The Sourheads – Care Plan For The Soul

Since forming in the Spring of 2016, UK rockers The Sourheads has drawn increasing attention and support through their live presence, singles, and most of all their dirty, multi-flavoured rock ‘n’ roll. Now the band has added another accelerant to their emergence with the release of debut album Care Plan For The Soul. Offering nine slices of rowdy but skilfully woven incitement embracing classic and fresh rock diversity, the release thrusts the listener into a grubby cellar of salacious intent and irreverent sound; a temptation the body gets the urge to dance to and appetite the need to increasingly devour.

Hailing from Wakefield, West Yorkshire, The Sourheads embrace an array of inspirations in their sound ranging from Deep Purple, Kasabian and The Doors to Kyuss and Clutch. It is a web of punk and garage to psych and classic rock which is just as grungy as it is melodically enticing and within Care Plan For The Soul an incitement which makes a potent first impression but really grows in persuasion listen by listen. Mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2), the album swiftly grabs ears and appetite with opener Demon. Straight away it is enticingly grumbling in ears, bass and riffs an irritable lure soon bound in sonic tendrils as familiar and new endeavours collude in the blossoming growl capped by the slightly gnarly tones of Jake Coxon. The bass of Ben Taylor continues to be a belligerent presence in the caustic captivation, guitarist Mik Crone and drummer Chris Lambert adding their bold touches to the ever evolving roar maybe best described as Turbonegro meets The Senton Bombs meets Guns n’ Roses.

It is a great start to proceedings which Morally High continues with its spicily grooved stroll. Carrying similar essences and flavours to its predecessor in its own individual way, the track is equally as infectious and magnetic with again classic and modern textures rubbing excitedly again each other within its controlled yet salacious swing. As the music, Coxon has a snarl to his croon, attitude dripping from every syllable and note before My Rock And Roll steps up to coax bad behaviour with its blues skinned devilry entangled in more of the great guitar enterprise which veins the whole of Care Plan For The Soul.

Power Of Addiction shares some of that psychedelic influence next; keys and melodies a sultry tempting while Rag And Bone Man has a great scruffy feel and character to its predacious gait and rhythmically rousing proposal. The song alone sums up the variety of flavours within The Sourheads sound, a host of rock bred essences embroiled in its inescapable command of body and imagination. It all adds up to one of the biggest highlights of the release, one quickly matched by the voracious punk ‘n’ roll of Don’t Get Caught (I Am The Lotus). Like The Stooges and Eddie and The Hot Rods caught in the act by The Vibrators as AC/DC hold the camera, the track is superb, taking best song honours with its manipulative temptations and craft.

Both Secret Cigarette and Warbird take a firm grip of release and listener next, the first an invasive but seductive fire of blues and classic grooves with punk bred kindling while its successor merges sullied rock ‘n’ roll with some of the most addictive melodic hooks and enterprise within the album for another pinnacle. As with many songs, it openly draws on some classic punk hooks and teases but equally shares psych rock imagination for the album’s most imaginative moment to stand alongside its best.

Care Plan For The Soul concludes with Mad Dog, a song rising from an initial Queen/Skid Row like invitation into an invasive and volatile ballad which becomes more captivating by the minute and listen, much as the album itself.  Indeed just as many will take to the release within seconds many others will need time to explore and discover its qualities; the big rewards for the attention we can vouch for as too the finding of a potential of even greater fun and adventure ahead with the Sourheads.

Care Plan For The Soul is available now through Oak Island Records on CD, Vinyl and Digitally.

https://www.thesourheads.com/    https://www.facebook.com/thesourheads    https://thesourheads2.bandcamp.com/

 Pete RingMaster 23/11/2017

Copyright RingMaster: MyFreeCopyright

IAmFire – From Ashes

With the self-titled debut Mary Beats Jane album one of our all-time favourite releases, we have kept a close eye on the exploits of vocalist Peter Dolving especially with his time in The Haunted. So there was certain anticipation when news of a first album from IAmFire emerged, a project originally seeing Dolving linking up with bassist/vocalist Mikael Ehlert, guitarist Peter Ahlers Olsen, and drummer Ulf Scott. Now completed by drummer Jakob Mygind with Rasmus Revsbech, the Copenhagen outfit swiftly and increasingly surprise, feed, and captivate with From Ashes and its feast of heavy psychedelic/stoner rock bred adventures.

From its first breath From Ashes imposes its presence and qualities upon ears and imagination, opener Magpies and crows forcibly prowling the senses with ominous riffs and hefty beats. It soon settles into a heavy footed magnetic stroll though as the contrasting but equally tempting warm tones of Dolving settle upon the trespass. Fusing essences akin to Electric Wizard, Black Sabbath, and Kyuss with the grungier spicing of a Gruntruck, the track submerges the listener in a weighty embrace of sound and hypnotic charm.

It is a compelling start carrying on into next up Did you find your name, the song sauntering in on a mellow melodic breeze driven by boisterous and instantly rousing rhythms. As its predecessor, its presence is immediately contagious, Dolving vocally and the band musically weaving a celestial tapestry of suggestion with a lurking lining of shadow bred implication. That dark inclination erupts with increasing intensity as the song twists and turns, its rapacious Palms spiced heart sharing its creativity with melodic stimulants and increasing imagination.

Burn your halo shares a more irritable nature in its grunge lined rock ‘n’ roll next with its successor, Eyes wide open, descending into psych rock foreboding and seduction, again with an ever present edge which keeps the senses wary and ears transfixed. Both songs infuse unpredictable and tantalising twists in their already riveting bodies, the second casting a sonic incantation with a raw Jane’s Addiction like air, and each leave ears and appetite just wanting more.

That need is potently fed by For what it´s worth, its tribal rhythmic predation and invasively dancing grooves as addictive as Dolving’s vocal incitement which carries as much portentousness as reassuring calm. Bordering ritualistic, the track is creative manipulation with increasing dexterity before a similar but individual persuasion is cast by Beamer. It too has a volatility which maybe threatens rather than erupts but adds to the song’s body and imagination involving mastery with the drums an addictive ringleader once again.

The album concludes with firstly My mistake, a ravenous cosmic infestation, and lastly through the caustic yet suave tenacious shuffle of Inside. As the album overall, both tracks simply get under the skin with the puppeteer qualities of the rhythms and irresistible trespass of the grooves, they just two aspects in their individual multi-layered and flavoured examinations.

From Ashes is psych/stoner manna with rabidity in its enterprise controlled by an imagination which barely recognises restraint itself, in its midst Dolving may be exploring his own finest moments yet. Simply it is striking irresistible stuff; so seems we have another to add to our persistent favourites.

From Ashes is out now via Elevation Denmark and available @ https://iamfirerocks.bandcamp.com/album/from-ashes

https://www.facebook.com/IAmFireband/    https://www.instagram.com/iamfireofficial/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Royal Podencos – Broken Bones

Released earlier this year, Broken Bones is an album well worth taking a close listen too especially if you have an appetite for boisterous garage rock. The second album from Spanish quartet Royal Podencos, it offers much more than that garage rock tag, the Santander outfit creating their sound with a  just as rich flavouring of punk, blues rock, and power pop for a proposition as fresh as it is enjoyably nostalgic.

The successor to 2014 debut What´s your plan, the eleven song strong Broken Bones needs little time to get the body bouncing and an appetite for the band’s rock ‘n’ roll brewing with opener Sexuality. The foursome of Jonny, Jota, Toni, and Hans instantly tease with a rockabilly riff, its lure aligned to a rousing hook and melodic devilry as rhythms dance invitingly in the ears. With great distinctive vocals riding its mischievous almost salacious antics, the song swiftly springs its inescapable trap to inspire the body and imagination to be as lively as its own escapade.

It is a rousing start to proceedings which is never outshone within Broken Bones but certainly rivalled like by its successor Break us down. Its own swinging flirtation and gait brings a more sixties flavoured adventure but one quickly revealing its seventies punk instincts as vocals and hooks unveil their infectious intent. As the first song it is a highly catchy and addictive proposal, a slice of pop infused punk ‘n’ roll to get the hips and spirit dancing; their energies given no respite by the following more bluesy rock ‘n’ roll of The dog you found. With a Tom Petty-esque scent and drawl to its stroll it too casts a contagious sixties power pop jangle with a truly virulent hook to grab ears and attention alike.

Though not quite finding the heights of its predecessors, Anything you want is no lightweight in persuasive rock ‘n’ roll either, its tenacious swing and sharp hooks leading the listener into eager involvement while Noone´s giving up in here, whilst keeping enjoyment full, allows a breath to be taken with its Americana kissed blues croon and suggestive guitar woven melodic web. Both tracks spread the rich flavours in the Royal Podencos sound further, each song so far revealing a different angle in the garage rock ‘n’ roll heart of the band.

A little creep has the inner bounce leaping again as it shares its pop rock contagion next, eager rhythms injecting its already enticing bait with moments of anthemic tenacity as riffs scythe across their swings before What´s wrong with you has thoughts going back to bands like Eddie and The Hot Rods, The Motors, and Tonight with its hepped up and highly enjoyable antics.

The discord lined canter of On and on hits the spot within seconds next, its punk nature and off-kilter harmony inescapable temptation against which Let me shake puts up its own blues laced raw pop ‘n’ roll to matching persuasive success. As with most tracks within the album, each has an instinctive knack in setting traps and hooks which are impossible to evade or ignore resulting in another very agreeable rock ‘n’ roll workout.

The closing pair of You got a home and Tell me why are no different even without quite hooking up with the passions as naturally as others within Broken Bones. Nevertheless, their respective individual moments of garage pop punk and classic blues rock leave pleasure high and the album impressing right up to its last breath.

While sensing something even more unique is lurking, just waiting to break out in the Royal Podencos sound, Broken Bones consistently hits the spot with moments of lustful pleasure on top. If you are looking for some new varied rock ‘n’ roll to get dancing too then Broken Bones is well worth tangling with.

Broken Bones is available now @ https://royalpodencos.bandcamp.com/

https://www.facebook.com/royalpodencos/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Riffocity – Under A Mourning Sky

As if thrash metal has not be blessed enough with some outstanding releases this year, Greek metallers Riffocity have added another mouth-watering roar with their debut album Under A Mourning Sky. Thrash bred but casting a web of inescapable hooks and incessant grooves doused in melodic fire, the ten track encounter is like a dog with a bone; seizing ears and imagination with creative jaws, gnawing and shaking the senses until absolute submission is given to its predacious prowess.

Formed in 2013 by guitarist Dimitris Kalaitzidis, Serres hailing Riffocity gave notice of their potential and invention with the Disciples of the Storm EP last year. It is fair to say though that Under A Mourning Sky has not only realised that early promise but taken it to a whole new level. Recorded with Firewind guitarist/keyboardist Bob Katsionis, who also mixed and mastered the encounter as well as provided its keys, the album instantly lays a tight grip on attention with the opening throes of first track Hail Thy Father. As imposing beats land riffs gather, guitars and bass colluding in drama and intent as melodic wires emerge to entangle the threat. Straight away an appetite for the impending explosion is ripe, increasing in anticipation as the band heads into a momentary suggestive breath and the groove woven netting which springs from it. Made up of various twists, the track’s nagging enterprise is irresistible, the guitars of Kalaitzidis and George Lezkidis casting addiction as the bass of Panos Savvas grumbles. With the rousing roar of vocalist Thomas Trabouras backed by Kalaitzidis its own anthemic incitement, the track is near on perfection and certainly one of the best starts to an album this year.

Riffocity swiftly show the dexterity of sound and imagination in their sound with next up Arnis Oblivion, its opening piano nurture elegance is soon wrapped in classic metal breath and suggestion before thrash instincts again charge ears with nostrils flared. The sudden drop into melodic calm with a great clean Greek sung croon just catches the imagination, Constantin Maris guesting alongside Trabouras across the song. The band continues to sublimely blend mellow and feverish endeavour with increasing imagination and unpredictability before the song makes way for the ferocious energy and infectious trespass of the equally outstanding Bitter Sunday. Again the fusion of thrash and groove metal, to simplify its character, is so easy to devour and get involved with, riffs and rhythms alone a virulent persuasion never allowing expectations a moment to settle.

Fortunes of Death emerges from its stormy climate with melodic tendrils wrapping ears with more poetic suggestion, their vines as captivating as Trabouras’ gentle but commanding vocal caresses. It too is an enslaving start which blossoms into a compelling theatre of sound and enterprise with Maris once more adding his vocal prowess. There is something familiar about the song once it is in full bloom yet nothing which can be defined only enjoyed as the band blends an array of metallic flavours with increasing boldness and intensity; the track at times as rabid as its predecessor.

Through the ravenous tone and exploits of This Eternal Secret Lies Above and the senses stalking tenacity of From Inside the Arrows Come, the album and pleasure just escalate, the second of the two especially invasive and riveting with Riffocity again showing they really know how to begin a song and build anticipation for its attack, and indeed how to back up that suggested potential with craft and invention.

There is no sign of a dip in adventure or enjoyment as track by track the album ravages the senses, next up Isolation open in its Testament/Exodus like breeding and bold in its own creative mature while Perished Unloved, with Savvas’ bass simply and wonderfully bestial in voice, twists and turns with dervish qualities and a devilish intent though its thrashing antics are all controlled and eagerly rapacious.

The album’s title track is another where certain elements seem recognisable yet everything is fresh and eagerly chewed upon as the song dances voraciously and trickily in the ears, setting up a new wave of greed ready for the closing raptorial grasp of Above the End. With riffs that hound ears, rhythms that pummel the senses, and an anthemic urgency that ignites the spirit the track is inescapable pleasure, and with imagination and melodic canniness blazing within those walls, a conclusion to the album as potent as its start.

As suggested, thrash has had a mighty year with impressive releases and Under a Mourning Sky just might be the best of the lot; certainly it is at the fore of the most enjoyably addictive and devoured right here.

Under A Mourning Sky is available now through Riffocity.

https://www.facebook.com/RIFFOCITYbandgr/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Indigo Sixteen – Bring on the Rain

Not having previously come across their previous trio of singles, their new track Bring on the Rain is our long overdue introduction to Indigo Sixteen. It is a compelling jangle of indie/punk devilry from a band looking ready to step into the long line of unique and compelling Scottish propositions of decades past.

Creating a sound which by design or chance embraces the essences of classic bands like Scars and Josef K as well as British outfits like The Libertines and Skellums, Edinburgh hailing Indigo Sixteen emerged in 2013. Leaning on inspirations ranging from Kasabian, The Smiths, and Joy Division to The Jam, Daft Punk, Kraftwerk, and Nirvana, Indigo Sixteen previously released the singles Decide (2014), And What? (2014/15), and Come and Go (2016). Now it is Bring on the Rain ready to stir greater attention the way of the quartet and as it plays in the ears it is hard to imagine it not rousing up a host of new fans.

The vocals of guitarist Stephen Mallin pull the song into view, the equally alluring creative clamour of fellow guitarist Matt McPherson adding its melodic jangle to his and the rhythmic shuffle of drummer Callum Davidson and bassist Andrew Stears. Carrying an energetic and virulent swing to its gait and spirited tenacity to its character and enterprise, the song reveals its punk and indie sides with zeal, merging them into a proposition maybe not yet truly distinct but as gripping and exciting as you could wish for.

Those earlier suggested flavours swiftly come to mind in the song to add to its appeal and a quickly bred anticipation for the next band’s next steps.

Bring on the Rain is out now.

https://www.facebook.com/IndigoSixteen/    https://twitter.com/IndigoSixteen   https://www.instagram.com/indigo_sixteen/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Caesaria – Come on & Dance

The title track from their latest EP, Come on & Dance is the new single from French outfit Caesaria. As with the band’s previous releases the song sees the band’s fusion of electronic rock, pop, and dance music tease and tempt with ear grabbing enterprise, and like those encounters adds greater stock to the building reputation of the quartet.

Emerging in 2013, the foursome of Théo Chaumard, Ced Machi, Thomas Fariney, and Louis Arcens whipped up broader attention last year with the Bring My Ears Back EP. It was an ear grabbing introduction to a wider audience of the band’s magnetic electronic rock pop first heard in debut EP Sparks of Visions and since further explored in the singles Wavin’ Goodbye and now Come on & Dance. As its source EP, the track pushes the band’s songwriting and sound into a new adventure just as easy to dance to as anything before while offering even richer incitement for the imagination.

The song instantly wraps ears in an atmospheric electronic cloud, its touch gentle yet shadowed. From within the band’s already impressive enticement a harmony of vocals serenade, their varied textures matched by the blossoming sound and its flirtatious stroll. An unexpected passage of invention provided by Irish rapper Sheridan subsequently steps forward, adding further magnetism as potent as the dance of the rhythms dance and the eighties spiced temptation cast by the synths.

The track’s captivation is full from start to finish even if it never erupts into the vigorous celebration its energies suggest; in fact that restraint adds to its depth and character ensuring that expectations are left lonely in its adventurous and virulently haunting escapade.

Caesaria is a band beginning to make a potent mark on the European rock scene, something Come on & Dance will only assist.

Come on & Dance is released November 24th

http://www.caesaria.fr/    https://www.facebook.com/wearecaesaria/     https://twitter.com/WEARECAESARIA    https://www.instagram.com/wearecaesaria/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Serenade The Stars – She’s The One

The brainchild of songwriter/guitarist Damian Carruthers, Serenade The Stars is a new proposition on the British music scene about to make their full and rather flavoursome introduction with debut single She’s The One.

Formed in Amersham/Chesham earlier this year, Carruthers has united with the talents of vocalist Matthew Harman, guitarist/bassist James Wrigley, and drummer James Burton to bring his ideas first formulated around five years back and songwriting to life. A tale of “falling hopelessly for the girl of your dreams and the ensuing battle that goes on in your mind about how to confess your love…”, She’s The One quickly wraps ears in its melodic grace and emotive expression. Harman’s impressive tones are soon in the mix too, uniting with the tender yet powerful sounds with matching endeavour as the track bares its heart and enterprise.

Echoing a premise we all have awareness with, the song is a magnet which seems to draw attention with greater adeptness listen by listen, its more familiar aspects just as potent as its individual traits and prowess.  She’s The One is just the one song but more than hints that we might have a very promising and captivating prospect in store ahead with Serenade The Stars.

She’s The One is out December 1st.

https://www.facebook.com/serenadethestars

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright