Grumpynators – Wonderland

Grumpynators_Reputation Radio/RingMaster Review

Two years can seem like a very long time when you are excitedly anticipating something. Certainly the wait for the debut album from Grumpynators has felt like a life time after being hooked by their previous releases. Once arrived and there waiting to explode from the speakers, thoughts turn to pondering if it will now live up to probably over demanding expectations and hopes. The Danish quartet’s self-titled motorbilly has been one of the few fresh sounds to really ignite ears and emotions over recent years and yes the band has forged another landmark in their ascent with Wonderland. The band’s mix of hard rock, psychobilly, punk, metal, and old school rock ‘n’ roll is maybe not over fuelled with major originality yet the way the band hone and twist the blend, it emerges as something distinct and specific to Grumpynators whilst providing a healthy and rousing option for fans of anyone from Motorhead to Metallica, The Damned to Volbeat, Mad Sin to Tiger Army. So it is again with Wonderland, a slab of ferocious rock ‘n’ roll pushing the band’s voracious sound and our passions to new heights.

The Copenhagen band was formed in 2011 by former band members and crew from Taggy Tones and Volbeat. Their first rampage on stage came that year at the Danish underground festival Barnyard Rumble in Denmark, the opening riot in an ever increasing and feverish attention following the band thereon in. Across the years the band has on shows and tours shared stages with the likes of Magtens Korridorer and Volbeat amongst a great many. A self-titled demo EP in 2011 just as potently awoke ears and appetites, though arguably it was the 666 RPM EP two years later which was the major spark to trigger a much further spread awareness. Wonderland is a bigger, bolder beast standing before us all now with the potential to break the band into the keenest spotlight possible.

The album opens up with its title track, and instantly has ears and imagination intrigued and enthralled by a thirty second kaleidoscope of haunting sounds and evocative textures. From its sinister coaxing, a flash of guitar opens the door for a predatory lure from the double bass of Jakob Øelund to immediately seduce an appetite always open to that kind of bait. Scything beats from Per Fisker equally adds to the brewing drama of the song whilst the guitars of Christian Nørgaard and Emil Øelund stir up air and senses with their belligerent persuasions. It is a fiery mix only increasing in energy and intensity as the song expands to its full height, the at times Lemmy like tones of Emil a magnetic roar in the midst of the infectious tempest. The encounter is equipped with the distinctive Grumpynators sound but already show a new adventure and creative theatre in the band’s invention and tenacity, hooks and swinging rhythms as mischievous as they are predatory whilst a guitar solo simply sizzles on the senses.

Wonderland cover _Reputation Radio/RingMaster Review   The stunning start is matched by both Walking in the Night and Burning in the Snow, the first dangling before the listener a spicy groove from its first breath, subsequently wheeling it in and using it to core the spinning of a feisty web of psychobilly contagion and hard rock devilry. The stomp just increases its attraction as vocals and another incendiary bass tempting fills its rampant prowl. Like a flirtation happy to brawl at any given moment, the track has ears and body leaping to its puppetry before making way for the similarly irresistible lures of its successor. The third track is a more even tempered stroll with restraint to its energy but even more virulence to its rockabilly meets punk ‘n’ roll devilment. Things do get over excited in its chorus but the band always pulls it back for a pungent croon of a seduction around the verses, led by Emil who is as ever impressively backed by calls across the band.

Walked Away winks with a dulled country twang initially before launching its own individual and tenaciously striding heavy rock persuasion. Of course as with all songs, it is a maelstrom of flavours colouring its anthemic canvas and tearing through ears, a thick flavoursome mix of rock infusing varied textures and spices soon emulated in The Calling. The track is a predator, prowling ears with an intimidating bassline and imposing grooves carolled by the excellently switching twin attack of the vocals. Track and band show you do not have to go hell for leather to create an inescapable anthem with the song, its character and potency a lingering thrilling threat. The short number of tracks in previous EPs generally meant each song bordered on a major highlight, the cream of that crop of songs so to speak, and it is easy to say that Wonderland follows suit, this point in the album already offering five dead on Grumpynator classics.

The Stalker steps forward next, this a lighter hued cantor despite its title but lock ‘n’ loaded with more addiction forging grooves and nagging hooks cast with a swagger and smiling contagion. As all offerings, it defies the listener not to join in with its epidemic of persuasion, poking the thought does rock ‘n’ roll get any better? Maybe not but it can be equalled as shown by Speeding #2, a reworking/recording of a track from their demo EP. It is does not venture too far from its first outing but provides a fresh and magnetic nature to an already established fan favourite.

The carnivorous This Is My Life growls next, its grouchy presence delving into more metallic scenery whilst laying down one pure rock ‘n’ roll groove through the forever masterful string plucks of Jakob. The guitars of Emil and Christian spread sultry strands of sonic endeavour around the instinctive catchiness of the proposal too, and driven by the forceful commanding swings of Per, yet another highlight is forged and soon matched by the voracious Pray For Your Life. It is a bruising antagonistic affair that, with its sterner caustic attitude, only captivates as its spreads its heavy and hard rock invention.

Both songs though are outshone by the steamy Mama No, probably the most diverse track on the album in that every strain of sound found on Wonderland is embroiled in the hectic and irresistible punk metal ‘n’ roll rampaging. Every riff and groove comes with a thick splattering of those flavours to their colour, an impressive feat and success driven by rabid rhythms and the rousing tones of Emil. The track is the perfect end to the album but the band knows better and closes things off with A Life Without You, an acoustic seducing of guitar and vocals embraced in the melancholic beauty of cello provided by Richard Krug. The song is a dark romance in ears, one sparking a tingle in the senses and a sigh of satisfaction by its, and Wonderland’s end.

It is fair to say that Grumpynators had a head start on raising the passions thanks to their excellent previous EPs but that also led to greater, greedier demands on Wonderland, something tossed aside with ease. As declared a little earlier, rock ‘n’ roll does not get much better than this.

Wonderland is out now via Target through most online stores

http://www.grumpynators.dk/ https://www.facebook.com/grumpynators

RingMaster 21/05/2015

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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

 

Charge – Sweet Lies

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With a band name like Charge, you need a sound with a suitable intensity of energy and boldness to it, and that is exactly what the French metallers provide with debut album Sweet Lies. It is a storming onslaught of voracious and volatile rock ‘n’ roll, a multi-flavoured adventure which might have a few minor issues but provides a seriously exciting and potential soaked incitement. The band has been around since 2004 and have tucked a couple of EPs under their belts but Sweet Lies is their first thick nudge on appetites beyond the Paris and French rock scene, and makes a rousing invitation many will be compelled to eagerly embrace.

Forming around eight years ago, Charge quickly brought out the demo Ain’t My World, recorded with producer Francis Caste (Zuul FX, The ARRS) who returned to work with the band on their first official EP 8 Miles Away in 2009. It is fair to say both as well as a live presence dishing out adrenaline driven and raucously varied metal, brought potent attention and a swiftly growing fan base locally. The band’s line-up has been through a few changes since day one but now with the release of the album, vocalist/rhythm bassist Ravin, guitarist Sacha, drummer Loïc, and lead bassist Lionnel are now looking at broader spotlights to breach. Consisting of the songs from their EP and new tracks produced by Spirou (Bérurier Black), all mixed and mastered by Caste, Sweet Lies opens with a contagious riot and just does not look back.

From the first surge of the initial groove, the album and its opener Alone has ears and imagination hooked. The potent first breath is swiftly a surging torrent of bass riffs, thumping beats, and squalling sonic enticement, a magnetic start soon providing an inescapable onslaught of anthemic bait. Thrash and groove metal collude with heavy rock and punk essences in the now riotous affair, whilst vocally Ravin, though at times a little wayward, just fires up the gripping turbulence further. The union of basses brings a great growl to it all and provides rich depth to song and subsequently album though Charge does not exploit the opportunities they offer enough in some ways. With both openly skilfully played, the band never quite finds the experimental potential explored by for example Morkobot, but it is a dual attack sculpting thick irresistible bait and resourceful adventure as evidenced straight away by Fantasy.

The second song has a much more restrained start but one soaked in menace and predatory intent. The twin prowl of certainly not identical bass provides a bestial and sinisterly charming proposal pierced by the forceful jabs of Loïc and entwined in the just as rabidly delivered and resourcefully crafted sonic laces of guitar. Eventually the controlled stroll succumbs to a brewing intensity, erupting in a ferocious rampage but one easily slipping through the gears in all directions. There is an element of post punk to the colder acidic hooks and of nu-metal in the psyche enslaving devilry, everything coming together for one thrilling stomp.

Both 84 and That’s It keep album and emotions ablaze, the first merging raw elements of pop punk with melodic rock and more whilst turning each flavour into a cauldron of hostile and infectious endeavour. Its successor is even more contagious, bass and guitar grooves aligning with gripping hooks for a flowing tempting within the lure of the other growling almost carnivorous bass and the senses punishing beats. It also spins a weave of melodic and milder tempered exploits which adds to the irresistible romp before making way for the pungent drama and addictiveness of Just Want More. Also as punk as it is metal, Russian band Biting Elbows coming to mind at certain points, the track is a barbarous and wholly catchy incitement on ears and passions, and as the album just increases in potency and persuasion with every listen.

The sheer force and busy assaults of songs does at times hide the individual skill and invention of the band members, but each only impresses and shows a hungry imagination throughout even if, as suggested earlier, they have the potential to explore greater triumphs not quite realised here. With songs like the following One though, there are no complaints just more anticipation of their future. The track is a juggernaut of heavy duty riffs and towering beats insatiably rolling with the handbrake off over the senses. To that vocals scowl and roar with impressive potency whilst tangy grooves and even spicier hooks leap out from every corner and twist of the exceptional infestation of ears and emotions.

The epidemic lure and rampancy of the album continues with its title track, punk metal unleashed with addiction spawning relish and aggression but aligned to searing flames of sonic enterprise and the ever seducing blend of ravenous bass invention. Such the potency of its onslaught, even sitting down and listening to the album’s best song leaves exhaustion in its wake.

Sweet Lies is brought to a fine close by Ain’t My World, the most hostile and raw encounter on the release, though the band is as unpredictable as ever slipping slithers of melodic calm and warm melodic enticing into the hellacious storm with skilled efficiency and effect. It is a striking end to an outstanding release. There is often something familiar to songs with the encounter but as everything it only helps make tracks an adventure in recognising their source and in baiting a thick physical offering from the listener to its temptations.

Charge, if not through Sweet Lies, at some point will not be just a treat for the French to bask in and be battered by, though the invitation from this album really should be checked out now by all.

Sweet Lies is available now @ https://itunes.apple.com/gb/album/sweet-lies/id912217677

http://www.chargerocks.com/   https://www.facebook.com/ChargeRocksBand

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

 

LaBrassBanda – Europa

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To support and celebrate the band’s recent UK tour, German nine-piece LaBrassBanda have re-released their acclaimed 14-track album Europa, and if like us you missed it first time around, now is the time to join their compelling festival of sound. Uniting the richest contagious elements of everything from techno to funk, reggae to ska, and punk to alternative rock pop, the Bavarian outfit take ears and imagination on a euro stomp of irresistible creative revelry.

LaBrassBanda was formed in 2007, one of its founders, vocalist/trumpeter Stefan Dettl inspired by the Youngblood Brass Band. With a few line-up changes and an expansion of personnel, the band has persistently ventured across Europe with their sound, becoming renowned for their high energy live performances. As mentioned the band’s sound is bred on styles and flavours as diverse as the different musical backgrounds and tastes of its members. Originally released in 2013, Europa gets a fresh UK concentrated unleashing to accompany their just completed and highly successful tour and before the full complement of trumpeters Jörg Hartl and Korbinian Weber, trombonist Manuel Winbeck, bassist Mario Schönhofer, drummer Manuel Da Coll, percussionist Tobias Weber, tuba player Stefan Huber, and guitarist Fabian Jungreithmayr alongside Dettl hit the festivals of Europe.

The album fires up ears and thoughts straight away with opener Tecno, its sound as you would expect from its title a vibrant enticement for feet and dance-floors aligned to a great throaty shadowing of bass and tuba. The expressive vocals of Dettl are equally low in tone but as magnetic as the flames of brass which flirt with the senses across the relatively restrained but tenacious encounter. Thoughts of eighties bands like Pigbag and Mouth spring up as the song dances with ears before passing the baton of infectiousness over to the following Jacqueline. Immediately more feisty and energetic than its predecessor, the song swings and grooves with a funk bred air and gypsy folk devilry, again body swerves and lively feet the target.

0888837022521     The album hits its pinnacle early with the exceptional Holland, the track a slightly deranged waltz of hip hop tinged vocals and an accompanying mashing of syllables courted by a soundtrack of busy and psyche seducing brass. It is just the start of the fun and lustful persuasion though, a fluid step into a reggae spiced, punk hued romp reminding of bands like Asian Dub Foundation causing pure addiction. A track to bring graveyards alive and lungs exhaustion, the track is pure manna for body and soul. What it is about who knows, being Bavarian illiterate we fail you on that aspect as there is not an English word spoken across the whole album but we are led to believe plenty of songs are about beer, girls and partying.

Schweden next nudges and entices the listener with an electro beat based offering equipped with a potent seduction of bass which blossoms into a sultry croon of brass and melodic persuasion. It also has a whiff of nostalgia, parts of it reminding of Dalek I Love You whilst it’s more feisty and lively exotic catchiness has a sense of Mano Negra to its enterprise. The freely flowing encounter never erupts into a blaze but relentlessly seduces before allowing the agitated adventure of Z’spat Dro to tease and bounce with ears and appetite. A punk tenacity and energy surges through the infectious anthemic romp, think Biting Elbows meets Les Négresses Vertes and you have another treat of a track.

The punchy Nackert with is rock pop croon keeps the energies and thorough enjoyment in top gear whilst Sarajevo takes a gentler but no less enthralling flight across a boldly simmering but reserved scenery of melodic craft. The elegant instrumental has the imagination casting its own travelogue of adventure, brass and guitar providing the colour and rhythms the drama for thought sculpted exploits.

Entering into the second half of the album, Europa evolves into a more evocative and suggestive persuasion than the more forceful devilry of its opening half, though first of all the cosmopolitan soundscape of Frankreich reveals itself as another instrumental with bold rousing hints for ears and thoughts to play with. The colder climate of the melancholically charmed Russland comes next, its slow haunting an immersive caress whilst Western straight after saunters along with a jazz funk smile and brassy mysticism as vocals unite in harmonic, almost shamanic prowess.

Though admittedly there was pining for the outright devilment of a Jacqueline of Holland at this point, the album still has the listener firmly departed from the real world attention wise with each proposal, a success continued with the warm and dark theatre of Griechenland and following that, the folk lined shuffle of Vogerl where that gypsy folk/punk tempting returns to take feet and emotions on another flirtatious dance.

Europa ends with firstly the highly persuasive Opa and lastly the melancholic, funereal like sigh of Hymne, arguably the one time not understanding the spoken narrative is missed, though the wake like reverence of the music explains plenty.

It is fair to say that Europa is easily one of our favourite encounters this year and at times offers songs sparking a lust which borders on illegal. To bring your summer and year to life, if you have not already, time to join the LaBrassBanda festivities we suggest.

Europa is available now via Sony Music/RCA @ https://itunes.apple.com/us/album/europa/id651995604

http://www.labrassbanda.com   https://www.facebook.com/LaBrassBanda

RingMaster 12/05/2015

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

Min Diesel – Mince

Photo by Lori Wilson.

Photo by Lori Wilson.

Mince, the debut album from Scottish band Min Diesel, is a clash on the senses and for some maybe a car crash as certainly their sound is not going to be an easy fit for many. It is a challenging proposition, and at times has even keen ears unsure but its real potency is in luring back regular attention which shows album and band are doing plenty right.

Aberdeen bred Min Diesel take inspirations from late-80s/early-90s punk, lo-fi and math-rock bands into their abrasing cacophony of sonic enterprise. They are a trio also becoming used to strong support and praise, through a live presence which has seen the band play with the likes of Errors, Acoustic Ladyland, Joan of Arc, Johnny Foreigner, Playlounge, Tuff Love, Hot Club de Paris, Sky Larkin, and Paws since forming in 2009 and a clutch of EPs. Two splits with Sidca and Pinact respectively in 2013 lured potent acclaim whilst last year’s Puzzle & Activity EP gave an enticing teaser to Min Diesel’s debut album now uncaged and prowling the psyche.

The threesome of Zippy, Stu, and David state inspirations come from the likes of Fugazi, Pavement, and Shellac whilst others have compared the band to artists such as Dinosaur Jr. and Stapleton. They are all understandable references though you can add many others, for us at times thoughts of Pere Ubu emerging in certain places across Mince. Equally though there is a freshness to the band’s sound which puts them at least one step aside of the crowd. Opener War Band swiftly entangles the senses in a healthy scrub of guitar and thumping beats, their union with the throaty lure of bass a magnetic invitation for ears and attention. The vocals come from within the thick mesh of sound, laying deeper in their textures than expected but working enjoyably as contagion brews within the enjoyable encounter. A searing spearing of guitar erupts in its closing moments, its acidic aggression imposing and magnetic as the track leaves with impact.

a2445096622_10   The following Pagan Pageant opens with a folkish air and quaint melody wrapped in caustic ambience, the blend further coloured by raw and often wandering vocals. Slightly deranged and openly wrong-footing, the song swings from good to not sure regularly but already there is that captivation at play meaning you want to indulge in its confusion and incitement again and again in response to its increasing persuasion. Next up Trail of T-Shirts is a more immediate tempting but also reveals stronger enticing over listens. Sharp hooks and spoiled melodies provide an appealing enticement whilst the energetic rhythms quickly bait ears and appetite, but it is the delicious discord coating the clang which steals the passions, another mighty aspect across the release backed as here by potent guitar craft and rhythmic juggling.

Kirk Session reveals a mellow though no less concussive quality to songwriting and sound next, the band casting a jarring croon of sound and vocal prowess which again will work for some and not others whilst Down on the Green straight after, goes for a more predatory intent for its pop rock cacophony. The bass discovers a bestial growl over which voice and guitar dance with brash yet warm resourcefulness. As it continues the track seems to turn a little mellower though ears are still resonating to the sonic jangle and rhythmic confrontation by its close.

The album hits its high spot with the next trio of tracks, starting with the virulent swagger of dB where again the bass is wonderfully bestial against the melodic ferocity around it. The song emerges like a tart mix of Swell Maps and Asylums though there is also a strong whiff of Josef K and very early Orange Juice to the encounter, all spicing adding to the invention of the best track upon Mince, though it is quickly challenged by Last Bus (Emm Es Bee ). The new encounter sways whilst caressing ears with citric melodies and a tangy sonic tempting, musically playing like a raw lemon on the tongue, making the senses pucker at its touch but sparking a hunger for more. Again though, it is the inventive discord trespasses which steal the show, adding greater intensity and weight to the thrilling croon.

Another song which half thrills but leaves questions in its wake, Musskulls is a psyche pop/noise rock tangle of sound and ideation. It twists and turns through coherent and deranged scenery with seamless and ultimately enticing adventure though vocally something goes a little astray. That said without finding the same spark as the last two songs, it still engages ears and thoughts forcibly and as the album grows with every listen.

Mince is brought to a close by firstly the volatile energy and aggression of Bastards, an encounter with a catchy melodic spine of infectiousness, and finally North-East Soul, a dark and raw serenade which sparkles with the Scottish lilt of the vocals, the first time the accent really comes into play within the album. Stray twangs and off kilter noise add to the drama and lure of the enthralling end to the encounter, the band almost exploring improvisation with sonic relish across the turbulent landscape.

We are on safe ground suggesting that Mince will not be a tasty offering for all but it is a release which needs time and focus to explore and come to terms with; for us as an example, it making an ok first impression but with regular engagement turning into a vat of increasing persuasion and thorough enjoyment.

Mince is available now via Struggletown in association with AlbTwo Records and Cool Yr Jets digitally and on Ltd Edition 12” cream or red/white vinyl @ http://mindiesel.bandcamp.com/

https://www.facebook.com/pages/Min-Diesel/122142337808269

RingMaster 12/05/2015

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

Glenn Hodge Banned – Family Man

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Awoken to the punk folk, to give it a name, prowess of Glenn Hodge Banned through the outstanding Iconoclast EP last year, it is fair to say we had a tingle of excitement going into the London based musician’s new single Family Man. Carrying on the infectious adventure crafted by the previous release, the new song is an equally irresistible stroll of lyrical and creative revelry taking another honest and striking look at a slither of life.

Originally from Ashford in Kent, Hodge was brought up in East Anglia but it was once moving to the capital that his musical adventure really began. Surrounded by inspirations to breed his catchy and often mischievous folk seeded songs, the singer songwriter soon built a potent reputation on the city’s live scene before releasing the well-received single Faces on Tables in February of last year. Its success led to keen anticipation of the acclaimed Iconoclast EP, a collection of magnetic songs from Hodge looking at city life and personal relationships with honest social commentary, an exploration as mentioned continuing in Family Man.

cover     The single opens with a strum of guitar which quickly becomes a constant coaxing as Hodge begins his magnetic narrative. It is a lively acoustic start with voice and lyrics easily the focal point but wrapped perfectly in the lean sounds around them. Things expand and reveal greater colour when harmonies caress a moment of calm with their enticing presence whilst after another inviting passage like at the start, the rigorous chorus adds a moment of boisterous energy to the already gripping persuasion. Things continue to ebb and flow in energy but not in magnetism, the song musically and lyrically taking an increasingly tighter hold on ears and imagination as it explores the protagonist of its title and dark secrets.

Family Man just lights up the senses, reinforcing the impact of the last EP and confirming Hodge as one of UK’s brightest and resourceful songwriters/musicians. If the likes of Billy Bragg, Ste McCabe, and Frank Turner catch your ears then Glenn Hodge Banned is an exciting must.

Family Man is available now @ https://itunes.apple.com/gb/album/id990246719

http://www.glennhodge.com/   https://www.facebook.com/GlennHodgeBanned

Upcoming live shows:

11th June      Upstairs at the Ritzy, Brixton, London
4th July        The Spice of Life, Soho, London
17th July      Brentwood Festival, Brentwood, Essex
23rd July     Ambition Festival, Matthews Yard, Croydon, supporting Beans on Toast
23rd August Beautiful Days Festival, Devon

RingMaster 06/05/2015

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

A Billion Lions – Torquay

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Just who are A Billion Lions? Well they are a UK quartet with a sound bred from a slightly deranged and seriously raucous blend of indie, noise, and punk rock. It is a proposition also equipped with a ridiculously infectious quality that has the involvement of feet and imagination a done deal within the first strains of many captivating songs. Oh there is one more thing too…they are the providers of one of the year’s most invigorating singles in the feisty shape of Torquay.

The band formed in Leeds in 2013 and soon became a potent pull on the local live scene with their rowdy performances. A couple of demo recordings called On My Lover and I’m Free brought a low key but wider introduction to the band via YouTube but it is their ferocious stage hunger which has sparked most attention and subsequently lured the band and End Of The Trail Records to each other. Now the pair unveils first single Torquay, a rampant teaser for A Billion Lions’ impending debut album Let It Happen.

TORQUAY COVER   A single guitar teases ears first, stroking instantly alert ears before being swiftly joined by sturdier riffs and crisply landing rhythms. Vocals are also soon in the mix, the engaging narrative being laid out first by guitarist Joe Parr and ignited further in the chorus through bassist Ryan Olliver. Backed in harmonies by lead guitarist Philly Cheese, the song becomes a sweltering brew of energetic and creative contagion with the chorus the explosive icing on the cake.

The increasingly hefty and agitated beats of drummer Matt Nutter alongside a throaty bassline provide a raw magnetism of the song which is coloured and stirred up more voraciously by the vocals and the guitars attitude wrapped sonic endeavour. It all combines for an addictively devilish mix which quite frankly could incite a party in an empty room.

Roll on that first A Billion Lions album is the overriding thought over Torquay and the first deed in its wake, to press that play button again.

Torquay is out now via End Of The Trail Records

https://www.facebook.com/billionlions

RingMaster 29/04/2015

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

Bulletproof Rose – Loud Hard Fast

Bulletproof Rose Promo Picture

Its title is Loud Hard Fast and that just about sums up the new EP from UK rockers Bulletproof Rose, though to that you can add enjoyable if unsurprising. That lack of originality is not necessarily a bad thing in the hands of strong musicians and it is fair to say that the Cumbria quartet is that, and certain familiarity bred from inspirations can often add a captivating essence to songs, which again generally applies here, but for long term and potent persuasion on a national appetite will it be enough for Bulletproof Rose to make a breakthrough we have to wonder.

Hailing from Workington and formed in 2012 with the current line-up uniting last year, Bulletproof Rose has certainly bred a mighty reputation for their live performances and tenacious rock ‘n’ roll locally, spreading further afield in recent times. Drawing on influences like AC/DC, Guns N Roses, and Motley Crue, all open from the first breath of the EP, the band is on a steady rise which Loud Hard Fast can only reinforce, though by how much time will tell.

The song Bulletproof Rose sets the riot rolling, the guitars of Jacob Siddle and Brian Robinson ruffling air and ears with raucous, if restrained riffs as the heavy jabs of drummer Dan Wallace punctuate their caustic tempting. The song is soon into a captivating and more predatory stroll though, the bass of Dane Riach adding throaty enticement as the vocals of Siddle bring their roar into play. Feet and emotions are soon fully engaged by this point, the thumping antagonism of rock ‘n’ roll and fevered energy an easy contagion to be infected by whilst the soaring solos work on the imagination. As suggested earlier there is little to surprise in the band’s sound and subsequently song but it still provides a heavily engaging proposal that feet and satisfaction cannot turn down

Bulletproof Rose Cover Art   The following Gypsy explores a blues/classic rock landscape with fiery riffs and strong armed rhythms. It is a song growing in strength as the intensity aggressively rises within the song but in turn losing a little of that potency when relaxing around moments of melodic and sonic enterprise as band vocal calls try to being an anthemic climate into play. There is certainly the spark of its predecessor lacking in the song but has enough to involve voice and appetite before making way for My Girl. Immediately there is a rawer volatile punk essence and attitude to the song, riffs and beats adding more of a snarl to their presence matched by the impressing voice of Siddle. Expectations are barely challenged across the song but it is another occasion where a juicy and inventive solo aligned to raucous exploits easily compensate.

Bang Your Head is the same, familiarity soaking every aspect but countered by an anthemic roar, the strongest moment on the EP in that respect, and the infectiousness fuelling the encounter. It’s most potent weaponry though is the outstanding guitar prowess igniting the song, especially in a twin solo strike. In some ways the rest of the song cannot quite back this up but again as feet and voice are fully recruited to its cause, there is no doubting that the song provides a fun and pleasing time.

The EP ends with its title track, a song opening on a great seventies rock n’ roll riff which is as much glam, a la Sweet, as it is dirty, i.e. Motorhead. Riffs and rhythms simply gnaw and pound away at the senses, whilst vocally Siddle offers a punkish tone which only adds to the irresistible theatre of rock ‘n’ roll romping with the listener. The downing of aggression for a calmer passage does not quite work for personal tastes, its predacious prowling good but defused by the distance from it guitars are taken by the production, though it all evens out again before the song ends on a highly appetising finale crafted by the impressive and thrilling enterprise of Siddle and Robinson.

It would be wrong to say that enjoyment with Loud Hard Fast was anything but full and as a first introduction to Bulletproof Rose it is a pleasing proposition from a band with some mean creative and technical skills. For real originality and surprises though we will have to wait and hope they are next on the agenda for the band.

The Loud Hard Fast EP is available from 27th April from all digital stores.

https://www.facebook.com/BulletproofRose

RingMaster 27/04/2015

 

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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