited and impressed without reservation over the past couple of years has been UK band Jingo. The London based quartet has inspired critical acclaim and a hungry fan base through a series of diversely inventive and explosively creative singles. It has led to an impatient anticipation for the band’s debut album and now that it is here, it feels like we all short changed them with our hopes and expectations. The Art Of Loving is an exceptional encounter, a delicious collection of melodically fiery and emotionally intensive songs which have a revelry which seduces feet right through to the passions. Individually unique but uniting for a fluidly captivating adventure, the album brings some of their previously released singles together with striking new songs. Those older tracks though which fans already know well and love, have been revitalised in their mix as well as in their actual bodies to create nothing but fresh and scintillating exploits within the exhilarating album.

Jingo consists of guitarist/vocalist Jack Buckett, his American wife and vocalist/keyboardist/guitarist Katie, drummer Joseph Reeves, and bassist Chris Smith. Since its early days and shows across Brooklyn, New York and London, Jingo has gone from their first gig which saw them supporting Graham Coxon of Blur, to being compared to the likes of Fleetwood Mac and The Magic Numbers, and to gaining fevered attention and support from independent press and radio whilst becoming one of the most talked about bands with fans and again the underground media. Their nine singles marked the band firmly out as having the potency to break into the strongest spotlight of attention and recognition, now the year in a half making The Art Of Loving could and should be the doorway into that expansive scenery for Jingo.

With former member Sahil Batra adding his talent to some of the tracks too, the band instantly ignites ears and imagination with album opener Black Flowers. A heavy air and throaty bass coaxing engrosses ears straight away but it is tempered by the vocal seduction of Katie. It is a magnetically intriguing union of hungry shadows and vocal temptation which only gains further potency as post punk scythes of guitar add their voice to the compellingly brewing emprise of the song. Once hitting its sultry stride, the track is awash with evocative keys and a metallic resonance to riffs which adds mystique and intimidation to the encounter respectively. The song is a dramatically contagious and ingeniously crafted fusion of light and dark, merging the  heavier seventies rock essences of Jess & the Ancient Ones in majestic flirtation with the melodic beauty of The Magic Numbers and the atmospheric beauty of Solar Halos, but ultimately something unique to Jingo.

   The following Skypunch opens with an elegant caress of keys but also another imagination grabbing breath of dramatic breeding. It is fair to say there is a powerful drama to all of Jingo’s songs, all different but all building an intensity and climatic narrative musically and emotionally. The second track soon parades a cinematic landscape of sound and emotion, its thick yet warmly charming enterprise suitable for a narrative of global espionage or intimate emotional dilemma. Keys and drums entangle with strenuous ideation across the song whilst Katie roars with mesmeric beauty matched by the similarly vocal endeavour of Jack’s expressive guitar invention.

Both When You Want Me and Belong To You take the listener into imaginative journeys of tenacious and creative revelry. The first comes through a sonic almost sinister ambience to cup ears in an engaging vocal tempting amidst a

bordering on tempestuous climate which like the rhythmic enticement seems to grow and bulge with intent the deeper into the song the listener finds themselves. Looking like it is heading into a storm, the song instead twists back on itself to parade a glorious stomp of funk seeded melodies and boisterous rhythms courted by a psychedelic enticing of guitar and keys. It is an engrossing and impossibly infectious song almost matched by its successor. Belong To You opens with a bass lure which offers hints of The Pixies before joining a warm flame of chords and the even hotter vocals of Katie. With a masterful rhythmic dance from the sticks of Reeves creating a gripping spine, the song smoulders energetically with a sixties pop and psychedelic infectiousness but also a provocative aural melodrama to voice and the multi-flavoured textures erupting throughout the outstanding track.

That sixties feel with a just as strong fifties pop additive, brings the following title track to enthralling life too. Barely a minute long and simply the voice and harmonies of Katie accompanied by finger clicks, it is simply mesmeric and irresistible. Like Wanda Jackson meets Sarah Vaughan, the track is a small treat and soon making way for Home. Right away there is angst and drama, a word impossible not to use with every song, to the thick bass hues and short stabs of guitar which skirt the visually provocative vocals. The track is sensational, a seductive and mentally intrusive aural movie which sets body and emotions ablaze whilst coaxing thoughts to create their own personal adventures.

A gentler flight is brought by the brilliant Blue Wail. Exotic vocal expression and jagged guitar teasing wraps engrossingly around thoughts whilst bulging rhythms and bass sultriness adds to the Caribbean coloured canvas spawning the

Artwork by Katie Buckett

Artwork by Katie Buckett

creative devilry emerging above it. It is a transfixing fascination of sound for ears and imagination soon emulated in its own distinctive manner by Before You Were Born. The song is an emotively enchanting ballad but one still fuelled by vivacity through its rhythms and invention which keenly engages the striking heart felt vocal presence of Katie. It is a delightful embrace, if not as potent on the passions as other songs on the album, which shares its intimacy and passionate depths with the magnificent Jaclyn. Written about a friend of Katie who killed herself, the song is simply creative vaudeville set in the walls of one of the most creatively inspired and melodically pungent songs you are likely to hear this year. Every second, note, and syllable is soaked in passion, anger and love entwined in a fire of invention and yes aurally poetic drama. There is also a sultry seduction to the song which weaves and swerves curvaceously before ears to entice and pull the senses into the heated grandeur and personal fever of the track. Brilliance hardly covers it.

The jazzy elegance of Same Without You is next and cored by a piano grace, proceeds to cast a melodic temptress of itself melodically and theatrically to stand hand in hand with the similarly seductive vocals. With broody basslines and individual fires of invention lining the sensational enticement, the song is a climate of invasively emotive hues, melancholic ambience, and lustful invention, much like next up IQ84. The track from its first moment is parading an irresistible web of choppy riffs, jangling chords, and mountainously heavy bass and rhythmic sculpting. Complete with seventies seeded keys, a touch of The Stranglers not for the first time hinting away in keys, and virulently suggestive and flaming atmospheres, it is another stunning pinnacle in the release.

The Art Of Loving is brought to a close by the increasingly captivating beauty of Don’t Call It Love, a resourceful and melodically shimmering ballad once again allowing Katie to show the depths of her voice before utilising it in a crescendo of creative courtliness enclosed in a tempest of united passion and inventive energy. It is a slow burner of a song which given time matches the depths and heights of the other songs on what is easily one of the albums of the year. Fans of the band will probably expect to hear that but even they will have their breath taken away by its magnificence.

The Art Of Loving is released on September 1st @ http://jingomusic.bandcamp.com/album/the-art-of-loving

http://jingomusic.com/

10/10

RingMaster 31/08/2014

Copyright RingMaster: MyFreeCopyright

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Electric Taurus/Prehistoric Pigs – 12″ split

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Split releases are invariably a gateway into new striking adventures and intrigue drenched propositions, the awakening of attention to artists seemingly more often than not lying in shadows away from attention. They can be the beginnings of great sonic friendships and in the case of the Electric Taurus/Prehistoric Pigs split from Go Down Records, the announcement of important emerging forces. Consisting of three tenaciously imaginative and vivaciously inventive soakings of stoner/hard/psychedelic rock, the release is a mouthwatering encounter to invigorate the senses and stoke up the passions.

 

First up is Irish band Electric Taurus with their sixteen minute epic Behind The Sun, a glorious exploration through a space rock landscape with ever shifting and expanding scenery. Formed in 2010 as a recording project by guitarist/vocalist Matt Casciani, the Dublin trio went through numerous line-up changes before finding stability with the addition of bassist James Lynch, and drummer Mauro Frison. 2012 saw the band sign with Moonlight Records for the release of debut album Veneralia, a well-received encounter bristling with the inspirations of heavyweight like Black Sabbath, Hendrix, Led Zeppelin, and Deep Purple with those of underground bands from the same era such as Buffalo, Leaf Hound, Iron Claw, Primevil, and Captain Beyond. It is only one shade of their sound though as evidenced by Behind The Sun, the sultry sizzling flavouring from bands such as Monster Magnet, Kyuss, Electric Wizard, and Orange Goblin, adding to what is a refreshingly distinct conjuring from Electric Taurus.

Their contribution to the split embraces ears in a sonic web, a spatial entanglement which teases and stimulates the imagination and senses. It is also an intimidating enticement but one with charm and bait to inspire a hunger to dive in deeper, especially when a flirty stride of rhythms burst out of the thick mist with mystique wrapped, fuzz kissed melodies riding their lure. Now within an evocative premise still revealing its intent with unpredictable twists and diversions, the track steadies its pace and experiment to slip into a potent blaze of stoner fuelled sonic endeavour and melodic blues acidity. Binding the ears in rich grooves, provocative rhythms, and a great doom groan, the song paints an emotive journey, which finds its strongest trap for the passions with the entry of guest vocalist Barbara “Babz” Allen of Irish blues rock titans Crafty Fuzz. With a delicious growl to her riveting tones, air and thoughts are brought into a sirenesque harem of syllables and melodic incitement. Her presence also sparks a stronger flame to the sonic thrust and tenacity constantly weaving through the track, resulting in one searing blaze. Again though it is just one turn in the emprise, the song continuing to colour and bewitch ears for a voraciously creative and thrilling escapade sculpted by the skilled and magnetic exploits of each band member. It is a stunning track setting a formidable task for its release companion to match.

Italians Prehistoric Pigs more than put up an enjoyment equalling effort with their two tracks, even if personal tastes does just plump for the previous track as the pinnacle of the impressive release. Hailing from Mortegliano, the trio of guitarist Juri Tirelli, drummer Mattia Pi, and bassist Jacopo Tirelli employ inspirations from the likes of Kyuss, Jimi Hendrix, Sleep, Black Sabbath, and Led Zeppelin into their instrumental incitements. Their sound is a sludge rock rich mix of bracing doom soaked psychedelic alchemy, an earthy mix which paints the imagination and strokes the emotions for individual sonic paintings, as presented on Wormhole Generator, their excellent album of 2012. The Perfection Of Wisdom presents the perfect evidence of their potent weave of sound. Starting with a lone bass lure beneath whispered calls of the song title, the track shapes a compelling ambience with precise melodic hues of guitar, their presence gentle and unhurried as they colour the increasingly smouldering breath of the emerging track. It is a seductive unveiling of the full weight and terrain of the ever impressing piece, rhythms gaining intensity as the sonic enterprise ebbs and flows in insistence before unleashing a voracious flame of imagination and ingenious texture.

It is an enthralling provocative flight of sound and creativity swiftly backed by 79360 Sila-Nunam. Its entrance is subdued and slightly muffled in comparison it its companion but ready and eager from its reserved poise to escape into a climactic burst of intensive sonic wind and rhythmic demands. Grainy in its air and scorching in its touch, the track sizzles with the heat of a Karma To Burn upon Kyuss like desert rock, every note and riff igniting thoughts and emotions for a thoroughly captivating and somewhat corrosive treat.

Electric Taurus and Prehistoric Pigs come together for one of the best split releases in recent years and one of the most exciting psyche/stoner heavy rock releases in recent times. It is an essential doorway into the worlds of two extremely talented and imagination inspiring bands which deserve the fullest attention possible.

The Electric Taurus/Prehistoric Pigs Split is available now on 12″ vinyl format through Go Down Records @ http://www.godownrecords.com

https://www.facebook.com/electrictaurus

https://www.facebook.com/PrehistoricPigs

9/10

RingMaster 20/06/2014

Copyright RingMaster: MyFreeCopyright

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Mars Red Sky – Stranded In Arcadia

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When the worst you can say about a release is that some of its tracks are merely outstanding it is fair to assume you are in the presence of something special, as in Stranded In Arcadia, the new album from French band Mars Red Sky. The release is a glorious mesmeric adventure casting smouldering and melodically sultry landscapes brewed from stoner and psychedelic rock/pop with a healthy breed of doom seeded shadow to its depths. Even that description does not exactly colour the enthralling and spellbinding encounter, the eight tracks an immersion casting more evocative hues than a hazy summer sunset.

Consisting of vocalist/guitarist Julien Pras, bassist Jimmy Kinast, and drummer Matgaz, Mars Red Sky made their first acclaimed impact with their self-titled album in 2011. It put the band in a certain spotlight which led them to share stages with the likes of Kyuss Lives!, Dinosaur Jr, and Sleep around Europe and light up numerous festivals such as Eurockéennes de Belfort, Roadburn, SXSW, and Desertfests in London and Berlin. A spilt release in 2012 with Year Of No Light only added to their swiftly accelerating rise, an ascent cemented by their Be My Guide EP last year as well as a tour across Europe and shows in Latin America. Stranded In Arcadia though makes all that seem like mere appetisers for its glorious unveiling and If the band was busy and renowned before its release it can expect a tsunami of attention from now on.

A lone guitar caresses ears first, its distant presence an instant coaxing leading towards a senses plundering leviathan built by the bass and mars red sky coverheavy slow rhythms. It is an imposing proposition but one soon tempered by the soaring vocals harmonies which paint the song’s sky. The Light Beyond provides an enthralling start to the album, intrigue and sonic mystique enveloping the imagination whilst the drums conjure rhythms with invention and adventure. The voice of Pras brings another smouldering texture to the developing scenery, his smooth flowing syllables sparking fiery guitar enterprise amid greater intensity as the weight of the track bears sizeably down around the stalking bass predation within the constantly evolving terrain of the song.

It is a bewitching proposition challenging and seducing with skill and dramatic poise and swiftly matched in stature by Hovering Satellites. An immediately more rapacious encounter in riffs and intent, the song stomps with a voracious energy aligned to an infectious festivity. It leads the listener into dark intimidating avenues but with a vivacious smile to its melodies, vocals, and atmosphere which shields from the dark realms of the premise. It is a thrilling encounter but soon left looking paler by the following Holy Mondays. It is sheer majesty straight from its opening jazz lent guitar temptation courted by lean rhythms and percussive coaxing. The sultry but subdued start is soon strolling boldly with contagious riffs and an addictive groove before levelling out its gait for a warm caress of vocals and psyche driven guitar. It is a mesmeric treat but still waiting to unleash its strongest lure, a sirenesque chorus of psychedelic pop with glam rock essences swinging their hips within its compelling flame. More anthemic than a gun to the head, the song becomes a virulence which is inescapable, a lingering seducing which has you smiling broadly as you anticipate its return as a slower beauteous fire plays with the imagination. That stomp does leave another dose of aural manna, seizing even greater control of feet and passions to shape another plateau for the album.

The dark almost antagonistic entrance of Join the Race pushes the diversity and walls of the album further still, its slightly funereal gait retaining a small swagger to its devilment as vocals and melodies tease its stubbornness. To the united contrasts the band weaves expressive designs to embrace and lace thoughts, leading the imagination into a new world of spatial heights and cavernous depths. The band’s skill at interweaving light and dark, peace and danger is exceptional and even more impressive ins their ability to entwine it around a rhythmic frame which never feeds expectations.

The celestial spice of the song is spread more intensively with Arcadia, an instrumental sculpting a psychedelically lit passage of exploration through sizzling sonic expression and dark stalking reflections, guitar and bass an evocative merger haunting and soothing thoughts and visions like puppeteers. All tracks have the same potency, but in particular this provides an episode to mentally and emotionally investigate with fresh rewards through every flight of its journey.

Circles explodes and infects the psyche next, its blues scented sonic phrasing an absorbing narrative alone but graced by the soft smooching of vocals and the dazzling rhythmic conjuration, the song is a melodic hymn for body and soul. It is an irresistible tantalising but soon left in the wake of the quite brilliant Seen a Ghost. The strongest stoner essences welcomes its opening gambit, guitars crooning teasingly as rhythms shuffle rigorously and adventurously through the continually growing canvas of the track. Already an ardour is awakened but it is the cultured stroll and punchy rhythms clad in a breath-taking melodic infection which ignites their full allegiance. Interlocked with expressively ambient bred passages, twisted stoner enticements, and melody seeded ravages, the chorus provides climatic yet calm crescendos which simply set the track into a new ferocity of ingenuity. Not only is it the best track on the album, it is the best song heard this year so far and leaves a touch of frustration when it transforms into the closing track Beyond the Light, a rich and sonically distorted instrumental which washes the senses with its tempestuous finale to the album.

     Stranded In Arcadia is sensational, a giant of an album in sound, songwriting, and presence. Whether psychedelic/stoner/heavy rock has ever sounded this good is a question which Mars Red Sky now has us asking.

Stranded In Arcadia is available via Mrs Red Sound / Listenable Records now!

http://www.marsredsky.net/

10/10

RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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King Goat – Self Titled EP

     King Goat Online Promo Picture

     King Goat is an intimidating provocation, heavy in intent and in weight, and as evidenced by their new self-titled EP, mightily compelling. Consisting of three immensely imposing tracks stretched by tempestuous riffs and impossibly alluring grooves, the release pushes King Goat into a new intensive spotlight. Its riveting weave of stoner and doom metal with psychedelic and progressive flames is a raw and thorough captivation of ears and imagination, a proposition sure to arouse a wealth of new allegiances.

Hailing from Brighton, King Goat emerged at the start of 2012 and was soon stirring up attention locally. Their debut EP, Atom was released early 2013 to good responses but soon followed by a change of frontmen. Once back into its stride the quintet began working on their second release and unleashing again their powerful live performances across London and the South coast to stronger responses whilst garnering an ever increasing legion of fans. The new EP is the next potent step in the rise of a band which you sense has the potential to eventually impact intensively on European psychedelically fuelled doom metal.

The EP starts with an epic track in length and presence. The Final Decline is a towering and thoroughly absorbing journey for senses and King Goat Cover Artworkimagination which breeds from an opening suggestive ambience. It is a stark and chilled atmosphere which initially caresses ears, a portentous breath in climate with a lone emotive guitar coaxing which stands engagingly within the cold wind and barren landscape unfolding around it. The song slowly emerges with dark weighty tones of the bass and resonating beats prowling the senses matched by the equally shadowed vocal calls. It is an intensive proposition but lit by enthralling guitar design which without being flashy or dramatically startling simply seduces the imagination with its eastern temptation and repetitive virulence. The song gradually increases into a stroll, all the time brewing and accelerating its rapacious energy and rhythmic enticement until from a moment of catching breath it erupts into a primal swagger with equally bestial growls before an excellent melodic roar of vocals soar across the incendiary scenic maelstrom now smothering the senses. It is an exhaustive and alluring encounter which only enhances its bewitching grip with every taking of its dramatic journey.

The following Cult Obscene is swifter in its emergence but like its predecessor is bred by a provocative and imagination sparking scenery soaked in a sinister ambience. It is not long though before hypnotic rhythms enslave attention, soon sharing that entrapment with scorching melodic flames of adventure from the guitars and again a bass tone which simply resounds within ears and the narrative of the track. The track shows a mix of Cathedral and Ten Foot Wizard to its enveloping shadows and blazing melody defined drama whilst the caging sinews and rabidity of the rhythms has a certain Mastodon predation to their intent. As its predecessor, the song simply consumes the body, feet and senses wrapped up in the riff driven stomp of the track and imagination through to passions enslaved by the sonic invention of guitars and grooves.

Already the release has a hungry appetite alive and greedy for itself which is only driven to stronger urgency by final track Melian’s Trance. The closer is inescapable, every aspect of its sculpting working like an epidemic on the listener. It is a blazing tempest of adventure and metallic devilry employed by dark ravenous emotions and deeply rooted shadows lying in the heart of the songwriting and unrelenting imaginative sounds of the band. With riffs, rhythms, and grooves an overwhelming horde of insatiable predators submission is inevitable, the song a thunderous end to an equally massive release.

With Sabbath essences permeating the whole EP as rigorously as those already mentioned, King Goat has announced themselves to the whole country with a metallic bellow which is hard to ignore or resist.

The self-released King Goat EP is available from Monday 28th April @ http://kinggoat.bandcamp.com/

www.facebook.com/kinggoatbri

8.5/10

RingMaster 27/04/2014

Copyright RingMaster: MyFreeCopyright

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Holy Mountain – Ancient Astronauts

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Binding the senses in grooves which show no restrain or mercy in their insatiable temptation and plying that slavery with riffs which voraciously gnaw and smother all before them, Ancient Astronauts the new album from Scottish metallers Holy Mountain, is an unstoppable juggernaut of sound and intensity. It is a heavyweight antagonist merging stoner and doom metal into a suffocating tsunami of intense and exhaustive sounds, but one which veins and sears it all with at times corrosive but always incendiary magnetic grooves and melodic causticity. It is quite simply an encounter which lovers of the riff will devour with greed.

Holy Mountain, its name taken from the Alejandro Jodorowsky’s 1973 movie La Montana Sagrada, was formed in 2009 as an improvisational duo by guitarist/vocalist Andy McGlone and drummer Pete Flett. Two years after emerging, the Glasgow band enlisted bassist Allan Stewart and went almost straight into the creation of debut release Earth Measures. The mini album found its release in the May of 2012 welcomed by strong responses and acclaim, a reaction sure to be replicated and taken to greater levels by its impressive successor. Recorded with producer Paul Savage (Mogwai, Franz Ferdinand), Ancient Astronauts is a giant leap if not for mankind certainly for Holy Mountain as they explore all the qualities unveiled on their previous release far more intensively and inventively whilst casting new wild and expansive endeavours.

LV-42666 brings the journey into view, cruising in on a sonic breeze before stroking the imagination rigorously with thrashing rhythms, Holy-Mountain-Ancient-Astronauts-300x288rapacious riffs, and addictive grooves; rogue vocals adding to the celestial mystery and adventure. As urgent as it is heavy, the track strides boldly as sinews bare their muscular appetite and melodies seduce ears with the guile and irresistible lures of a wanton temptress. There is also an unmistakable psychedelic pop romp to the encounter which only accelerates its submission of the senses and passions.

The following Luftwizard instantly brings a darker and heavier suasion but again it is lit by scorching melodies and also this time vocal harmonies which flirt and tempt the imagination as potently as the sounds. The voice of McGlone is fed through a Roland Space Chorus across the album bringing a spatial quality to his tones and the general air of songs, something equally inspired by the majestic pungency of accompanying keys. The thick imposing riffs of the song provide a deep texture to the affair which almost groans in its intensity and rapacious wrapping of the sonic maelstrom within. It is a masterful adventure guiding the listener through a union of dark and light, a mutual rather than combative merger but one with plenty of imposing shadows to its exultant fire.

The title track comes up next exploring cavernous sceneries with doom bred prowling riffery and rhythmic provocation whilst short but virulent grooves lance the thick smothering air, their strikes beacons through the appealing murkiness as the song heads into an explosive contagion which bursts out with urgency and sonic radiance. The track touches the darkest depths and brightest highs in tone leaving the senses exhausted and rewarded by the riveting ascent, their recovery given no respite as Star Kings from a rhythmic draw swiftly courted by a highly tempting bass stroll, feeds another strenuous passage of ravenous riffs and fuzz surfaced enterprise. The vocals are a little further forward and carry stronger clarity within the tempest of sound, though they still feel pleasingly immersed in the overall flood of the experience rather than being an overlying presence riding the waves. It is an aspect which is as potent and important as the riffs and rhythms in making the album the immense proposition it is, they and the ridiculously contagious toxins which the band also casts into the creative rabidity.

Not necessarily the best track, so hard to choose one, but a definite favourite here is Tokyo which comes next. A bestial vicious voice and growl to the riffs drives the track initially whilst the bass with its throaty appeal makes the good guy in the confrontation, its smiling grooves the temper to the predacious guitar grizzle and the trigger to the flirtatious sonic temptation and boisterous vocals which revel in the overwhelming devilry of the track. It is a siren of a song which is matched by Gift Giver, the danger which usually accompanies such a tempting and arguably missing in its predecessor, an open stalking at the start of the song. Its slow pacing is soon ignited as riffs escape their shackles, a punkish urgency taking over whilst the drums hold a little restraint in attack if not power. It continues to switch between extremes bringing a scintillating and unpredictable soundscape to play with and explore, a post punk severity adding its taunts from time to time in the lulls between unbridled sonic blazes. The instrumental is riff heaven and groove manna thrown into an aural alchemy and corruption to bask in.

The album is completed by firstly the seventies seeded psychedelically enhanced 100 Years A Day and lastly the smouldering expanse of Hollow Hill which alone encapsulates all you need to know about Holy Mountain in sound, skill, and imagination, as well as influences with a range of twists and enterprise which pull up references to Black Sabbath, Deep Purple, and Electric Wizard, ones you can apply to the whole of the album even with its distinct presence. Ancient Astronauts is a magisterial slab of psychedelic rock/metal and Holy Mountain a band poised to stake their claim for a seat on the top table of the genre we suggest.

Ancient Astronauts is available now through Chemikal Underground digitally and on limited edition vinyl.

http://www.holymountainband.co.uk/

9/10

RingMaster 17/04/2014

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