Cris Pinzauti – Black

Pic by Ilaria Costanzo

If like us the name Cris Pinzauti is a mystery then we suggest you change that as soon as possible by checking out his debut solo album Black. Consisting of eight songs which all captivate ears and attention, and at times explodes into one of the most thrilling and essential acoustic rock propositions you are likely to find anywhere, the release just leaves you wanting more. It is not an encounter which always hit the sweet spot of personal tastes but when it did boy the pleasure was thick and irresistible and at those other times satisfaction was still a done deal.

The background to Pinzauti sees him born in in Florence, Italy in 1971 and from a young age writing songs before self-teaching himself the guitar at 16. From here on, Pinzauti was part of numerous musical projects, creative collaborations, and played thousands of concerts throughout Italy and Europe, many with SUZY Q the band he and his brother Marzio founded and hard rock band Devil’s Mojito over recent times. Equally as a solo artist Pinzauti has strapped on his guitar and clicked on his loop station to light up audiences for over a decade in local venues with his creative style of acoustic rock. Now Black is poised to take the singer songwriter’s sounds to broader spotlights and appetites. Recorded exclusively with acoustic guitars, acoustic bass, and additional acoustic guitars used in percussion mode, and with guest appearances on certain tracks from Marco Di Maggio (Di Maggio Connection), Jack Meille (Tygers Of Pan Tang), Francesco Bottai (Articolo 31 and Irene Grandi Band), and brother Marzio, the album is a wake-up call for us all still unaware of this captivating talent.

Themed by “the BLACK or dark side of our lives, that which society labels as “dark”, but in reality is not” and contemplating the shadows behind forbidden love, sex, loneliness, soul searching, cynicism, inner demons, and rock and roll, the album opens with The Devil in the Closet. A breaking storm heralds in the song and its narrative, a stranger walking into a vaudeville bar room springing from an imagination sparked into action by the encounter before the potent tones of Pinzauti unveil more of the expressive scene in the company of his creative fingers on guitar strings. There is a mix of delivery styles to his voice; his offering equally a theatre of characters in the brief but intriguing folk bred opener.

It is a magnetic start but not as potent as the excellent My Black Is Back which follows. The song is instantly popping with melodies against vivacious beats, the infectious coaxing soon cris coverenhanced by a gentle strum of guitar. Again Pinzauti mixes up his tones, a gruff offering turning into a much stronger and compelling clean delivery which as the elevated melodies which hug it, gives the song a new energy and pungent contagion. The string plucks equally add a fascinating fun and creativity to the outstanding encounter to match that of the adventurous vocals, which once more never settle with one line of persuasion and only add weight to the enthralling temptation.

The country lined folk croon of Wasted Years comes next and has ears and thoughts hooked with its warm melodies and reflective vocals. The song does not give expectations a hard time but has enjoyment full before the brilliant Down brings its own transfixing beauty to bear on the senses. The resonating bassline is an instant hook whilst the guitars almost flirt as they sculpt a weave of melodic enterprise. Vocally too, and as now expected, Pinzauti only impresses as he increases the infectious tenacity and persuasion of the song’s gentle yet lively stroll.

The Vampire’s Lullaby is one of those moments which still has yet to fully convince. It is again a drama, a music play for today in some ways set in two parts. Let Me In is a spellbinding instrumental narrative, the fingers of Pinzauti bewitching across the strings of his guitar as he sculpts an imagination firing suggestiveness of a gothic tale. The storm of the first track again cracks and shares its intensity as Hush comes in and Pinzauti finds his dustiest Tom Waits like tones to bleed into the dreams of the song’s recipient. The track is a skilled and fascinating offering but one which misses sparking the same reaction as other tracks despite the exceptional vintage wine like melodies he pours across the song. Primarily it is the raw vocals which do not quite do it for us, just a personal thing and for others will work a treat, just like the rest of the compelling track.

The blues flavouring of Forever Yin Forever Yang is a vibrant collusion with a funkier endeavour sure to bring the listener to their feet whilst Hellbound Train explores that country breeding again with a southern rock balladry. Both tracks are short and potent temptations continuing the impressive nature of the album, but soon surpassed by Zombie Attack. The closer is easily the pinnacle of Black, its initial sandy croon the lead into virulent revelry blending melodic rock and pop into one quite sensational triumph. Addictive and ridiculously infectious yet intricately sculpted without taking any short cuts in seducing the listener, the song slips under the skin and into the psyche with sublime craft. Experience also knows that once infected the song never goes away, not that you will wish it to of course.

Black does not quite steal the passions for the whole of its body for us yet there is never a moment you wish to pass over and when it hits its heights, Cris Pinzauti simply has us in the palms of his creative hands. The bottom-line is that this is a must check out rock ‘n’ roll album and as the last line of Zombie Attack says “If Rock is dead, we are a Zombie Attack!” and that about sums up the attitude of this album and rock ‘n’ roll period.

Black is available now via Red Cat Records @ http://www.redcatpromotion.com/ita_store.html

http://www.crispinzauti.com/

RingMaster 27/02/2015

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://reputationradio.yooco.org/

Madre De Dios – Self Titled

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It is hard to get enough of out and out heavy booted rock ‘n’ roll, especially when it comes in the kind of shape of the self-titled debut album from Italian rockers Madre De Dios. Consisting of eleven tracks which blaze away with all the instinctive and prime essentials any thumping rock song needs, the quartet’s introduction is a stomp of impassioned energy. The band is not interested in break down walls of originality it is probably fair to say but in bringing a release which anyone can give their bodies and pleasure to, the band has an undoubted success on their hands.

Hailing from Bari, Madre De Dios was formed in 2010 by guitarist Stefano Pomponio aka S.P. Jesus (Natron). The band’s first line-up was completed by bassist Gigi D’Angella (Anuseye), vocalist/guitarist Gianpaolo di Stasi (Stainer), and drummer Marco Ninni (Swedish Death Candy), a foursome who’s live presence was soon luring in increasing masses of devoted fans. Over time a more stoner-esque character emerged in their heavy rock ‘n’ roll propositions, their sound continuing to evolve as a shuffle in personnel saw vocalist Frank Bizarre (The Missing, Cafè Bizarre) and drummer Vince Floro (Stainer) replace di Stasi and Ninni respectively; the latter joining the band after his predecessor had recorded the album in 2013, and a year’s break for the band soon after. As the album, swiftly shows, the band’s sound draws in numerous spices from varying decades to create something familiar yet fresh and compelling. With shows with bands like Bud Spencer Blues Explosion also on their CV, 2015 is looking like turning into a potent and break-through year for Madre De Dios, especially as their album grips many more appetites like ours week by week.

The albums gripping devilry opens with The Evil Guide, a song exploding from a crotchety riff into a full on assault of bracing grooves and pungent rhythms within a blaze of melodic enterprise and tenacity. There is an immediate snarl to the song but equally a captivating infectiousness, every element an anthemic lure in the rigorous persuasion of the excellent incitement of feet and appetite. Just as swiftly the craft and creative attitude of the band is an open temptation too, every swing of the sticks, casting of tangy grooves, and vocal expression drenched in a stirring energy driven by personal adventure.

The same applies to the following High Living in the Sunshine, well every song on the album to be truthful, the track making a more deliberately controlled entrance but loaded with thick MoftheRspicy grooves which make slavery of ears and imagination right away. Exploring a potent mix of hard and classic rock, the song is soon leading the listener in a sing-a-long chorus and head nodding participation for the slower but catchy stroll of its surrounding verses. Not as dramatically persuasive as its predecessor maybe, the song is still soon a masterful treat, and even more so once bluesy stoner bred temptation begins to colour the song’s increasingly appealing canvas.

That blues tang is just as ripe in Flamingos! which comes next, its rich spicery again merging with a more classic roar of rock as jabbing beats keep an antagonistic edge to the rhythmic side of the infectious encounter. This virulence is exploited further in the similarly sculpted Big Head. Coming straight out of the previous track there is an unmissable similarity to certainly the riffs and grooves of the song, though that is tempered by the excellent grizzly growl of D’Angella’s bass and the ever engaging dusty vocals of Bizarre, not forgetting a grunge meets stoner air which at times has a slight feel of Kyuss and Gruntruck to it.

I Crashed Your Car opens up our favourite part of the album, its rhythmic agitation and fiery melodies an exciting and inventive embrace for the magnetic vocals and creative majesty of Jesus’ solos. The throaty bassline also adds further irresistible bait for ears, its dark presence contrasting and complementing the increasingly imaginative weave of raw and spellbinding melodic ingenuity. As great as it is though, the song is just the appetiser for the delicious exciting meals of Shake it Baby and Mad City. The first as so many, just slips out of the song before with seamless and natural ease, and straight away unleashes an enthralling and invigorating rock ‘n’ roll dance. Like a sonic epidemic, the track is soon infesting ears and psyche, not to mention body and soul, as riffs and beats unite in a merciless temptation whilst grooves and vocals toy with the passions. Hooks are spilled left right and centre across the adventure whilst the bass has lips licking in excitement even just thinking about its lures. The brilliant proposition is matched by the just as insatiable tempting instrumental which follows, Mad City a foot to the metal juggernaut of toxic riffs and just as venomous grooves within a tempest of rhythmic and sonic charging. If you are aware of the equally addictive Buzzcocks track Late for the Train from Love Bites, you will understand the unrelenting potency of the track.

A mischievous nature adds to the raucous bellow of Ordinary Man next, the song another creatively stormy and exhaustingly fun rock ‘n’ roll romp matched by the excellent cover of The Beatles’ Helter Skelter, renamed Mater Skelter here. The Siouxsie and The Banshees version still holds the heart but Madre De Dios’ cover definitely gives it a run for its money at times, the band not twisting it around too much but still giving it their own spirited slant.

The album is completed by the stoner blues breathing Merry Go Round Song, a song which seems part Pearl Jam and part The Black Crowes, with a scent of Clutch but again finding something more to stand out, and lastly by the spatial adventure of Orbit. The final track seems to draw on all the flavours permeating album and sound so far, casting them all into its own individual escapade of eighties, nineties, and modern day rock ‘n’ roll. Like the album as a whole, it makes no demands and makes accessibility and enjoyment a done deal within the first handful of seconds, but as on all tracks it offers plenty of imagination and enterprise to be an intriguing and thrilling proposal at every turn.

If you want ground-breaking stuff, want to have your boundaries pushed into new realms, Madre De Dios will please to a certain extent but if you want rock music to leave you bloated on undiluted pleasure and fun then band and album is a must.

Madre De Dios is available on most digital music platforms and CD through Red Cat Promotion.

https://www.facebook.com/madrededios2010

RingMaster 27/02/2015

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://reputationradio.yooco.org/

Damn Vandals – Mad As Hell

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The British rock scene is not short on some rather exciting prospects and artists right now, bands which are stripping away its current landscape to create new primal and instinctively imaginative adventures. To the front of these propositions for the past few years, certainly since the release of their debut album Done For Desire in 2012 is Londoners Damn Vandals. They are the source of raw and aggressively inventive rock ‘n’ roll which seems to increase in virulence and creative rigour across every release, a success proven and reinforced once again by the band’s new single Mad As Hell. It is trade mark Damn Vandals yet again finds the band pushing new twists of sound and enterprise whilst providing another heady temptation into their warped sonic world for all newcomers.

Mad As Hell and its B-side, This Music Blows My Tiny Mind, both come from the band’s second album Rocket Out Of London, which as its predecessor was no stranger to widespread acclaim. In fact all Damn Vandal releases earn eager praise and it is hard not to suspect Mad As Hell doing the same. From an opening muscle bound grouchy bassline, the song has ears and attention firmly gripped ready for the distinctive and highly expressive tones of vocalist Jack Kansas. Just as swiftly his and Frank Pick’s guitars are weaving their flaming sonic seducing, a temptation ripe with spicy blues flavouring within a climate which shimmers and sizzles with melodic drama and fiery enterprise. Right away impressive on the album, the song has grown in stature and persuasive weight over time and now as a single, Mad As Hell sets the imagination and emotions sparking with pleasure. Within the embrace of the whole stunning full-length, its potency as a single initially might have been questioned but any doubts are soon tossed aside as the song revels in its spotlight proving that Rocket Out Of London in many ways is nothing but potential singles and essential slabs of rock ‘n’ roll.

The irresistible rhythmic frame of the single, cast by bassist Adam Kilemore Gardens and drummer Chris Christianson, is emulated in the equally contagious success of This Music Blows My Tiny Mind. Stretched sinews drive an even paced gait loaded with thick drum swipes and throaty bass riffs as vocals and guitars flirt with their caustic swagger. Littered with abrasing hooks and dirty melodies, the song is soon immersing ears into a unique tapestry of garage punk, psyche and raw punk with a stoner-esque tang, and swiftly infesting senses and psyche like a sonic virus. Charmingly psychotic and addictively feverish, the song is a creative brawl which again is only the strongest enticement into the ingenuity of Damn Vandals.

If you have yet to discover the quartet either Mad As Hell or This Music Blows My Tiny Mind provide a doorway to a theatre of original rock ‘n’ roll, and together make an inescapable sonic tempest. Though not labelled as such, the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) produced single is really a double A-sided offering in quality and striking impact, and proof that Damn Vandals still lead the current march of real rock ‘n’ roll.

Mad As Hell is released on 23rd February

http://www.damnvandals.co.uk/

RingMaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

 

Ligaments – Ligaments (Eat Pizza EP)

Ligaments Online Promo Shot

As soon as learning that the armament within punk ‘n’ rollers Ligaments involved a double bass, intrigue and excitement, as we are suckers for the throaty seduction of said instrument, was rife. It was an anticipation swiftly satisfied by the London based trio’s excellent Ligaments (Eat Pizza EP). With throaty bass slaps in tandem with roaring vocals and voracious riffs, the four-song encounter proved itself to be an imposing and impressive introduction to the band.

Formed in 2012 after Napoli hailing Nicola Itro (double bass, vocals) and Londoner Jake Maxwell (guitar, vocals) met at the 12 Bar Club in Soho, Ligaments create a sound which is part ’77 punk, part old school rock ‘n’ roll, part rockabilly rapacity, and all 21st Century ferocity. Last year saw former Pettybone member Zel Kaute join the band on drums, bringing a passion for pizza with her which humorously themes the visual side of the new release. Already Ligaments have supported the likes of Pure Graft, The Meteors, The Vibrators, and GBH, and made Europe a regular playground for their thumping live presence, but it is with their debut EP that it is easy to expect a new spotlight shining on the creative bellow and potential of this exciting band.

Recorded with Wayne Adams (USA Nails, Death Pedals), the EP takes little time grabbing attention as opener Precinct 13 brews up an immediate dirty hard rock coaxing. Initially held in a Ligaments covermore distant embrace, it is soon bursting loud and anthemically upon the senses, and straight away Itro’s moody basslines are claiming an eager appetite. Equally the blaze of riff causticity and swinging punchy rhythms from Kaute are stealing their share of the focus. Minor Threat has been offered as a reference to the band’s sound but similarly here essences of Living End and AFI make a potent flavouring to the riotous proposition.

The great start is right away eclipsed by 4th, and again bass slaps and tenacious beats provide inescapable bait for the guitar of Maxwell to blaze over. Into its stride, the track marries a melodic ferociousness with a whiff of The Bronx to it, to a bruising yet captivating Peacocks like punk rumble. It is raw, unfussy, and magnetically anthemic but just an appetiser itself for the closing pair of treats starting with the Tiger Army like swing of Turn To Acid. Sultry in air and contagious in rhythmic enterprise, Itro again laying down virulent temptation, the track is stripped down rock ‘n’ roll providing an unpolished but craftily lean musical narrative almost revelling in its addictive nature.

Final song In The Black Lodge emerges as the favourite, again the dark charms on Tiger Army and AFI seeping into the psychobilly kissed landscape of the song. An anthem for feet and voice to instantly consume, the track stomps through ears, jabbing the senses with every swing of its epidemic energy. With thick basslines and insatiable melodies adding further primal tempting, it is a roaring blaze of the song.

Whether a fan of punk or rockabilly, in fact for anyone with a taste for any shade of rock ‘n’ roll, there is great pleasure to be found in Ligaments first release, and a ripe potential fuelling their impressive debut which suggests the band is going places.

The Ligaments (Eat Pizza EP) is available through all digital platforms from Monday 16th February and on ltd edition (250 pressed) CD @ http://theligaments.bandcamp.com/

https://www.facebook.com/TheLigaments

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

The Black Frame Spectacle – Self Titled EP

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It seems like a life time since the release of their last album, but ensuring that the wait is swiftly confined to being a distant memory, Canadian punkabilly duo The Black Frame Spectacle return with a new slab of ferocious rock ‘n’ roll in the shape of their self-titled EP. Uncaging four tracks of their trademark adrenaline driven rockabilly, the Ontario band has an even bigger roar and snarl to their sound than ever before. You know what you are going to get with the band in many ways but never in the shape and colour it is going to unleash its persuasion in, and on the new EP it is fair to say it is in their most impassioned and accomplished style yet.

The band consists of Dorchester/St Thomas hailing vocalist/guitarists Ian Sullivan and drummer/backing Adam McNeill vocalist, originally work colleagues from 2003 who united musically six years later. Their sound is a maelstrom of fifties rock ‘n’ roll, punk, rockabilly, and hard rock, with plenty more additives spicing things at varying times. It is an attention grabbing proposition which has earned the band’s two albums, Grady Sessions and especially Grady Sessions II, strong acclaim and increasingly broader spotlights, including radio play in the UK. The release of the single The Vow last year set down a tasty appetiser of things to come, the latest EP realising its suggestion and more with raw and undiluted sonic enthusiasm.

Opener 100th Monkey instantly has the listener on familiar ground yet within seconds there is a freshness and spice to the thumping stride and rhythmic march of the song. McNeill offers thumps as potent and anthemic as ever whilst Sullivan’s riffs are eager and slightly steely, which only adds to the always impressive impassioned vocal delivery he sends roaring through ears. The track broadens with every note and beat into a blaze of fifties bred rock ‘n’ roll complete with swinging hooks and a great unexpected surf wrapped, country shaded relaxation, which of course is a0341831993_2only a breath’s worth of a pause before erupting back into the insatiable and irresistible charge it started with.

It is tremendous start quickly matched by Neverborn. Opening with a bluesy coaxing of guitar which just intoxicates senses and imaginations, the song leaps into a controlled but sinew crafted stroll with Sullivan laying his potent tones upon a more hard rock infused slice of rousing persuasion. Harmonies floating in the background of the tempestuous presence of the song, reveals more of the new adventure filling the invention of the band, an intriguing twist which does not distract from the heart of the great track but certainly earns keen attention.

The following This Train Ain’t Stoppin rattles down the EP’s tracks next where a hillbilly country flavouring merges with more traditional rockabilly tenacity as rhythms and hooks dig in with infectious and lingering revelry. Barely two minutes of sheer unbridled contagion, the song is simply what The Black Frame Spectacle does best, stomp with an energy and craft which crosses styles and decades.

As impressive here as on its original unveiling a few months back, The Vow brings the outstanding EP to a mighty close. It has a throaty edge to its opening guitar bait, a rawness which only intensifies as a scrub of riffs from Sullivan’s guitar explodes into another feverish romp driven by the hypnotic intrusive beats of McNeill. Catchier than a virus and just as hungrily virulent, the song is a creative agitation which refuses to leave until feet and passions are offering their own individual submissions.

The track is a glorious end to another inescapably impressive release from The Black Frame Spectacle. They with their EP again feed expectations and wants of their own sound, whilst pushing and stretching its borders just enough to be once more fresh and newly exciting. When will the world wake up to the band we have to wonder, especially fans of bands like Living End, The Peacocks, Th’ Legendary Shack Shakers, and even Volbeat.

The Black Frame Spectacle EP is available now @

http://www.theblackframespectacle.com/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

The Bloodstrings – Coal-Black Heart

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It is hard to miss the buzz emerging around German band The Bloodstrings, especially after the release of debut album Coal-Black Heart. Now having been infected by its seriously accomplished and salacious mix of horror punk, psychobilly, and just plain old dirty rock ‘n’ roll, it is easy to see why. With a sound which is again more than the brief description above, the Aachen/Stolberg hailing quartet is beginning to kick up a storm which their album’s CD release via British indie Undead Artists can only accelerate.

Formed in 2009 and consisting of the seductive yet predatory tones of vocalist /guitarist Celina, the thumping beats of drummer Festus, the predatory bass slaps of Doctor Nick, and the melodic toxicity offered by lead guitarist Krösus, The Bloodstrings have a bloodlust to, and horror driven imagination in their songs which leaves ears and emotions only wanting more. Coal-Black Heart is contagious proof of this seductive quality and of the anthemic voracity which steals the resistance of limbs and energies with consummate ease.

The End Of It All is the first to explode from the album, its initial sonic yawn evolving into a rigorous shuffle of crisply delivered beats and tangy grooves all around an infectious rockabilly riffing. With the fine voice of Celina beckoning with every alluring syllable, as do her skills with keys, the song is soon leaving expectations behind as it sculpts a tasty bait of spicy melodies on the way to a slower more salacious swing for its finale. It is a magnetic start surpassed by the raucous swagger and enterprise of the outstanding Better Drop Dead, a song which romps like a mix of Horrorpops and Midnight Mob. It is an instant anthem for ears and feet to enlist in, and with highly flavoursome endeavour from Krösus across its contagion soon after, has the passions fully entwined.

Both Cannibal and Skeleton bring fresh and infectious devilment to the party, the first merging melodic and classic rock essences into its horror punk tenacity whilst the second unleashes a Bloodstrings Frontcoverrhythmic jungle of temptation courted by a just as compelling bassline. Both tracks draw their share of limb and voice activity, especially the latter with its psychobilly theatre and virulent magnetism. Once again vocals and guitar endeavour bring juicy and captivating colour to both romps before the pair makes way for the prowling predatory charm of Stalker. A hint of Guana Batz spices the song’s entrance before everything turns into a menacing and fiery blaze of melodic and sonic drama, with group vocals calls to match.

By this point band and album have done all the convincing needed to recommend its toxic glory, but does itself only further good with the wholly satisfying rampancy of In Love With A Monster, which has a great air of Spanish horror punks The Monster Ones to it, and the pungent rhythmic stamp of Devils Wine with its web of sonic and melodic liquor. The two tracks in their different guises both have feet pounding upon the floor and blood coursing just that faster through veins, a success taken to greater heights by the metal lined Soul Eaters. Steering through ears on a wave of feistily rolling beats and vocal tempting, the song proceeds to entertain melodic metal vivacity through the guitars and bruising punk metal voracity in its turbulent tempest of a body.

Any Last Words comes forward next with a delicious musical and vocal croon to ignite any graveyard and death stalked romance. Its smooch though is just the first step to a bedlamic rampage, riffs and rhythms a flurry of aggression and gripping attitude bound in mesmeric flames of melodic invention and the dark seduction of Celina’s voice. Revolving through the calm and stormy passages a couple of times, the song sets itself up as another best song contender and a long-term romance for the passions.

Der Nebel Steigt with its traditional Germanic whispers and narrative lights ears next, the lack of lyrical understanding easily compensated by the hypnotic dance of rhythms and the tender yet lively addictive caresses of the guitars. The similarly potent resonating slaps of the bass do it no harm either nor the exceptional riot of Til Death Is Coming which bursts in right after. Thoughts of The Creepshow show themselves in the strenuous blues kissed rock ‘n’ roll side of the song whilst its punkier elements has a feel of dragSTER to their insatiable enticements, the result being yet another irresistible and thumping treat.

The album’s title track has a surf and dark country feel to its melodic and atmospheric climate, a bewitching sultriness which sparks the imagination as potently as the sounds excite ears. A pleasure continued in the closing Digging Our Graves which ensures Coal-Black Heart leaves on a final hellacious furore of sound and energy. Anthems on the album or indeed horror punk/psychobilly do not come more feverish and voracious than with the last fury of adventure.

Coal-Black Heart is an encounter which leaves ears ringing, energies breathless, and satisfaction brimming over. It might not be quite a classic but The Bloodstrings ensures that few storms of rock ‘n’ roll revelry will surpass it in passion and instinctive persuasion this year on their way to creating that future major triumph you can just feel brewing up inside them.

The Bloodstrings are undertaking a European tour from mid-February with confirmed dates at…

14.2. Birmingham, Adam and Eve, UK

15.2. Manchester, Tiger Lounge, UK

18.2. Glasgow, New Hellfire Club, UK

19.2. Leeds, The Boneyard at Bad Apples, UK

20.2. Canterbury, Lady Luck, UK

27.3. Essen, Cafe Nord W/ The Rocket Dogz, GER

28.3. Koblenz, Jamclub w/ Tony Gorilla, Bloodstains, GER

31.3. Lille w/ Gutter Demons (official), FR

02.04. Hengelo w/ Gutter Demons, NL

15.4. Trier w/Bloodsucking Zombies from Outer Space OFFICAL, GER

18.4. Auggen, Sternen w/ Blue Rockin, GER

25.4. Lünen w/ Kitty in a Casket, GER

 

Coal-Black Heart is available digitally and on CD via Undead Artists @ http://undeadartists.bandcamp.com/album/coal-black-heart

https://www.facebook.com/thebloodstrings

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

One Last Shot – First Gear

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You just have to love a bruising stomp of rock ‘n’ roll where you feel dirty, battered, and exhaustingly contented at its conclusion, and few come more satisfying than the First Gear EP from French rockers One Last Shot. Without worrying about setting new templates for others to follow, it inspires by simply unleashing heavy passion drenched sounds in a blistering antagonistic and aggressive, not forgetting exhilarating form. The five track release is rowdy and refreshing rock ‘n’ roll at its prime, a riot of metal and rock everyone can lose their inhibitions to.

Consisting of ex-members of The Outburst and Crack Ov Dawn as well as the bassist of Sin And Death, One Last Shot creates a roar which takes essences from the likes of Lynyrd Skynyrd, Motorhead, and Guns N Roses but equally involves groove and stoner metal tenacity with punk belligerence in tempests which easily spark attention and hungry appetites for more. Described by some as dust metal, the quintet’s sound is a take no prisoners brawl with the devilry of the sleaziest salacious and thrilling romps. It is an unbridled and seriously accomplished sonic provocation bound in inescapable fun.

Brawler is the first track to accost ears, casting a melodic enticing instantly through one then the two guitars sculpting the emerging song. It is a restrained but spicy opening awash with a0481176261_2southern winery which opens up into a raw and raucous incitement through the gravelly tones of vocalist Sky and the anthemic riffs of guitarists Shelby and Scarsid. With rhythms as imposing as the hooks and grooves are magnetic, the track virulently strolls with punk hostility and heavy rock intensity. A great solo only adds to the rich lure and enterprise of the track before it all makes way for the even more impressive Skateboard Song. An enslaving hook is the first thing to escape the lips of the song, swiftly followed by the crisp beats of drummer Kmy and a throaty bassline from Void. This is in tandem with great caustic vocals and a contagious blend of ravaging riffs and seductive grooving. The encounter is glorious, again part punk, rock, metal and quite irresistible.

The following G.A.S. is in no mood to let levels drop either, its busier opening a furious mix of snarling riffs and sinew swung rhythms ridden by the abrasing vocals of Sky which are backed by the anthemic calls of the band. Once again infectiousness soaks the guitars as tangy grooves grip ears and passions with consummate ease whilst as in its predecessors, imagination and unpredictability add their own distinctly flavoursome and tenacious bait. By this point in the release, if not earlier, it is hard to imagine anyone not being lost to the impressive craft and addictive hell-raising of First Gear but to make sure another pinnacle consumes the senses through the next up Headbangers. A roll of drums triggers a waspish lure of riffs, each wave coming with a web of toxic grooves and barb loaded hooks. It is a sensational start soon joining a tide of eager intensity and melodic spicing. As elsewhere, there is a gang feel to the presentation and energy of the song, a united front taking on all-comers whilst like an arrogant peacock it simultaneously expels sonic and melodic colours to seduce all before.

Closing with the maybe less dramatic and gripping but no less enjoyable Prophesick, the EP comes to a great imposing end. The last track puts on its heaviest rhythmic boots and harries and batters ears with belligerent enterprise and heart and without lighting the same fires as earlier songs, it still unreservedly pleases as it completes what is an excellent and refreshing proposition.

It is hard to do anything but heartily recommend First Gear; yes maybe originality is not high on the agenda but it twists established weaponry into a ferocious and riveting storm which quite honestly leaves most other similarly bred offerings in the shade.

The First Gear EP is available via Just For Fun Records now and digitally @ http://onelastshotofficial.bandcamp.com/releases

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RingMaster 07/01/2015

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