Blood Ceremony – Lord Of Misrule

pic_Ester Segarra

pic_Ester Segarra

Dancing on the imagination like a village maiden in the throes of a pagan celebration, the new album from Canadian quartet Blood Ceremony is a bewitching and evocative adventure to get wrapped up in. It is called Lord Of Misrule; its title inspired by “a tradition that dates back to Late Antiquity, the Lord Of Misrule or “Abbot Of Unreason” was the doomed figure elected to preside over the Feast Of Fools, an annual Saturnalian bacchanalia in which masters became servants and servants masters, while drunken revelry and strange entertainments pervaded Britain and parts of mainland Europe for 30 days. At the end of the month’s festivities, the Lord Of Misrule’s throat was cut in sacrifice to Saturn.

Its body is a collection of highly provocative and melodically fiery encounters; aural rites and mystical endeavours awash with psychedelic/ acid-folk imagination amidst doom and progressive rock scented landscapes. Exploring the secret corners and depths of rural villages and pagan practices, it is an encounter playing like a sonic Wicker Man of dark festivities from across the decades in tradition and sound.

Recorded to analogue tape with producer Liam Watson, Lord Of Misrule opens on The Devil’s Widow, a song slipping into view upon an inviting guitar spun melody. Its tantalising lure is soon joined by crisp percussion and the magnetic caress of keys, then in turn by the throbbing resonance of bass. It is a masterful beckoning leading into a feistier stroll with vocalist/flautist/organist Alia O’Brien at the helm in voice and melodic craft. The wiry tendrils of Sean Kennedy’s guitar adds fire to the proposal, its rawer touch backed by the dark tones of Lucas Gadke’s bass and the swinging beats of Michael Carrillo. Recently Kennedy called Lord Of Misrulea very English album”, and straight away it is easy to hear what he means as particular British folk hues spice the vivacious energy and melodies sweeping through ears on the wind of the O’Brien’s  flutist craft.

album cover_RingMasterReviewLoreley is next to entice and please ears; electronic pulsing early attraction alongside O’Brien’s ever potent vocal presence and style before a catchy rhythmic swing sparks a livelier saunter to the song. Perpetually, Blood Ceremony fuses sixties, seventies, and other decades of rock ‘n’ roll into their music, the first pair the seeds to the refreshing colour and blues scented shade of this track’s gentle but pungent creative drama.

A fiery air to flaming textures shape the following exploits of The Rogue’s Lot, its darker shadows equipped with sinister threat and hidden dangers as O’Brien and the melodic enterprise of guitars embrace lighter infectious essences in their captivating persuasion. Twisting and turning in energy and dramatic flavours, the track is glorious; a rousing slice of rock ‘n’ roll easy to free a lively spirit and lustful appetite for, much as with the album’s title track which smoulders and tempts next. With raw blues touches colluding with the almost Horslips meets Jethro Tull like folk enchantment which shines within the track’s dark landscape and tale, ears and thoughts are quickly bound up in a theatre of sound and suggestiveness.

An earthy character is shown by Half Moon Street straight after; its air carrying a dirty tone around a less joyfully tempered nature, though hooks and melodies again have a shine to their invitation. With the flute like rays of sun skipping across the darker strains of endeavour, band and song commands full attention before The Weird Of Finistere slips in with an evocative climate of sound and voice becoming catchier and more, if gently, tenacious with every passing minute without ever breaking from its reserved sway.

The wonderful sixties pop inspired Flower Phantoms takes over and quickly steals ears and the spotlight. Carrying a Crystals meets The Ronnettes glow to its contagious pop enterprise, the song flirts and seduces with inescapable success, its warm magnetic revelry aligned to flames of raw guitar and sinew brought beats, and quite delicious.

The album closes with the blues rock fuelled Old Fires and lastly by Things Present, Things Past; two tracks which individually provide resourceful and unpredictable drama within the recognisable Blood Ceremony invention. The first is another spirit arousing incitement whilst its successor is an acoustic hug which simply serenades body and soul for an enthralling end to another highly flavoursome offering from the Toronto foursome.

There is no apparent blood shed at the end of Lord Of Misrule as the tradition dictates but for stirring creative and tenacious fun under the glare of a full moon or dusk shaded sun, the album more than fits the bill whilst increasingly thrilling.

Lord Of Misrule is released March 25th via Rise Above Records.

Upcoming Live Dates:

April

15 – Paris, France – Backstage by The Mill

16 – Tilburg, Netherlands – Roadburn Festival

17 – Hamburg, Germany – Rock Café St. Pauli

18 – Berlin, Germany – Privatclub

19 – Vienna, Austria – The Chelsea

20 – Munich, Germany – Backstage Club

21 – Madonna Dell’alberto, Italy – Bronson

22 – Milan, Italy – Legend

23 – Olton, Switzerland – Coq D’or

24 – Nurnberg, Germany – Hirsch

25 – Frankfurt, Germany – Nachtleben

26 – Cologne, Germany – MTC

28 – Manchester, UK – The Deaf Institute

29 – Glasgow, UK – Audio

30 – Birmingham, UK – The Rainbow

https://www.facebook.com/bloodceremonyrock

Pete RingMaster 24/03/2016

Copyright RingMaster: MyFreeCopyright

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The Minerals – Ball Of String

art_RingMaster Review

As crystalline as the band’s name might suggest, The Minerals’ sound is a kaleidoscope of warm and organic textures woven into a hazy seduction of melodic drama. It may only be two songs, but their new single Ball Of String is fascinating evidence of the fact, and further proof that the magnetically emerging Welsh band is one exciting prospect.

Based in the South Wales Valleys and formed in 2014, The Minerals is the creative union of Colenso Jones and Jodie Gibson. Drawing on inspirations found in the a range of artists from The Vaselines and Leadbelly to Mogwai and Nick Drake, the duo quickly bred their own tantalising sound from a blend simplified as folk and country rock meets electronic and psychedelic exploration. Past experiences have seen the pair being involved in punk bands throughout their teens and early twenties which too in DIY attitude alone simply adds to the invention of The Minerals.

The winter of 2014 saw a collection of songs written by the band in the remote hills of Southern France, songs which were to become their self-titled debut album which was released last June through Staylittle Music. Ball Of String and its companion on the single, Lo-Fi are taken from the eight track full-length and as potent a lure into that full body of songs as you could wish for.

Ball Of String takes little time to grab attention as guitar strums and bass seduction collude to lure ears into the impending embrace of vocal repetition. Lyrically the song is a rotation of a couple of lines, but such their delivery and simple but pungent make-up, the listener is drawn into full involvement. Around them the initially calm but lively climate of sound becomes not exactly volatile but more robustly shadow filled as if building to a major outbreak of intensity. It never goes that far but the drama created is as irresistible as the sounds woven into its insatiable virulence.

The track is glorious, a galvanic whipping up of the passions masterfully backed by Lo-Fi. Once again, a guitar caresses ears initially as a flirtatious bassline mixes with firmer beats. This time around Gibson takes the vocal lead, though both songs are a splendid union of hers and Jones’ potent tones. Musically a stronger psychedelic air lines each suggestive melody from guitar and keys as well as coats the floating harmonies which entice with siren-esque beauty.

Like a mix of Jingo and Jess & The Ancient Ones in many ways, especially the second, both songs leave ears in rapture and a need to hear more as ripe as the enterprise inspiring that greed.

Ball Of String is released February 26th via Staylittle Music @ http://themineralsband.bandcamp.com/album/ball-of-string

Upcoming Live Dates:

April 15th – The Moon Club, Cardiff (supporting Rusty Shackle)

April 16th – Snails Deli, Rhiwbina, Cardiff

https://www.facebook.com/themineralsband   https://twitter.com/themineralsband

Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Scrap Dealers – After A Thousand Blows

TSD_RingMaster Review

After A Thousand Blows is the absorbing debut album from Belgian band The Scrap Dealers, a quintet unafraid to merge distinctive sounds into one immersive experience. As shown by their latest release, it is an imaginative collation of flavours which maybe not be always forcibly unique quite yet but certainly offers a fresh and fascinating captivation for ears and imagination.

Formed in 2012 in Liège, The Scrap Dealers initially emerged with a garage punk sound, releasing their attention grabbing debut EP Red Like Blood two years later. At that point though, the band began embracing a more psychedelic rock driven direction in sound; kraut and shoegaze influences amongst many similarly woven into their new explorations. Towards the end of 2014, a second offering in the shape of a self-titled EP was unveiled, the impressive release making a potent bridge between the band’s old and new blends of sound. After A Thousand Blows is another resourceful step in the evolution, but an encounter at times still enjoyably showing the rawer rock ‘n’ roll instincts the quintet of Hugues Daro, Régis Germain, Justin Mathieu, Cédric Georges, and Bruno Lecocq began with.

Recorded, mixed, and mastered by Allan Snon and Jeremy Alonzi, and released on Belgian DIY record label JauneOrange, After A Thousand Blows opens up with the instantly atmospheric Walking Alone. From its first portentous rumblings, keys and guitars entwine in a sonic mist sharing dark shadows and melancholic ambience. As bold beats enter the affair, a lighter hue begins to blossom; the catchiness of rhythms the eventual spark to warm melodies and a sultry glaze around the darker essences which remain as potent as ever. The vocals equally have a harmonic glow to them, thoughts of My Bloody Valentine and Curve emerging as the song continues to shimmer yet there is a strain of alternative and psych rock which only adds more character to the gripping start to the album.

The following I’ll Never Be Like You also emerges with a singular coaxing of sound but does not hang around before unveiling its own psych pop adventure with a persistent catchiness which infests everything from voice to guitar, bass to drums, and indeed the listener. As shown by its predecessor and all tracks to come, there is a drama in the songwriting and music of The Scrap Dealers; an intriguing undercurrent which has the imagination as hooked as firmly ears are enthralled by the virulence of sound. Here the magnetic but predacious tone of the bass is a prime instigator; enticing shadowy clouds and emotive dilemmas whilst offering addictive bait of its own backed by flirty beats and the evocative tapestry cast by the guitars.

A scent of the band’s garage rock origins comes with She Doesn’t Wanna Leave Your Mind, the track a slimmer, compared to the thicker immersions of the earlier songs, but no less emotive embrace of ears. Its raw and fuzzy textures easily engage and stir attention though the sinister air and volatile breath of Keep My Silence Safe soon puts it in the shade. There is no escaping an enticing essence of The Jesus and Mary Chain to the excellent encounter, especially as its dark invasive entrance slips into another magnetic stroll lit with psychedelic colouring and pop rock revelry. From the dark there is light, a switch of mood and texture which all the tracks seem to be built upon no matter which contrast they start from, and no more alluring than within this siren of a song.

The surf rock laced melodic rock romancing of That’s What We Call Love takes over to keep ears greedy, its tangy nature and whiff of discordance tantalising as it engagingly seduces. As potent as it is though, the ten minute adventure of I Lost My Faith in no time steals all attention from its companion. The closing track has the psyche rock mesmerism of The Horrors and the melodic enticing of Slowdive woven into its own distinct and seductive landscape of enveloping shadows and immersive beauty. Maybe a tad too long for personal tastes, the song is a riveting close to a thoroughly enthralling release, whilst The Scrap Dealers are a band who, as their sound continues to evolve, is on the path to being a potent part of the psychedelic and shoegaze landscape.

After A Thousand Blows is out now via JauneOrange in conjunction with Sick Fuzz Records, digitally and on vinyl and tape @ https://thescrapdealers.bandcamp.com/

http://thescrapdealers.tumblr.com/   https://www.facebook.com/TheScrapDealers

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

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Jess & The Ancient Ones – Second Psychedelic Coming: The Aquarius Tapes

Photo_ Jarkko Pietarinen

Photo_ Jarkko Pietarinen

After an impressive introduction through their self-titled debut album back in 2012, there is always a potent twinge of excitement when whispers and news of something new from Finnish psychedelic rockers Jess & The Ancient Ones comes forward. It happened with their impressive occult surf metal EP Astral Sabbat in 2013 and again now with second full-length Second Psychedelic Coming: The Aquarius Tapes. It is fair to say though that as keen the anticipation it was not really expecting the full majesty and fascination which envelops ears from the band’s latest triumph. Spreading open psychedelic inspirations bred from the late sixties/seventies, Jess & The Ancient Ones boldly embrace a host of other ripe styles and rich flavours too, creating one of the year’s most breath-taking offerings in the process.

Formed in 2010 as a septet, the band has slimmed by one over recent times and broadened their sound to weave in as suggested earlier, a new kaleidoscope of distinct styles. There is also less of the occultist intensity found in the new album’s predecessor as a more earthly magical theming seems to fuel the lyrical exploration of Second Psychedelic Coming. The new album is certainly as raw and seductive as anything before, the creative heart of the band unashamedly honest and unworried about sounding overly polished as again ears are provided with a gritty and organic character to the encounter and the instinctive way that the Kuopio sextet grip ears and incite the imagination. With the striking new aspects and imagination to the band’s sound though, it all unites in either fiery roars or invasive serenade of sound, most songs a collusion of both and more.

artwork_RingMaster Review     It is fair to say that within seconds band and album had its first inescapable claw into the passions through opener Samhain. Moving in on ears via the potent rhythmic stroll cast by Yussuf, attention is grabbed and appetite sparked, especially as a provocative sample makes a lead for a web of surf bred guitars and sultry keys to offer the next mighty lure of the song. It is instant persuasion, especially once virulent hooks step from that smouldering hug, they in turn sparking unbridled infectiousness in energy and tone emphasized by the caped crusader like groove flirting at the heart of it all. The distinctive and ever compelling voice of Jess is soon in the midst of the thick tempting of course, wrapped alluringly in the guitar enterprise of Thomas Corpse and Thomas Fiend as a mischievous bass canter sculpted by Fast Jake and the flowing suggestiveness of Abraham’s keys bring more creative tonic for the imagination to work with. Quite simply the album gets off to a glorious and irresistible start, offering a joyful pagan and dramatic celebration to get lusty with.

The Flying Man steps up next, it too an immediate contagion of tenacious rhythms alongside a tantalising sonic weave. Soon the track shares a bluesy breeze in air and melodies as its body exudes folkish/Celtic hues, whispers of Jethro Tull/Horslips teasing throughout the pungent smog of evocative and sonic heat. The undiluted fascination conjured continues with In Levitating Secret Dreams, it also entwining surf and psychedelic invention with enthralling imagination. As the first track, the song has a keen catchiness which quickly has body and appetite enlisted in its adventure, that success the springboard for warm harmonies to surround Jess’ vocal bellow but equally a maze of classic and blues rock resourcefulness through the guitars, which with the inflamed theatre of the keys and of course vocals, takes the listener into a uniqueness of creative splendour.

The addictive invention of the album never misses a beat or a moment to grip attention through the rhythmic slavery perpetually sculpted by bass and drums, another of its variations setting the tone and potent entrance of The Equinox Death Trip. With keys carrying a great Dave Greenfield of The Stranglers colour to their psych rock imagination, the track blazes away in ears and emotions. Jess powerfully leads the fire as things feverishly rumble and sizzle on the senses in another major highlight in nothing but across the album, though its mighty presence is still eclipsed by that of Wolves Inside My Head. The track is a beast, flexing its energy loaded and creatively provocative muscles from its first breath but just as swiftly exploring an eventful tapestry of keen hooks, spicy blues mystique, and melodically incendiary flirtation, all matched in kind by bass and drums. Again samples are a strong additive, though it is the wonderful vaudevillian air to song and backing vocals that add the most irresistible glaze. A whiff of delta blues also spices the encounter but comes much more pronounced and tempting within the following Crossroad Lightning. A climatic croon with tempestuously restrained sounds, the song is pure bewitchment with a healthy glow of My Baby to its shamanic and melodic sultriness.

Through the blues infested psych funk of The Lovers and the jazz spiced psych theatre of Goetia of Love, ears and pleasure are full, each presenting an inimitable shadow kissed carnival of diverse sound and a temptation as nostalgic as it is incessantly fresh. The latter of the two is a real siren of enterprise and evocative brilliance leading the listener into the epic affair of Goodbye To Virgin Grounds Forever. At twenty minutes plus, the closer is a flight of perpetual evolution and imagination in its own right. Classical and melancholic flavours collude with voracious and contagion carrying exploits, they just a few of the aspects sculpting the ever changing canvas and experimentation of the spellbinding proposal. From voice to rhythm, individual craft to combined melodic seduction; the track is an unpredictable and increasingly magnetic journey which alone ensures Second Psychedelic Coming has to be declared one of the must investigations of 2015.

The potential and triumph of the first Jess & The Ancient Ones album led expectations of bigger and bolder things from Second Psychedelic Coming: The Aquarius Tapes. It lets no one down!

Second Psychedelic Coming: The Aquarius Tapes is out now via Svart Records and @ https://jessandtheancientones.bandcamp.com/album/second-psychedelic-coming-the-aquarius-tapes

http://www.facebook.com/jessandtheancientones

Pete RingMaster 07/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Pacers – Losing Touch

Pacers_RingMaster Review

Merging sixties garage rock and psychedelic inspirations into their own inbred punk seeded invention, UK rockers The Pacers make a rather potent introduction to themselves with their debut single Losing Touch. It is a tantalising slice of suggestiveness which shimmers in melodic colour and sonic temptation like an aural kaleidoscope. Their name feels like it is a friend before a note is heard, something familiar now backed up and pushed deeper into the psyche through the captivating Losing Touch.

The Pacers Cover_RingMaster Review     The Pacers was formed in the late summer of 2013 by vocalist/guitarist Alexander Friedl and lead guitarist Harry Stam, the pair meeting initially under “mysterious circumstances”. Uniting their shared interest in all things sixties, the duo began writing songs, subsequently enlisting bassist Jay Creswell and soon after drummer Jamie Yuan to the band. The quartet soon set about getting their sound and claws into the London live scene, playing venues primarily in north and east London and building up a quickly fevered and loyal following. Now a national appetite is about to be stoked with the release of the band’s first single, an encounter sure to catch the imagination of fans of The Stooges and The Stones amongst many more.

Losing Touch opens on a glorious eastern seducing cast by Stam, darker hues soon aligning to its fiery spicing on the senses. It is a bewitching start which becomes more eventful and resourceful as the expressive vocals of Friedl add engagingly dour textures to the quickly mesmeric and fascinating adventure. The more solemn lures of bass and beats similarly bring subtle but contrasting colour to the sonic tendrils perpetually climbing over ears and imagination with psych elegance and mystique. There is no doubting that the song enthrals from start to finish or that it relentlessly coaxes the listener into eager involvement.

In contrast to its more reserved seducing, accompanying track I’m Down is working away on feet and energy from its first breath; scythes of fuzzy guitar quickly courting the rolling rhythms of Yuan and moodier bait of Creswell’s bass. The instantaneous infectiousness of the song swiftly colludes with the rawer tone and air also enticing within its contagion, again The Pacers skilfully merging distinct flavours and tenacious endeavour in an increasingly persuasive tempting.

As relevant to modern rock ‘n’ roll as its sixties seeds, Losing Touch is a vibrant and magnetic first look at The Pacers and with a swift perusal at other songs on their Soundcloud account, the first of many we suspect.

Losing Touch is released October 22nd with a release show @ The Hawley Arms, Camden, London the same night.

https://www.facebook.com/ThePacersBand https://twitter.com/thepacersband

Pete RingMaster 21/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Bernaccia – Power To The Hills

Bernaccia_RingMaster Review

For their darkest exploration yet, Newcastle neo-psych rockers Bernaccia release new single Power To The Hills which again confirms them as one of the most fascinating and exciting incitements on the British rock scene. Bred from the band’s now renowned fusion of psychedelic mystery, tribal rhythms, and desert blues beauty, the new song transports ears and imagination into the shadowed world of sinister atmospheric romances and sultrily surreal drama, a rich, dark adventure to immerse in.

Since the release of their Cinema EP in 2014, the quartet of vocalist/rhythm guitarist Jonny Noble, lead guitarist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has bewitched attention with their warmly intrusive and hazily lingering sound. To be fair even before that they were enticing loyal fans and strong awareness their way through a potent live presence around the Northeast and further afield. Forming in 2010, the band over time has shared stages with the likes of Royal Blood, Twisted Wheel, and Wolf People whilst this year alone they have opened for Lola Colt, Alabama 3, and The Fall as well as play Tramlines 2015. Musically that period has also seen their sound become darker and more diversely involved; kaleidoscopic in flavour as the acclaimed Light//-//Dark EP, also of 2014, revealed. Confirmation comes again within Power To The Hills, arguably the most intense and dark tapestry from the band yet.

The song swiftly has ears lined-up before a rhythmic enticing which quickly works on the body too as keys gently but imposingly swarm the senses with a suggestive ambience and haunting melodic spicing. Pretty soon these elements align with a bordering on shamanic rhythmic stroll and an even sultrier mesh of spicy guitar tenacity and keys spawned dark seducing. Over these the recognisable tones of Noble spill drama and shadowed lined expression, his presence like a narrator to the theatre of words and the increasingly fiery and tenacious sounds.

There is an essence of the darkest delta blues tones to the song, an acidic almost dangerous lining to the inflamed psychedelic hues and the increasingly addictive lure of the frenetic rhythms. The track is superb, perpetually eventful and unpredictable leaving the listener on an aural cliff hanger with its sudden halt.

Bernaccia continue to bewitch with their musical hex simultaneously growing in deserved stature and acclaim. The first single from the band’s debut album (Growl, Peace, Belief its working title), Power To The Hills confirms that not only this year has been a big and important time for the band but that 2016 will be the year of Bernaccia.

Power To The Hills will be self-released on September 26th.

Pete RingMaster 09/09/2015

Copyright RingMaster: MyFreeCopyright

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The Sons of Bido Lito – Avalanche

TSOBL_RingMaster Review

Some songs just frisk ears with their creative tenacity; finger the imagination and fondle the psyche with a tempting which almost seems like it has been engineered just to fit personal tastes. One such irresistible enticement for us is Avalanche, the new thrill laden single from UK garage/psych rockers The Sons of Bido Lito. The two track encounter is pure addiction on 7” vinyl courtesy of Dirty Water Records; a pair of songs which from different directions unite to create aural manna for swerving bodies and lusty thoughts.

Taking its name from the Los Angeles hangout of the Sunderland band’s musical heroes such as The Doors, Love, and Captain Beefheart, the seeds of The Sons Of Bido Lito began in the summer of 2011. Inspired by the sixties garage rock sound and equally its psychedelic seduction, the quintet began weaving those essences into their own shadow rich imagination and dark toned invention. The years since emerging have seen the band support the likes of Jacco Gardner and James Skelly & the Intenders, share stages with bands such as Primal Scream, and the release of their well-received debut EP Bido Music in the April of 2013. The following Gamma Ray! single again awoke new and greater amounts of eager appetites as well as finding itself being used by Fifa for their YouTube goal of the month video, ensuring the song there alone was heard over one million times, whilst the track Coco Bongo was taken up by Heineken for their Champions league coverage with Ruud Gullit bringing another 2,000,000 YouTube hits in touch with the band. Now it is the turn of the brilliant Avalanche to stir up more attention, a success quickly assumed as a given once the title song sets to work on ears and imagination.

Cover_RingMaster Review     For us it took barely a handful of seconds to be enthralled to Avalanche, the song winding a juicy flirtatious guitar groove around ears, it almost instantly joined by the bulging muscle of commanding and enticing beats. Another breath sees further guitar shimmering seducing the senses and a rumbling dark bassline whipping up the emotions. Fair to say already every aspect of the song comes with an addictive virulence which only grows and intensifies over time. The garage rock stomping spawned by riffs and rhythms alone just dangles impossible not to take a bite at bait in the lure of the song, that incessant tempting leading to a host of keen and imposingly gripping hooks, juicy grooves, and the great effect wrapped vocals of guitarist Phill Houghton.

Surf rock hues soak the melodic enterprise whilst bass and beats taunt with a tone and infectiousness lying somewhere between The Cramps and Bo Diddley. Overall the song, drawing as much on the flavourings of artists like The Sonics and Dave Edmunds as it does those like Reverend Horton Heat and Th’ Legendary Shack Shakers, finds a unique spot in a bordering on psychotic landscape which is quite simply sixties spawned rock ‘n’ roll alchemy perfect for any era.

The accompanying 12 Commandments emerges with a character more coloured by the psychedelic influences of the band. From within a wash of waves on an imagination assuming midnight lit shore, another heavily alluring bassline from Lem grips attention. A matching rhythmic coaxing from drummer Dodsy quickly joins the affair and a sultry embrace of guitar from Paddy Pickering too, once more a surf rock seducing working away through his and the string exploits of Phill Houghton whose vocals sway in ears like a magnetic flame, the keys and percussive enticing of Chris Houghton completing the palette of sonic colour in the psych rock temptation. The collusion of all hues maybe inevitably suggests The Doors but equally the likes of The Byrds and fellow UK band Kobadelta come to mind across the encounter too.

Though the lead track steals the show, 12 Commandments is sheer bewitchment and together both tracks make Avalanche one majestic virus of sound and reveal The Sons of Bido Lito as one musical infestation everyone needs in their life.

Avalanche is available on 7″ vinyl and digitally via Dirty Water Records from October 14th.

Pete RingMaster 07/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/