Strings Of Atlas – In A Better World EP

Atlas and his Nova_RingMaster Review

Strings Of Atlas is a “psychedelic urban punk band”, a labelling which presumably comes from either the band or someone pushing them and their new encounter, In A Better World EP. It is a tag which sort of fits and does not, but one label that does is simply that the El Paso bred Strings Of Atlas is one mighty fine rock ‘n’ roll incitement. The band’s sixth studio and latest offering is our introduction to the duo of singer/songwriter Atlas Cage (vocals, guitar, bass, drums) and former Archetyped bassist Ed C., and the first feeling, after being gripped by strong enjoyment, is that we have been missing out. Consisting of five tracks which whip up attention and appetite with increasing success, the EP is a thumping treat of an encounter. Not one to re-invent the boundaries of rock music but certainly one to give it a new tasty prod.

Since forming, Strings of Atlas has opened for such artists as Nick McGalis and Guitar Slim, whilst their music has graced a trio of short films and the soundtrack of the movie, The Edison Bomb. As mentioned and according to the press release for the EP, In A Better World is release number six from the band and for us potentially the one to awaken a new broad spotlight upon their stirring sound.

Strings Of Atlas - In A Better World Album Cover_RingMaster Review     The EP opens with Burning Days and a spicy web of grooves aligned to punchy beats. It is a strongly alluring start which hits another level once the striking tones of Cage join the affair. His voice reminds of Dicky Barrett from The Mighty Mighty Bosstones, and once it unites with the already potent sounds brewing up in the song, a nice whiff of Rocket From the Crypt emerges. It is an essence which only gets stronger within subsequent songs on the EP. His guitar play is just as magnetic too, riffs and hooks laying down nothing particularly spectacular yet everything comes with a craft and instinct to it which is virulently infectious. The song continues to get feet and imagination involved before making way for its equally potent successor.

The second song is the EP’s title track, and like the first it grabs instant focus, this time with a sultry blues toned coaxing complete with soulful melodies and vocal persuasion. The song’s steady and enticing stroll continues to smoulder and sizzle, and though it does not have the imposing snap of its predecessor, the track is one lingering slice of fiery enterprise.

As strong as its first two tracks are though, In A Better World kicks up another gear from The Way You Don’t Love on. The third proposal is an incendiary slab of garage and melodic rock, that RFTC whisper entwining with a great sixties spicing springing thoughts of bands like The Kinks and The Who to mind. Loaded with an additional snarl and a breed of punkish attitude which can only give an extra spark to any rock ‘n’ roll stomp, the song perfectly hits the spot, though as it outshines the previous song it is in turn eclipsed by the following Odyssey. The feisty stomp is glorious, a cauldron of rebellious riffs and rhythms wrapped in a gripping mesh of guitar and bass tenacity, each casting contagious hooks and a predacious air. Again vocally Cage has full attention, stirring things up as potently as the sounds around him with the result one outstanding rock roar.

The release is concluded by A Light In The Dark, a rousing and tantalising seduction of psych rock and melodic punk, again predominantly recalling The Mighty Mighty Bosstones and Rocket From the Crypt whilst sculpting its own distinct and irresistible romp of anthemic rock ‘n’ roll.

Co-Produced by Charles Godfrey, In A Better World sets the wheels in motion for a far keener and expansion spotlight on the band. Strings Of Atlas have certainly now caught and chained our attention and it is hard to imagine us being a lone new recruit to this potential drenched and thoroughly enjoyable band.

The In A Better World EP is available now on Amazon and iTunes or @ http://www.stringsofatlas.com/music

https://www.facebook.com/stringsofatlas

RingMaster 17/07/2015

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://www.reputationradio.net

The Dropper’s Neck – Nineteen|Sixteen

The Droppers Neck Promo shot_RingMaster Review

To date there has always been a licking of lips in anticipation of any new encounter with The Dropper’s Neck and each time so far they have rewarded with dark rock ’n’ roll which simply infests body and imagination. True to form the UK quintet has done it again with their Nineteen|Sixteen EP, the dirtiest, sludgiest, most aggressively provocative offering from the band yet, an aural proposal perfectly suited to and reflective of its lyrical theme. The EP is inspired by The Great War and takes the listener along with its protagonist into the initial ‘glamour’ and lure of conflict, through its fierce pestilence before leaving them in the stark aftermath which follows. This all comes with the familiar but ever evolving fusion of psych and noise rock, punk and psychobilly brewed by the band, and quite simply it is another ravishing treat from The Dropper’s Neck.

Formed in 2011, The Essex band quickly pricked attention and appetites with early songs and releases but it was debut album Second Coming which lit an acclaiming and hungry spotlight. Drawing on influences such as Gallows, Blood Brothers, Eighties Matchbox B-Line Disaster, Cancer Bats, Every Time I Die, and Dead Kennedys, band and album unleashed something familiar yet powerfully unique, a distinctiveness which has festered and blossomed through the incendiary single Line Me Up For The Firing Squad and now to stronger depths with Nineteen|Sixteen. The single was certainly a potent teaser for the EP, though in hindsight just one glimpse of the dark throes and adventures now uncaged.

The Dropper's neck Cover Artwork_RingMaster Review   The release opens with the scene setting 57,470, an intro thrusting ears and imagination right into the landscape of rifle fire, thunderous artillery, and fear soaked horses. It’s violently portentous hue leads into King & Country, a sonic bridge to the incoming bruising beats and ravenous riffs entangled in an invitingly spicy groove. Rousing and anthemic, the track is a sign up of ears and emotions as potent as the bait enticing the young men of the narrative. Already though there is a snarl and corrosive edge to the music, expulsions of vocal hostility from Lloyd Mathews aligning with his expected and great monotone laced delivery. Hard rock ‘n roll stirring up air and body, the track is a forceful incitement setting things in compelling motion.

Somme comes next, the rhythmic and anthemic overtones of its predecessor veining its initial coaxing whilst hooks and grooves are soaked in even sharper, almost venomous incitement. Striding with an Eighties Matchbox B-Line Disaster meets Engerica like warped swing and brawling with a caustic Cancer Bats/KEN mode like ferocity, the latter becoming more intensive in ears as the reality of the horror of war is opened up, the track is little less than deranged bestial contagion.

Its increasing hellacious presence makes way for the even more psychotic Line Me Up For The Firing Squad, the track a maelstrom of rabid sounds, scarring vocals, and blistering viciousness. Within its raw and merciless tempest though, grooves and rhythms create the addictive shuffle of bait and infectiousness renowned from the band, the bass of Jack Turner especially seductive at times within the muddy and humid atmosphere of the unforgiving blaze. Production across the release is raw and very often as cold as the soundscape being explored; an aspect some have offered as a slight flaw but it only adds to and represents the physical effect and filthy ambience of the ground the EP’s context is inspired by.

The thumping beats of drummer Jamie Abela trap and push ears into the scuzzy punk ‘n’ roll of 200 Volts next, the guitars of Chris Blake and George Barrows creating a creative antagonism of defiant riffs and provocative grooves respectively. The predatory spine of the song is a virulent enticing which sends searing flames of sonic fire and expels hardcore spawned vocal hostility from its sobering bait with increasing tenacity and rage. It is an abrasive storm exciting and scarring already bruised and tender senses, no respite coming with the outstanding contagiously toxic and inventively addictive Monster. The track swarms through ears and over the psyche with its rhythmic emprise and sonic nagging, its body as the previous encounter, a garage punk spawned dynamo of bracing angst and violent intoxication, and the best track on the release, though there are so many rivals such as the closing Stutter which rampages straight after. Everything about the song, from jabbing and military seeded beats to erosive riffs, vocal diversity to scything grooves, is sheer inventive and hostile virulence, rock ‘n’ roll to honour the dead and incite the darkness of horrors past.

With a bugle announcing the end of hostilities in hidden track The Eleventh Hour, the Nineteen | Sixteen EP comes to a haunting close leaving thoughts rife and satisfaction full. The release is not a history lesson but certainly it makes a provocative and striking proposal with its pungent theme whilst musically revealing another thrilling exploit from one of the UK’s most exciting bands.

The Nineteen | Sixteen EP is available from 13th July @ https://thedroppersneck.bandcamp.com/album/nineteen-sixteen

https://www.facebook.com/thedroppersneck

RingMaster 10/07/205

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://www.reputationradio.net

Sassy Kraimspri – Cock Fight

SassyKraimspri3

Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

http://www.sassykraimspri.com/   https://www.facebook.com/SassyKraimspri

RingMaster 01/06/2015

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://www.reputationradio.net

Gelato – Self Titled EP

Gelato _ Reputation Radio/RingMaster Review

Do you equally miss the days when Queens Of the Stone Age first teased and taunted ears and appetites with raw and undiluted rock ‘n’ roll cast in their inimitable manner? Then welcome to Gelato, a UK band openly wearing inspirations from Josh Homme and co in their feisty sound but only as one spicy ingredient in a contagious mix of punk and indie pop infused rock ‘n’ roll. Personally the biggest similarity is simply the thick tingle of excitement hearing the bands for the first time, the London trio rippling with an indefinable essence which leaves those around them seeming a much paler proposition.

The evidence to such claim comes with the band’s self-titled debut EP; three tracks of quirkily individual and addictively tenacious encounters fuelled by invention and soaked in creative devilry. Gelato consists of bassist Phil, drummer Ben, and vocalist /guitarist Drew, the latter previously of the excellent Hitchcock Blonde. 2014 saw the band make a potent breakthrough with low-key gigs across the London live scene with matching reactions and receive airplay via BBC6. Their EP though is the first major lure into broader awareness and attention, and the first step to big things we suggest.

Gelato EP cover _Reputation Radio/RingMaster Review   Recorded with Tobin Jones (Bo Ningen, Twilight Sad, Cold Specks), the EP kicks off with Get My Way, a track instantly flirting with ears as a wiry guitar hook repeats keenly on the senses amidst a thick prodding of beats. It is appetite raising bait which becomes a feisty stroll with the same sonic lure now embraced by crisp rhythms and a darkly wicked bassline. The vocals of Drew as just as inviting once they emerge too, whilst the QOTSA bred harmonies add a smiling extra to the contagiously engaging adventure. The song continues to snarl and seduce in equal measure, band and sound bounding around like a young colt with the maturity and craft of a rock veteran.

The band’s new single Room Service follows and again has ears and a now hungry appetite locked in with its first touch, this a dirty grizzled bassline which simply resonates in the senses before a spicy weave of guitar and brewing harmonies caress it and a fresh anthemic lure of beats. As its predecessor, the track from a slimmer start broadens into a heavier bewitching tapestry of sound and textures, it all infested in a contagious revelry and charm. As catchy and tangibly poppy as it is though, there is a dark predatory edge to the song especially in backing vocals and rhythms, which lights up air and imagination with further unpredictable adventure.

Ruffians brings the band’s introduction to a close, two minutes of punk filtered pop rock which has an underlying aggression as riveting and majestic as the warmer melodic tendencies wrapping its rugged spine. Arguably the least dramatically sculpted offering, the song still has little difficulty in firing up pleasure and a want for more, the band showing they can rock out or design a seriously involved temptation with matching potency.

As with any brief but impressive offering, there is only a needy want for more by the EP’s close, a wish to dive with haste into further endeavours but that is for the future. Right now we have a seriously impressive and thrilling start to devour from a band in Gelato, which one day might just be spoken of with the same stature of their prime inspiration.

The Gelato EP is available now digitally and on CD via https://gelatomusic.bandcamp.com/releases

http://www.facebook.com/GelatoMusic

RingMaster 17/05/2015

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://www.reputationradio.net

Graveyard Johnnys – Dead Transmission

Ester Segarra

There has always been a fire in the belly of the Graveyard Johnnys’ sound, as well as a constant entwining of varied strands of rock ‘n’ roll, but the band has tapped into their richest vein of belligerent contagion yet for new album Dead Transmission. The release is a glorious incitement of punk and rockabilly, though as ever the Welsh band infuses plenty of additional rock bred spices in provocations impossible to pin down but very easy to greedily devour. If you had to make a comparison it would have to be The Living End, though Graveyard Johnnys, as evidenced by their new offering, create something a little dirtier and more unpredictable.

Formed in 2008, the Chepstow hailing Graveyard Johnnys has earned a massive reputation for their fiery and frantic live performances, an aspect also echoed as close as it is possible to ever achieve in the studio within Dead Transmission. It is fair to say though that starting with their debut EP Streetblocks and City Lights, the band’s releases have persistently been a voracious slab of energy, as epitomised by first album Songs From Better Days in 2011. These only emulated as mentioned a live presence which has stirred up audiences Europe wide over the years, persistently luring new and loyal appetites to their sound. Graveyard Johnnys has shared stages with the likes of Turbonegro and Hayseed Dixie, toured with bands such as Mad Sin, The Peacocks, and Nekromantix, and left crowds exhausted with their own headlining shows, all earning greater acclaim and increasing a potent reputation. Now the threesome of vocalist/upright bassist Joe Grogan, drummer Thomas E Lord, and guitarist Callum Houston, arguably the first really stable line-up within the band and its most potent, are poised to open a new storm of attention with Dead Transmission, a release which will not take no for an answer.

Album opener is The Poison, a song entering on the regimented stomp of marching feet, equally eager beats, and subsequently a rich lure of flavoursome enticement which is as much melodic rock as it is classic rock ‘n’ roll seeded. Settling into a landscape of catchy energy and invention, a blues air lays over melodies and dust coated vocals whilst hard rock revelry creeps into the hook lined swing of the encounter. Straight away the band has expectations perfectly defeated, the song bounding through ears like a mix of Turbonegro, The Hives, and The Black Keys yet not. It is a tasty appetiser for things to come, but quickly outshone by the following For Tonight, and indeed the rest of the increasingly virulent album.

Dead Transmission Cover   The second track spills a delicious hook straight away, one swiftly joined by the excellent voice of Grogan and a potent rapping of drum skin by Lord. The singer’s bass is also quickly stirring up ears and appetite, its pungent bait a dark temptation within the swinging enterprise of Houston’s fingers and strings. A great mix of restrained and keenly strolling energy, it has an essence of The Peacocks to it though again it is easy to suggest other styles and artists as references to something quite distinct to Graveyard Johnnys.

The album’s title track is next, static caressing ears before majestic and instantly rousing rhythms and riffs ignite body and imagination. Scythes of guitar and an open spillage of attitude soon join the punk bred incitement too, its snare drum rim clicking and thumping beats irresistible and matched in slavery by the constant adventure of inescapable hooks and brawling energy. Again the band keeps things too lively for expectations, its passage another mix of feverish fury and predatory reserve, and simply sensational.

One major highlight passes the passions over to another in the feisty shape of Because Of You, an old school rockabilly stomp with modern tenacity and attitude. It is the kind of song that if Gene Vincent was stomping around in his young leathers now he would be unleashing. It is one minute and a half of pure and spicy rock ‘n’ roll; a description applying to the punk seeded One Day Or Forever and its individual march upon ears and emotions just as easily. Its rhythmic stroll has feet shifting and head bobbing whilst its alluring Bad Religion meets Flogging Molly like melodies and tempting has ears gripped.

     A similar punk fired persuasion colours the next up Ready To Roll, riffs and rhythms instantaneous seduction reinforced by a tenacious enterprise of guitar which at times flirts with a seventies spicing a la Mud/Showaddywaddy, though blink and you miss it as like so many, the song is a busy cauldron of flavours and temptation which has attention solely in its grasp, much like the following pair of I Won’t Wait and Compromise. The first of the two merges raw punk and vintage rock ‘n’ roll resourcefulness for its decades fusing, passions firing riot. It snarls relentlessly, and expels a dirt encrusted breath of predation, but with the throbbing string slaps of Grogan, the hypnotic bait of Lord, and the ear entangling prowess of Houston, the song was never going to be anything other than an epidemic of infectiousness. Its successor swaggers in with its own appetite binding lures as well as the potently confrontational lyrical craft which flows across the whole release as impressively as the sounds. The Living End is an unavoidable comparison to the outstanding song but again the British three create something as unique from as it is similar to any references.

Fair to say by the end of the song the body is weak from the energy given to the insatiable romps within Dead Transmission, and seemingly sensing this Graveyard Johnnys offer Mothers next, a calm acoustic rock ballad with a country rock breath. It is an engaging and increasingly magnetic croon but admittedly before its increasingly lively end, feet and appetite greedily wanted to let loose again which they do with the closing Little Witch. A smog of sonic aggravation and rhythmic intimidation, the punk/ hard rock explosion is the perfect book end to the start of the album, a fiery and tempestuous maelstrom of fiercely flavoured rock ‘n’ roll with a flirtation of melodies and keys to keep things even more fascinating.

It is a blistering end to a thrilling proposition, Graveyard Johnnys at a new peak with songs which tap into every instinctive want of any rock ‘n’ roll fan, a broad genre which just does not get much better than this.

Dead Transmission is available now via Bomber Music @ http://store.bombermusic.com/products/545212-graveyard-johnnys-dead-transmission-cd-or-download or https://graveyard-johnnys.bandcamp.com/releases

http://www.graveyardjohnnys.com/   https://www.facebook.com/graveyardjohnnysUK

RingMaster 13/05/2015

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://www.reputationradio.net

 

Yorkshire Rats -Sea of Souls

yr1

It is with thanks to Carl of the excellent Chalkman Video that UK punk rock ‘n’ rollers Yorkshire Rats and their debut album Sea of Souls recently and firmly hit our radar. He gave us the heads up on the Leeds quartet having recently shot a video with the guys, and led us to one of those albums which lights ears initially but equally simmers away in the psyche to emerge as one thrilling riot of temptation.

Yorkshire Rats began in 2004, formed by Don Mercy once of Abrasive Wheels and Billy No Mates. Soon into their aggressive stride the band subsequently released, in the words of their bio, “a rabble-rousing 7” and a hooligan fuelled EP.” 2006 saw the band support to great success Rancid but then go on an extended hiatus. They have now returned fuelled to the top with contagious rock ‘n’ roll tenacity, punk confrontation, and potent lyrical incitements, all found to great effect on debut album Sea of Souls. Consisting of Kurt Alexander, Matt Lee, and Chris Furness alongside Mercy, Yorkshire Rats confront, incite, and thrill across thirteen tracks of bracing punk ‘n’ roll antagonism.

There is an instant stirring up of ears and appetite with album opener Hurry Up and Wait, the rolling heavily jabbing enticement of the drums swift persuasion. Raw guitar caresses need little prompting to add their lures, or the swagger lined bassline which jumps in at the same time. It is a feisty and contagious uniting topped by expressive vocals with a delivery which is part challenge, part invitation. The song is the kind of attention grabber all albums should start with, a song revealing the heart of a band’s sound and encounter’s intent with anthemic guile.

sos album artThe following Glory Days opens on a juicy stroking of slim but pungent riffs before opening up into a dusty rock stroll still driven by the initial hook lined guitar bait. The track does not quite have the bite of its predecessor but compensates with a catchiness and blaze of sonic enterprise which again has an early appetite fed well before making way for the album’s title track. Sea of Souls shows a whisper of the Californian punk influences which also colour the band’s sound, whilst the track itself gently but firmly embraces ears and thoughts with infectious rock sounds and lyrical suggestiveness.

The pair of Everyday and Mary Comes First offer fresh variety to an already flavoursome encounter, the former infusing a Flogging Molly lilt to its guitar endeavour whilst rhythms cast an anthemic baiting and the latter with a smell of Tom Petty to its riffery, in a striking landscape of emotive contemplation and rock ‘n’ roll contagion. Both songs have feet and emotions fired up, the first especially incendiary with its magnetic mix of flavours and almost predatory hooks, but as great as they are, they find themselves shaded by the Green Day-esque Lawful Civil Rights. Guitars and bass bring even stronger glimpses of the Cali scene whilst spinning their own anthemic and addictive proposal around punchy beats and expressive vocal reflection.

The opening dark and predatory bass resonance bringing Struck Down into view is one of those invitations only the deaf can resist, especially once guitars add their sonic scythes to the portentous air. Erupting in a tempest of rhythmic aggression and hostile attitude driven by belligerent vocals, the track weaves in strains of psychobilly and blues tinting into its punk roar, creating one of the most momentous and memorable exploits upon the album.

The calm and inviting balladry of You Don’t Know Anything entices ears and emotions next before Only the Rich Men stomps and rumbles with its raucously engaging sounds. Each again shows a different colour to the Yorkshire Rats sound, not major side steps but hues which reveal the strong variety to the bands creativity and tone.

No Freedom as the previous song is another rock ‘n’ roll romp, but with more rigour in its energy and infectiousness in its punk devilry. Rhythms brew up an inescapable slavery for feet and emotions whilst riffs and vocals blaze over deviously addictive hooks. Though not quite the final song it still makes for a mighty finale before Sea of Souls closes with a trio of excellent acoustic demos of Mary Comes First, Only the Rich Men, and the title track.

You cannot quite call Yorkshire Rats a new band, even with their prolonged absence, but they take ears with a freshness which makes their debut album play like a starting point for the band. A base for bigger and just as enjoyable things to breed from we suspect.

Sea of Souls is out now via Indelirium Records @ http://indeliriumrecords.com/releases-carousel/idr067-yorkshire-rats-sea-of-souls/ and most online stores.

http://www.YorkshireRats.com/     https://www.facebook.com/yorkshirerats

RingMaster 26/04/2015

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://www.reputationradio.net

 

Hung Like Jack – Fire beneath me/ Life’s first sign of rage

11156944_10206744792961784_729014988_n

If you thought the summer was going to be one of peace and warm calm then think again as this is when UK rockers Hung Like Jack release their next roar of voracious rock ‘n’ roll in the uncompromising shapes of Fire beneath me and Life’s first sign of rage. Equipped with the brawling tenacity and flavoursome enterprise the band has become renowned for, the new songs also reveals a fresh virulence to their sound’s aggressiveness and uncompromising ferocity. They are raw, intrusive, and confrontational but in the same strength the songs are a blaze of punk ‘n’ roll contagion.

Hung Like Jack began in 2007 finding its richest line-up and sound once vocalist John, guitarist Tim, and bassist Hakim linked up with beast of a drummer Denz. The band has been a greedily devoured proposition on the North of England live scene for quite a while whilst their trio of EPs have increasingly drawn acclaim and attention, the third, White Powder, especially so with its release in the January of 2014. Now they are geared up with squalling riffs, barbarous rhythms, and anthemic fury to unleash their new single.

11066515_889393494458755_821227949457285194_n   With just its first breath Fire beneath me is a wall of imposing yet compelling sound, guitars and drums an immediate provocation backed by throaty bass lures. Once vocals take their run at ears, the song has appetite and emotions centred on its exploits and increasingly enamoured as hooks and beats collide in a busy and rugged brawl. As mentioned though, contagiousness ignites just as potently within the song whilst the melodic enterprise of Tim adds a vibrant colouring to the stormy canvas of the song. Punk and varied heavy rock textures rage and unite across the excellent provocation, blasting out a rock ‘n’ roll incitement very hard to turn down and certainly ignore.

The single’s other track is similarly imposing, though the bellow of group vocals opening up Life’s first sign of rage are not as stable as they could be. They are soon a distant thought though as riffs and rhythms align for a bracing torrent of intensity and infectious persuasion inflamed further by the roaring tones of John. It is fair to say that the song is far more predatory and hostile than Fire beneath me but still expels a wind of anthemic might which leaves limbs and voice enlisted. The senses though just wilt under the rest of the uncaged onslaught, basking in every minute of it.

There is no hiding place with The Darlington based quartet’s sound or indeed their creative attitude, and in the Dave Hills recorded, mixed, and mastered release, no chance of a relaxing time, just a fiercely enjoyable one.

Fire beneath me/ Life’s first sign of rage will be released on May 22nd with a Launch party being held at the Railway Tavern in Darlington the same night.

https://www.facebook.com/hunglikejack

RingMaster 26/04/2015

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://www.reputationradio.net