Czar – Life Is No Way To Treat An Animal

cover-front_RingMasterReview

Finding something which stands out from the crowd let alone presents something truly unique gets harder and harder but Czar and their new album Life Is No Way To Treat An Animal easily tick both boxes. Creating a compelling experimental, bordering on psychotic, brew of sound bred in the raw essences of anything from progressive metal, hardcore, and grind to mathcore, post punk and more, all woven with avant-garde tendencies, the Tacoma, Washington based Czar infest ears and infect the psyche with relish. Certainly it is a challenge not all will take to, yet every intrusive assault, off-kilter trespass found within their album has an instinctive infectiousness which rewards as it devours. Like a mix of Dillinger Escape Plan, Mr. Bungle, and Psyopus, yet as suggested creating its own individual character, sound and indeed Life Is No Way To Treat An Animal is one of those times when you really feel something special is in the making.

The album makes a subdued entrance with the beginning of Owls, etc; electronic throbs and melodic coaxing a minimalistic but potent lure. Soon the enjoyably strained and captivating tones of vocalist Dr. Landon Jared Wonser join in with lively beats and a brooding bassline alongside. The track is still restrained but smouldering greater volatility in its belly. With the funk of Red Hot Chili Peppers and the progressive lilt of The Fall of Troy laced into its Every Time I Die like swing, the song never does explode and only benefits from that teasing of expectations for a thrilling start to the release.

Too Many Yetis quickly follows; its agitated heart and enterprise a caustic invasion as the guitar of Nicholas J. McManus drizzles sonic psychosis upon the rhythmic battering of drummer David Joseph Dorran Jr. and Peter Joseph Ruff’s throbbing bass meandering. Its brief but potent escapade further whets an already awoken appetite before Arachnochondriac casts its unhinged waltz on the senses, guitars a web of irrational melody and bass a roaming grumble as the keys of Christopher Duenas intensely sizzle. It is a frenzied ear twisting affair as magnetic as those before it with its unstable yet skilfully nurtured trespass.

Antelope Mask steps to the fore next, it’s extremely short hunt the perfect appetiser for Beware the Flies, Orestes and its unleashing of a post punk woven landscape littered with cold stabbing riffs, steely grooves, and vocal predation. The eye of its tempest sees keys sharing a classical beauty as harmonies float behind the corrosive squalls of Wonser, the combination as riveting as it is enjoyably testing as it leads ears into the Latin kissed melodic festivity of Vultures Never Eat In Peace. This is a hot bed of unpredictability and cracked emotional turbulence hugged by the toxic sonic craft of guitar and the perpetual imposing enticement of rhythms; drama soaking every twist, sinister deceit each throat spewed syllable.

With a psychedelic lining, The Worm Enters the Moon prowls the listener next, its theatre of sound and imagination sharing attributes found in UK band Japanese Fighting Fish and indeed Dillinger Escape Plan. The open variety of the flavours making up the band’s sound and individual songs is already clear and only reinforced by Canine, No Eyes Just Teeth, spoken word nestling in raw lo-fi sound and straight after the ferocious punk and metal bedlam of Shark Cancer, a track suffocating and igniting the senses simultaneously. Its mordant assault is then matched by that of The Golden Calf, its breath scathing and touch scalding yet equally captivating as it fluidly shifts from venomous pattern to corrosive irritability; and even when the movement is more of a clunky sidestep it works perfectly.

Through the creative surf hued snare of Mister Reindeer and the melodic calm of Domesticated Wolves, ears and imagination are effortlessly reeled in with the rest of the body disturbed into compliance by the predatory jazz infested mania of the exceptional first and the poetic serenade of the second. That track is an oasis in the certifiable invention and nature of the album, a gripping dementia fuelling the crumbling climate and emotional erosion of You Were a Comatose Lion and in turn the jazzily bipolar Wine Hog, both revealing an array of crazed facets to their attention demanding personalities.

So often a nineteen track release is sharing a filler or four along the way but there is no such moment within Life Is No Way To Treat An Animal, the celestially bent x̌ʷiqʷadiʔ provoking grateful reactions while Blind Mice provides a bewitching espionage of twisted enterprise and haunted frenzy with interruptions of dark repose with their successors in Prawn and after that RxABBITS invasively exploring and stretching the psyche respectively. The later of the songs is especially striking with its incendiary fusion of raw and composed sonic belligerence.

Concluded by the minimalistic lure of Taking Roadkill to the Vet, a track warming up to the task of seducing the listener with sonic malignancy through every second of its low key but haunting  electronically spun three minutes,  Life Is No Way To Treat An Animal is a rare gem as creatively murderous as it is formidably tempting. Czar themselves are a fresh breath which you will not have to go searching for; their music and talent will do the hunting.

Life Is No Way To Treat An Animal is out now @ https://czar.bandcamp.com/album/life-is-no-way-to-treat-an-animal

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Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Psykokondriak – Gloomy Days

art_RingMasterReview

Offering anarchic imagination and musical unpredictability is French rockers Psykokondriak, a band, to use a term in their new album’s press release, which “is a sixheaded hydra, a rock ‘n roll and hip-hop chimera.” They are also an encounter which on the evidence of Gloomy Days leaves a grin on the face and spirit as its parade of deranged adventures posing as songs spring inescapable fun fuelled incitements.

The band’s sound is like a mix of Hollywood Undead, Beastie Boys, Toumaï, and Red Hot Chili Peppers; groove infested and as funky as a swingers party and all led by a voraciously infectious hip hop devilry. Formed in 2006, Psykokondriak went through numerous line-up changes before releasing debut EP Hôpital Psykotrip six years later. Mid-2014 saw the current line-up in place, MC’s Y.B. (aka Mc Body) and Braeckman (aka Mc BOY) linking up with guitarist Tristan Florin (aka Docteur Florkin), bassist Cédric Desneulin (aka le comte Eskarfesse), drummer Aurélien Desneulin (aka L’empereur Mark Oreill), and DJ Julien Delville (aka DJ Stam Iff). Following an appearance on the Christmas compilation album Walt the Fuck last year, Gloomy Days is the sextet’s biggest nudge on attention and result of the band expanding their sound, a release with numerous familiar aspects and fiercely enjoyable and unique exploits.

Introducing the Body Boys is the short entrance into the album, the vocalists announcing themselves and the forthcoming adventure as sturdy strikes of sound engage in ear pleasing coaxing as turntables sizzle. It leads straight into Psyko Waltz, Pt. 1, a continuation in sound and style of that initial invitation. The bass instantly sets out on a funk infested grooving as vocals bounce around, a lure entangled in sonic interplay as swinging beats entice a tempest of twists and raw energy. The track easily recruits ears and appetite for its somewhat recognisable sounds yet individual character of imagination which in turn only develops and expands as the track continues to grow. By its closing, the track is as heavy and invasive as a Korn meets (Hed)p.e. proposal and as enjoyable.

The Fine Art of Terror follows, thrusting hungry riffs and funk bred grooves through ears as vocal declaration and predacious attitude drive the energy and character of the excellent encounter. Again hips and feet are swiftly gripped by the creative and contagious drama escaping Psykokondriak, the band raging and swinging with matching dexterity before Workless Dance opens up its inescapable flirtation with wiry hooks and vocal revelry. In no time the track is a festival of lean grooves and thicker expulsions, at times carrying the scent of a Primer 55 or at other moments exploring something akin to 633 meets Crazy Town, every second leading to an unexpected turn.

A similar template provides the canvas for Monstros Incorporantes next; punk rock, metal, and hip hop colliding in a jungle of swiping beats, predacious bass and guitar grooves, and vocal infectiousness. Again familiar elements entangle fresh enterprise as the track grips ears and bodies before the brief cinematic instrumental interlude of Gunfight Helicopters sets up the raucously psychotic Think It Up. Like Flea and co losing their sanity as early Faith No More interferes, the deranged engagement jumps around like its feet are burning on hot creative coals, again the imagination as hooked as ears on Psykokondriak’s fun soaked bedlam.

The album’s best track comes next, Spookadelic Fever Mansion opening with much of the classic Alfred Hitchcock TV show intro before sauntering into an aural spook fest of swaying rhythms aligned to a low slung bassline. With its cartoonish swagger and the rapacious aggression which blossoms in certain moments, it plays like a Scooby Doo meets Beetlejuice soundtrack while lyrically snarling. The track is glorious; reason enough to take a look at Psykokondriak and quickly backed up by Hot Day Hotter Night and its funk stroll with moments of climactic eruption and anthemic vocal roars; it all simply impossible not to get thickly engaged in.

Closing on the dark strains of Unherited Culture, a track reminding a little of nineties UK band Honky but exploring its own experimental and threatening shadows, Gloomy Days simply hits the spot for something fresh and exciting. Musically at times it is not the most unique yet every recognisable aspect is countered and surpassed by moments of imagination and craft masked as lunacy.  Whether Gloomy days will break Psykokondriak into new hungry spotlights time will tell but it will definitely recruit a horde of new fans with us to the fore.

Gloomy Days is out now across most online stores and streaming @ https://psykokondriak.bandcamp.com/album/gloomy-days

https://www.facebook.com/Psykokondriak

Pete RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

Japanese Fighting Fish – Swimming with Piranhas

Photo by Scott M Salt Photography

Photo by Scott M Salt Photography

The highly anticipated third album from British aural dramatists  Japanese Fighting Fish is uncaged this week, a release which not only confirms that there is no other proposal like the London based quartet but shows the band hitting another plateau in their breath-taking sound and invention. There are few with the musical craft and adventure to match an imagination as daring as it is inimitable but Japanese Fighting Fish have it all in abundance and in full enthralling flow within Swimming with Piranhas.

Formed in Leeds in 2009, Japanese Fighting Fish had a great many hooked, including us, by the release of debut album Just Before We Go MAD two years later. A release experimenting with South American rhythms as raw vocals and dirty guitars played, its compelling success was eclipsed by its successor, the punk infused Day Bombs of 2011. Releases and years have seen the band draw comparisons to the likes of Faith No More, System of a Down, QOTSA, Nick Cave & The Bad Seeds, Red Hot Chili Peppers, Primus, and Frank Zappa, but as evidenced once more by their latest triumph,  Japanese Fighting Fish really do stand alone in character and sound. Mastered by Tim Young (Massive Attack, The Clash, Sex Pistols, Nick Cave & The Bad Seeds, Elbow, and The Beatles ‘Love’ Album), Swimming with Piranhas is the band at its most eclectic yet and offering a collection of funk infested, theatrical exploits; quite simply rock and roll with the devilry and boldness of creative insanity.

Inspired in title by the real life wild experiences of vocalist Karlost Thompson and drummer Al Sweetman whilst staying in Ecuador with a Quechan tribe where they took a dip in the Amazon River, Swimming with Piranhas has ears and imagination swiftly gripped with its opening title track. A lone spicy groove teases first, it soon joined by broader sonic sighs and boisterous rhythms as the song increasingly expands into a hip swinging, rhythmically riveting magnet. Once the familiar, ever expressive and captivating tones of Karlost complete the line-up of creative cast, the imagination is taken on a beguiling off kilter ride. With kinetic beats and baroque scented organ shaped theatre adding to the ever shifting gait and mood of the encounter, the opener is sheer captivating as fiery and infectious as it is thought provoking and a great sign of things to come.

art_RingMasterReviewThe excellent start continues and hits another level with Egyptian Sunrise, the song a sultry tango of exotic mystique upon the driving throaty bassline of Matt McGuinness and the swinging bait of Sweetman. Impossible to resist getting physically involved, the song leads the body a merry dance with the imagination caught up in the creative tones and lyrical incitement of Karlost. Also swathed in the equally suggestive invention of Gareth Frederik Ellmer’s guitar, the song is a mouth-watering exploit soon matched in creative theatre by Provocative Cat. Funky with Parisian hues, the song flirts and dances with ears as the bass masterfully groans and Karlost paints the imagination like a vaudevillian showman.

New single For Queen Marilyn comes next, sauntering in on a raw riff and rumbling beats as vocals spread their instinctive drama and ascending energy. Soon its rapacious rock ‘n’ roll is ablaze with intensity amidst a hearty roar, switching between calm and volatile waters before making way for Close The Gate. An encounter which seems to mellow as it reaches climactic moments and erupts when you expect it to slip into alluring calms, the unpredictable song is a twisted treat but one soon outshone by previous single U Ain’t Gonna Win This. An exploration of split personalities also making a “homage to boxing greats like Ali, and Rocky “, the song is a fleet footed shuffle with another deeply contagious gurning  bassline from McGuinness courting the vocal waltz of Karlost and band. Taking addiction to a fresh level, the track mixes sweltering melodies and grungy textures with sonic guitar splatters and a virulent carnival-esque bounce.

Hard To Resist is a matching enslavement of body and appetite, its lazy yet snarling bass swing and gripping croon just two of the irresistible elements in what must be the next single. The track is glorious, reminding of little know eighties band, Zanti Misfitz as it throws its creative temptation around. A slip into a deranged XTC like pasture only adds to the fun and increasing seduction too.

Another funk sculpted adventure follows in the shape of I Got Time; its Red Hot Chili Peppers like romp infused with a Talking Heads like prowess, while On A Fall sonically shimmers as the eager beats of Sweetman fuel the pulsating balladry of voice and Ellmer’s resonating guitar enterprise. Increasingly more provocative and gripping with every listen, the track is yet another thrilling twist in the varying style and sound within Swimming with Piranhas.

The album is brought to an equally exciting and inventive close by firstly Dr. No-Sense and its noir spiced and increasingly bedlamic intensity. It is followed by the similarly deranged but skilfully reined imagination and creative resourcefulness of I Caught You Wandering for a bewitching end to another superb offering from Japanese Fighting Fish. Swimming with Piranhas takes the band and their one of a kind proposition to a whole new plateau, not just for them but for the British rock scene. Why Japanese Fighting Fish is not a name on so many more eager lips already is a bit of a mystery, now they might just be with this beast of a proposal doing the persuading.

Swimming with Piranhas is released 17th June across most online stores.

http://www.japanesefightingfish.co.uk/    https://www.facebook.com/Japanesefightingfishuk   https://twitter.com/jffuk

Pete RingMaster 17/06/2016

Copyright RingMaster: MyFreeCopyright

Strange Fiction – Icarus’ Last Night

SF_RingMasterReview

As they continue to work on their crowd funded second album, alternative rock band Strange Fiction have released new single Icarus’ Last Night as a potent teaser and nudge to those still wanting to get involved in their upcoming full-length. The single is a dynamic and rousing proposal fuelled with emotive vocals and spicy melodic enterprise around an imaginative weave of rhythmic and anthemic textures; or to put it simply, an attention grabbing proposition.

Based in London and Barcelona, Strange Fiction emerged in 2014 consisting of vocalist Carlos Palacio, guitarist Sergi Venteo, bassist Marc Martínez, and drummer Joel Marco. The following year saw the band release their very well-received debut album Orange, its arrival subsequently backed by successful tours across Britain and Spain. Now as the band finish off its successor, art_RingMasterReviewIcarus’ Last Night, though taken from the first, is laying the seeds to a potentially bigger focus on the new album and the continuation of raising new appetites for their ripe sound which is said to draw on varied inspirations ranging from Incubus and Red Hot Chili Peppers through to Bruno Mars.

Icarus’ Last Night opens on the laid back caress of synths before being joined by the more forceful touches of rhythms and riffs. The swinging beats of Marco soon has body and feet bouncing as eighties scented synths dance around the expressive tones of Palacio, his prowess backed with equal harmonic potency by the band. The dark hues of Martínez’ bass further entices ears and imagination as flirtatiously as the sonic enterprise springing from Venteo’s guitar strings; every element of the band uniting for a track which becomes more boisterous and rousing with every pungent note and syllable.

An inescapable ear pleaser, it is easy to assume Icarus’ Last Night is a live crowd arousing incitement too and right now offering plenty of bait to keenly anticipate the band’s upcoming album.

Icarus’ Last Night is out now @ https://strangefiction.bandcamp.com/track/icarus-last-night

http://www.strangefiction.co.uk/   https://www.facebook.com/strangefictionband   https://twitter.com/StrangeFiction

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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Scout Killers – Rip Me Apart

scout killers art_RingMasterReview

Keen anticipation raised for a new Scout Killers offering has always been met with something bigger and bolder than the last rewarding adventure, and so it continues with new single Rip Me Apart. The track is a blaze of festering emotion and sonic intrigue, an impassioned alternative rock bred roar woven into a sound becoming decidedly unique to the UK band with every release. Ahead of a UK tour this April, the single is also a hint that 2016 is going to be a potent year for the Bath based quintet.

Formed in 2009, Scout Killers drew on the inspirations of bands such as Rage Against The Machine, Queens of the Stone Age, Pearl Jam, and Red Hot Chili Peppers as they honed their sound. Fair to say, those spices have been a diminishing flavour to the band’s music and within Rip Me Apart non-existent. From a successful self-titled EP in 2013, Scout Killers has only impressed and drawn greater acclaim as their sound has grown across subsequent singles and the impressive We Cage the Storm EP released late 2014. It has now found a new maturity within the band’s new single; found a depth and power which refuses to be ignored.

The song opens on an electronic shimmer, a low key but potent coaxing which brightens and thickens as the ever impressing voice of Scott Cox moves in on ears. The beats of Chris Phillips present a sturdier enticement whilst guitarists Julien Morrez and Beau Stevens weave a web of reserved but evocative melodies to link it all. In a little stretch of time, a crescendo of energy and emotion builds and erupts, catching passionately alight as Cox roars in kind before settling down again to breed a similar cycle. With the bass of Josh Ellis a roaming shadow in the tapestry adding more provocative texture, ears and imagination find themselves inescapably gripped by the song’s disturbed melancholic soul.

Even as the beguiling lure of vocals steer the bare emotion of the song, it becomes more volatile in sound and heart but still continues to ebb and flow with emotional waves aligned to varying bursts of intensity. The track is as fascinating as it is thickly pleasing, and though we would like to say the Scout Killer sound has come of age, it is easy to feel that there are still more exciting things and avenues to be explored by the band in their music and imagination.

Rip Me Apart will be released on March 28th to be followed by a UK Tour starting April 3rd.

Scout Killers Hi Res Tour 2016 _RingMaster Reviewpic to use

http://scoutkillers.com/   https://www.facebook.com/scoutkillers   https://twitter.com/scoutkillers

Pete RingMaster 09/03/2016

Copyright RingMaster: MyFreeCopyright

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Supersonic Blues Machine – West of Flushing South of Frisco

Photo By Alex Solca

Photo By Alex Solca

Not so much a super group but a collective of irresistible talent, Supersonic Blues Machine release their debut album, West of Flushing South of Frisco, this February and a collection of blues fuelled tracks which leave ears glowing with satisfaction. Centred around the trio of bassist/producer Fabrizio Grossi, guitarist/singer Lance Lopez, and drummer Kenny Aronoff, band and release provide a tapestry of craft and heart fuelled enterprise which, even if blues is not the prime source of your musical tastes, simply stirs up an eager appetite with its tenacious rock ‘n’ roll.

The beginnings of the band began in 2012 with Lopez, when planning a visit to Los Angeles to record a new album, arranging to hook up with Grossi, who has worked with some of the finest musicians from Steve Vai to Tina Arena, Nina Hagen to Alice Cooper as well as Glenn Hughes, Dave Navarro, George Clinton, Joe Bonamassa, Leslie West, Zakk Wylde, Ice T, Slash, and Paul Stanley to name a few. Their plan to knock around new ideas led to a trio of tracks which became the foundation of an exciting new project to which ZZ Top’s Billy F. Gibbons added fuel to the creative fire by suggesting the pair, who he both knew, “should seriously consider working on something together.” Aronoff who has worked with the likes of John Mellencamp, Smashing Pumpkins, Meat Loaf, Brandon Flowers, John Fogerty, Red Hot Chili Peppers and Joe Cocker, was then subsequently recruited, thanks to Toto’s Steve Lukather, to complete the heart of the new adventure.

Rushing forward to now and it is fair to say that West of Flushing South of Frisco is already making a stir from the glimpses of tracks offered as teasers and from the band of musical brothers brought in to give each song its individual and impressive character of sound and persuasion. It opens up with Miracle Man and a coaxing caress of acoustic guitar aligned to enticing sonic tendrils around sand textured vocals. Those sultry strands of blues guitar continue to wind around the moodier tones of bass and the great grain textured vocals of Lopez, even as an infectious saunter breaks free from the more reserved start to lead feet and hips into an eager southern spiced jaunt around the dance-floor.

artwork_RingMaster ReviewIt is a great start more than backed by I Ain’t Fallin’ Again with its punchy rhythms and climactic air of wiry grooves and spicy enterprise. As the first, it too develops an infectious canter which easily coaxes involvement in its anthemic funk lined revelry and continues the album’s rousing star before Running Whiskey turns up the heat again with its rock ‘n’ roll blaze. Featuring Billy F. Gibbons, the song aligns shimmering keys with classic rock ‘n’ roll with a very gentle scent of Thin Lizzy to it.

Remedy mellows the adrenaline running through veins next, though the song with Warren Haynes (Gov’t Mule/Allman Bros Band) adding his provocative craft has ears and enjoyment firmly gripped with its smouldering Americana. Fair to say though, it is quickly replaced in the attention of personal tastes by the outstanding Bone Bucket Blues. Gnarly and cantankerous in riffs alone, the track is a liquor scented stomp with the vocals of Lopez as much galvanic bait as the feverish grooves and tenaciously writhing textures around them. It is led by a brooding bassline which reoccurs in a less imposing manner within the emotive croon of Let It Be. Even within is sweltering climate of emotional intensity, the song has a sway and infectious manner that makes easy pickings of ears.

Equally as fiery and expressive in word and sonic invention is next up That’s My Way with Chris Duarte joining the trio for its catchy rock ‘n’ blues persuasion whilst Ain’t No Love (In The Heart Of The City) is a tantalising engaging cover of the Bobby ‘Blue’ Bland classic. Smoky in air, galvanic in a group loaded chorus, it is easy to suspect that the song has an emotional involvement with one or more of the trio such its impassioned rendering, though that kind of potency is fuel to the album as a whole and in evidence within the Eric Gales enhanced Nightmares And Dreams. Inspired by a dream, the song is a haunting yet inviting roar of voice and emotion draped in the guitar imagination which veins the whole of the album in an array of stirring tapestries.

Walter Trout brings his distinct touch to the lingering temptation of Can’t Take It No More where the pairing of Lopez and Trout‘s vocals alone are worth the price if the ticket whilst after Whiskey Time, a spicy track described as the extended ending to earlier proposal Running Whiskey, the mellow charm of Let’s Call It A Day sees Robben Ford helping create a piano led, guitar shaped serenade which provocatively smooches with ears with a gentle and at times more intensive touch.

Closing with the funky throes of Watchagonnado, the Supersonic Blues Machine debut keeps pleasure full and a hope for more of its band of brothers like rock ‘n’ roll to come. It is fair to say that we are no blues experts but we know what we like and West of Flushing South of Frisco easily fits the bill.

West of Flushing South of Frisco is released February 26th via Provogue/Mascot Label Group @ http://www.mascotlabelgroup.com/supersonic-blues-machine-west-of-flushing-cd.html

http://supersonicblues.com/   https://www.facebook.com/SupersonicBluesMachine

Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

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Lady Jane’s Revenge – 1554 EP

Lady Jane's Revenge Promo Shot_RingMaster Review

There has been a buzz brewing up around UK alternative rock band Lady Jane’s Revenge for a while now and with the release of debut EP 1554, it is understandable why. It’s collection of songs make a striking impression on ears and imagination, not one to warrant calling them the next big thing but certainly plenty to spark keen interest in their progress from hereon in.

Hailing from the beauty that is Cornwall, there is a calm and freedom inspired by that part of the UK which is matched by and reflected in the sound of Lady Jane’s Revenge, even when it is roaring away in ears. The band itself began in the January of 2015, the quartet of vocalist Billy Crook, guitarist Sam Kent, bassist James Coffey, and drummer Ash Jenkin coming together through online advertisements. Comparisons in sound with the likes of Mallory Knox, YouMeAtSix, Incubus, Alkaline Trio, and Red Hot Chilli Peppers soon arose, references the band itself equally suggests as inspirations to their openly evolving and still being established sound. In short time, they became a potent and eagerly followed proposal on the live scene across the South West of England, and now Lady Jane’s Revenge is looking at stirring up broader national attention with the release of 1554.

The EP opens up with Floodgates and its initial water logged storm. The song swiftly emerges from that tempestuous climate spawned first lure; breaking from the ill-clement weather with steely riffs and swinging rhythms bred in a mix of alternative metal and punk rock. Straight away the tones of Crook are enticingly stabbing and trespassing on the more welcoming stroll of the track, though it too is ripe with intimidating textures and senses smothering shadows. At times lying somewhere between Red Hot Chili Peppers and Ill Niño and in its calmer moments finding a persuasion nearer to an Incubus or Hoobastank, the track is a thickly enticing start to 1554.

Lady Jane's Revenge Cover Artwork_RingMaster ReviewIt is more than matched by the spiky infectiousness of The Kid Within. Swinging along with attitude and spicy hooks, the song provides a captivating incitement within which vocals and anthemic calls make their similarly inviting play. It is the guitar craft of Kent and the song’s rousing hooks which ultimately steal the show though, plus a Skids like essence which simmers in the heart and enterprise of the compelling encounter. It is a success shared by the melancholic charm of Carbon, an again Red Hot Chili Peppers scented song also equipped with an emotive caress reminding of Deftones and a rousing intensity hinting at Million Dead. More of a slow burner compared to its predecessor, it grows in persuasion and stature over time whilst showing another shade to the raw and volatile rock ‘n’ roll of the band.

The melodic croon of Next Tuesday engages ears next, its emotive heart a strong hue in the fiery nature of the song. It lacks the spark of its predecessors for personal tastes but reveals more depth to the songwriting and imagination that fuels the band, as equally does the acoustic seduction of Positive Mental Attitude (PMA). Another with an Anthony Kiedis and co flavouring, the track is superb with Crook at his most potent on the EP. It is an encounter which beguiles from start to finish much as Sunny Side Up which continues the mellower side of the band’s intensity and sound. Once more guitar and voice hold ears and imagination firmly enthralled, ultimately matching the triumph of PMA before it.

Completed by a radio edit of Floodgates, the 1554 EP is a strong introduction to Lady Jane’s Revenge. It may lose its power mid-way, in relation to its excellent start and ending, but the release more than suggests Lady Jane’s Revenge as a band moving in the right direction and carrying the potential to be a dynamic part of the UK rock scene ahead.

The 1554 EP is available from 26th February through all stores.

https://www.facebook.com/ladyjanesrevenge   https://twitter.com/LJRevenge  http://www.ladyjanesrevenge.com

Pete RingMaster 24/02/2016

Copyright RingMaster: MyFreeCopyright

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