Valley Of The Sun – Volume Rock

VOTS_RingMasterReview:

If a title ever reflected its contents then it is Volume Rock, the new album from Cincinnati stompers Valley Of The Sun. The release is a mighty roar of rousing rock ‘n’ roll which never takes a breath and demands to be played with the dial locked on maximum. In many ways it carries on where their acclaimed debut album Electric Talons Of The Thunderhawk left off but with even more resourcefully honed and fiery exploits on board to fire up ears and rich enjoyment.

With the two well-received EPs, Two Thousand Ten and The Sayings of the Seers in 2010 and 2011 respectively, under their belt, Valley Of The Sun really caught attention and a new wealth of eager appetites with Electric Talons Of The Thunderhawk in 2014. It took their inflamed mix of stoner, hard, and desert rock to new heights with just rewards in responses and acclaim. It is easy to feel though that all of its success was just the appetiser to bigger things and reactions around the uncaging of Volume Rock and its step up in sound, songwriting, and the band’s ability to get all rocking like a bone starved hound.

The album opens on the instantly masterful and rousing swagger of Eternal Forever, ears clipped by sticks on rims as a bluesy invitation swings away alongside. In another handful of seconds, the song hits a rampant stroll with its riff loaded chest out and rhythmic hips swinging. The vocals of guitarist Ryan Ferrier quickly impress as they light ears and song whilst his riffs find quick unity with the catchy grooves of Adam Flaig, the contagious start becoming a full on anthemic enticement driven by the potent jabs of drummer Aaron Boyer and the brooding bassline of Ringo Jones.

It is an exhilarating start backed within moments by the following Wants and Needs. Slightly less urgent but no less commandingly infectious, the track has a spicy Queens Of The Stone Age feel to its melodic and vocal persuasion though equally, and not for the last time across the album, there is also a grungy essence which hints at Alice In Chains. A blaze of spirit raising rock ‘n’ roll, its success is matched and eclipse by the thick and sultry charms of The Hunt. Badgering the senses and body from start to finish, the track is an inflamed shuffle with imposing rhythms and citric grooves bound in the outstanding tones of Ferrier, his presence backed just as potently by the band in voice and enterprise.

Volumerock_FrontCover_RingMasterReviewNext up Land of Fools has enjoyment and limbs in full involvement too; it’s more reserved but seriously addictive entrance, with rhythms and riffs insatiable bait, the lead into a virulent epidemic of lean keen hooks and beats which continue the track’s initial magnetic work as sonic flames cast by the guitar of Flaig and Ferrier’s harmonic throat flare. There is no escaping a Josh Homme and co feel again to the outstanding encounter, a flavour only adding to its triumph before making way for I Breathe the Earth and its delicious bass grumble. That leading lure brings ears into t smouldering sighs of fiery guitar and in turn concussive beats and beguiling harmonies, all colluding in another aural swelter with psych and blues rock imagination.

The heavier and thicker textures of Speaketh the Shaman steps forward next, Ferrier crooning with purpose and heart within the smokier fire of the song’s sizzling climate and sound. As in a few other tracks, bands like The Sword and Torche come to mind a little, though generally a fleeting essence within Valley Of The Sun’s own creative flame. Certainly the band skilfully employs familiar hues in their own sonic designs, but as different colours in something maybe not boldly unique but undoubtedly distinct in style and character.

If previous tracks were fires, Beneath the Veil is a volcano of grooves and melodic lava, enveloping and treating ears to a white hot invasion of infectious blues rock ‘n’ roll. It roars and stomps in its groove woven waltz, springing the listener into an exhaustive dance and revelry for which no escape is possible or wanted until its last note blisters on the ears.

A chance to grab a breath is allowed momentarily by Solstice before it too is a thumping hard rock scented canter with a punkish snarl pulling tired bodies back to their soon revitalised feet. Its departure lets Empty Visions bring the album to memorable close, the track a hot bed of sonic fuzz and melodic tinder setting fire to ears and spirit under the catchy guidance and temptation of the ever impressing vocals.

It is a fine end to a thrilling encounter which just leaves you wanting more and with real greed. If Valley Of The Sun impressed before, they will blow a great many more away with Volume Rock and its incendiary rock ‘n’ roll.

Volume Rock is released April 29th via Fuzzorama Records @ http://www.fuzzoramastore.com/en/ and https://fuzzoramarecords1.bandcamp.com/album/volume-rock

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Pete RingMaster 28/04/2016

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Pearl Handled Revolver – If The Devil Cast His Net

Pearl Handled Revolver _RingMasterReview

This month British rockers Pearl Handled Revolver release their third album, a collection of dark rock ‘n’ roll encounters which almost deviously seduce ears as they work their way into the psyche. The band spins tales of mystery and intrigue graced shadows, creative episodes shaped and coloured by the magnetic hues of blues and psych rock, though that is simplifying the enthralling tapestries of sound and imagination making up If The Devil Cast His Net.

Since forming, Pearl Handled Revolver has released four EPs and two full length albums, all between 2010 and 2013, and shared stages on tour at shows with the likes of The Black Crowes, Stray, The Blockheads, FM, The Quireboys, Black Star Riders, Toots and the Maytalls, Donovan, and Focus along the way. It is fair to say that the quartet has not been lost for acclaim and attention but equally with If The Devil Cast His Net, they have breached a new plateau on creativity and sound which you can only see being rewarded by a similar increase in attention and reward.

With the gravelly tones of Lee Vernon fronting the house of blues mystery, a Tom Waits like comparison is easy to offer but equally the band’s sound has tantalising hues reminding of The Doors, Nick Cave, and Japanese Fighting Fish to its magnetic body and invention. It is a rich temptation working away at seducing ears from the start of If The Devil Cast His Net, opener Help Me Down From The Trees gripping the imagination within seconds as the pulsating lure of Simon Rinaldo’s peddle bass is immersed in the mystique soaked suggestiveness of his keys. It is a quite mesmeric coaxing driven by the great nagging beats of Chris Thatcher and only increasing in temptation as the scythes of guitarist Andy Paris seem to spark a new weave of organ cast enterprise. Dark and brooding yet simultaneously warm and celebratory, the song beguiles as it intrigues, Vernon’s dusty tones opening up the narrative for greater captivating drama.  It is mesmeric stuff, the bass a perpetually enjoyable nagging and the spicy lilt of the keys a dark temptation within a fiery dance of sound and creative theatre.

Pearl Handled Revolver Front Cover_RingMasterReviewThe sensational start is followed by the more straight forward rock ‘n’ roll of Don’t Throw It Away. A cleaner tone to the vocals is matched by a lighter spring in the step and voice of the psychedelia lined sounds around them. A sixties/seventies mixed scent potently adds to the inviting lure of the song and though it cannot live up to its brilliant predecessor, it has ears and body rocking before they are faced with the tantalising seduction of Someone Like You. It’s surf rock spiced melodies and ambience is a swift bewitchment, as too the rolling rhythmic bait of Thatcher; all caressing  and coaxing the senses as Vernon’s sandy tones paint an evocative picture in word and tone. It is a hex of a song, a spellbinding incitement of appetite and imagination to bind listener and release closer together.

The rhythmic design of the track is emulated in the album’s title track, though around it the guitar and keys weave their own distinct episode of encroaching shadows and sultry flavours around the devil’s lyrical play. A compelling persuasion, it is matched in success by the melancholic hug of Walk These Streets. Reflective and emotive, the song is a smouldering serenade painted by the cleaner side of Vernon’s voice, provocative strings, and the sombre yet graceful caress of keys. As expected, shadows court this cast of emotive protagonists, bass and drums guiding their intervention as much as the sorrowful scent of voice and word.

Current single, Absinthe In Adelaide stirs air and spirit up again with its almost rapacious growl of voice and steely grooves whilst Loverman is a primal shuffle of blues courted rock ‘n’ roll; both tracks basking in the unique psych and classic rock imagination of keys and guitar. The second of the pair is especially irresistible; a heady, almost muggy trip into the dark psychedelic backwaters of mysterious deeds and lives. We have not really touched on the cinematic side of the album, each song tempting the imagination to conjure their own at times almost pagan-esque adventures to accompany the rich tales of the band with this proposition a prime example.

The album closes with Into The Blue, a groove entangled romp luring the listener into a salty tango of organ spun melodies and wonderfully niggly hooks, all driven by the ever compelling rhythmic persuasion of Thatcher and Rinaldo. It is an impossible to resist flirtation bringing the album to a riveting anthemic conclusion.

Some tracks shine over others within If The Devil Cast His Net, but from start to finish it feeds the spirit and ignites a hungry appetite for more; almost as if the Devil had a hand it.

If The Devil Cast His Net is released April 29th through all platforms.

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Pete RingMaster 27/04/2016

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The Cavemen – Self Titled

The Cavemen_RingMasterReview

With a name like The Cavemen, you instantly give a suggestion of sound and character before a note is flung at ears. Thoughts imagine something raw and primal; a sound stripped to the bone with no concern for niceties and that is exactly what you get in the New Zealander’s self-titled debut album. The Cavemen creates attitude driven garage punk ‘n’ roll which simply stirs up the punk inside and twists it into songs which are as addictively contagious as they are belligerently mischievous.

Formed by a quartet of high school teens, The Cavemen emerged in 2012 after spending “several years of under aged drinking and loitering around the various basements, graveyards and parking lots of their home city.” With their dirty and intrusive sound honed to the virulently imposing height found on the new release, the quartet of vocalist Paul Caveman, guitarist Jack Caveman, bassist Nick Caveman, and drummer Jake Caveman soon began stirring up their homeland’s live scene. That success though was soon facing obstacles which led to the band to looking at moving over to the UK, Paul explaining with the thought, “No bar will have us, no station will play us… We might as well bugger off to the other side of the world.” So now London based, The Cavemen has linked up with Dirty Water Records for the global release of their debut full-length, an album having already ignited eager appetites with its previous limited vinyl release via 1:12 Records.

Think The Cramps and The Stooges meets The Damned, in their early days, and The Ramones and you get a clue to the incitement leaping out from the album’s opener alone. Mentally Ill swiftly has ears and appetite gripped with its brawling lo-fi devilment; guitars and bass creating a swiftly gripping tempting as beats trespass the senses with their antagonistic swing and vocals deliver every syllable in a rabid squall of tone and attitude. Garage rock meets ’77 punk rock, the track is an attention grabbing start to the album instantly backed and eclipsed by the irritable confrontation of Fuck For Hate. Hook and grooves entangle as the song stirs up ear and spirit; vocals egging on the track’s rebellion and discontent as it worms under the skin.

cavemen front sleeve_RingMasterReviewIt too is then over shadowed a touch by the outstanding Stand By Your Ghoul. Straight away the collusion of guitar and bass hooks has lips being licked, then smiling broadly as Hamond-esque keys dance devilishly on the imagination within another handful of tempting seconds. The prime bait reminds of seventies band The Piranhas, or more specifically their single Jilly whilst the bare boned roar of the track manages to come over as something between The Dirtbombs and The Horrors in their early days.

The album’s punk driven rock ‘n’ roll continues to seriously involve and excite body and spirit as the fifty scowling seconds of Scumbag leads to the minute and a half invasive seduction of Rides With The Reich. Barely a track goes by without escaping the two minute mark, a short sharp riot approach which does not stop songs like this also uncaging the most contagious of hooks and swaggers within senses bracing tempests of multi-faceted punk rock.

Rock ‘n’ Roll Retard bristles and romps next; wearing its old school punk nature as sonic belligerence before At The Pub barges in with its gang mentality punk ‘n’ roll. Again there is little resistance from feet and vocal chords as participation to yet another song from The Cavemen is inescapable; a submission given time and time again to its persuasion and to brawls like Fucked In The Head and Drink Driving. Again that garage rock flavouring creates great flames of eventful contrasts in the creative truculence stirring up ears, the second of this pair managing to find an oi! like challenge to get even greedier over too.

The limb throwing swagger of School Sucks offers a fractious anthem next whilst Crimes Tonight squeezes some power pop revelry into its sixties/seventies infested rock ‘n’ roll; a fusion of flavours casting something that is The Sonics meets The Saints like. Both tracks, it goes without saying by this point in the album, has the body bouncing and emotions defiant, the latter aspect even more so with the dirty Motorhead tinged rock ‘n’ roll of Glass Breakfast.

The album closes with the irresistible furnace of Trash Talkin’ Paint Huffin’ Girl, a final fevered stomp of incendiary punk and rock devilry as raw and primitive as it is ferociously galvanic. It is a rigorously boiling end to a thrilling blaze of rapacious rock ‘n’ roll from a band which sparks a new flame, song by song, in the bushfire of pleasure which runs through album and its thorough enjoyment.

Time to free the primitive in us all with The Cavemen!

The Cavemen album is released via Dirty Water Records on April 25th @ http://www.dirtywaterrecords.co.uk/shop/ and digitally @ https://thecavemennz.bandcamp.com/

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Pete RingMaster 25/04/2016

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Hipbone Slim and the Kneetremblers – Ugly Mobile

Hipbone Slim_RingMasterReview

With some artists, the news of a new release sparks a twitch in the hips and itch in the feet. Such it is with Hipbone Slim and the Kneetremblers after enjoying four slabs of the band’s individual rock ‘n’ roll, and such it was coming into new album Ugly Mobile. Containing fourteen slices of multi-flavoured incitements bred on the seeds of original rhythm ’n’ blues, the album is manna for the ears and a puppeteer to the body. Released via the ever treat giving Dirty Water Records, the press release for Ugly Mobile stated that the album is the band’s “finest offering so far!” After the umpteenth romp with the irresistible release, we can find no reasons to disagree.

It is hard to be surprised at the sound and infectious mischief that Hipbone Slim and the Kneetremblers create when you look at its members. The band is led by vocalist/guitarist Sir Bald Diddley (aka Hipbone Slim), the man seemingly involved in more bands than a wedding courting jeweller. Among the list is the inimitable likes of Louie & The Louies, The Kneejerk Reactions, Sir Bald Diddley And His Right Honourable Big Wigs, and The Magnificent Escapades; that just ‘scratching the surface’ of his tenacious presence and work. Alongside him is drummer Bruce ‘Bash’ Brand, a veteran of bands such as the Milkshakes, Headcoats, the Masonics and more who has also worked with Holly Golightly, the Pretty Things, Downliners Sect, Wreckless Eric, Mungo Jerry, and Link Wray. The line-up is completed by bassist/harmonica player Gastus Receedus who has played in the likes of Big Wigs, Arousers, Playboys, and worked with legends such as Billy Lee Riley, Sonny Burgess, and Dale Hawkins amongst many. It is a trio which let rips from the first note of Ugly Mobile and relentlessly continues to incite and thrill until its flirtatious last.

The album opens with Bald Head, Hairy Guitar, a track opening like a Hank Mizell scented rumble as bass and drums grumble with a wink in their creative eye. In no time Sir Bald is spilling guitar and vocal bait into the virulent mix, the song mixing prowling devilment and infectious stomping to grip ears and body with relish. The same applies to the album’s title track which follows. You can almost see the grin on its creative face and eager energy as it flirts with a Bo Diddley spiced shuffle very easy and very quick to get physically and vocally involved in.

art_RingMasterReviewOrangutan steps up next, it’s beguiling coaxing carrying a great Johnny Kidd & the Pirates feel to its sultry persuasion and sound. The beats of Gastus alone create an anthemic trap reinforced by the great throaty roam of Bash’s bass. Further bound in the spicy string picking prowess of Sir Bald, the song as its predecessors, needs little time to seduce and enslave before One Armed Bandit brings its own quick persuasion, this time the band slipping in a seductive Del Shannon reminding melody amongst strands of surf rock tempting. A spark for ears and imagination, the instrumental also shows the variety already flowing through the album’s first quartet of songs.

The garage rock boisterousness of Sally Mae continues that flavoursome spread, keys and nagging riffs riveting textures in its rawer rock ‘n’ roll before Voodoo Love puts its late fifties/early sixties hex on ears and appetite. The fun uncaged simply continues as the exotic mystique of Hieroglyphic dances and flirts with the listener, its instrumental seduction nostalgia and fresh revelry combined whilst Hey Ramona! simply has the body bouncing with its lively contagion.

A steely texture lines the guitar bait as Hammond-esque enticement adds further tasty hues to next up Indestructible Love; the track part garage punk and part blues in its old school seeded rock ‘n roll that warms ears up nicely for the throbbing suggestiveness of Why Can’t I Find What I’m Lookin’ For. From its opening bass swing, the track has lust offered in return and only increasing its hold as a Meteors meets Billy Lee Riley like croon blossoms thereon in. The track simply hits the spot as too the excellent Don’t Know Where To Start, an irresistible and ridiculously catchy call for voice and body participation swiftly answered as the Johnny Cash tinted track ignites the passions.

The smouldering flirtation of Meanwhile, Back In The Jungle keeps things inflamed with its tribal rhythms and imagination stroking hooks  before Number One Son brings limbs into even keener action with its blues hued rockabilly and Joe Poovey like tenacity.

Closing with the bracing rocker, There’s Only One Louie, band and album provide a feel good stomp that simply leaves ears, spirit, and emotions high. If real rock ‘n’ roll is to your fancy, Hipbone Slim and the Kneetremblers and Ugly Mobile are a must.

Ugly Mobile is out April 22nd via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/~/category/id=10017028&offset=0&sort=normal

http://www.dirtywaterrecords.co.uk/hipboneslim

Pete RingMaster 18/04/2016

Copyright RingMaster: MyFreeCopyright

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Peter M. Smith – Speak No Evil

Smith _RingMasterReview

Having earned eager praise and success with a cover of Joy Division’s Love Will Tear Us Apart with JD Kelleher in the Irish rock charts, a track released to raise awareness in the lead up to Ireland’s “Yes Vote” for Marriage Equality, and with the song for the Requiem (For Fighting) on the Ireland Laid Bare compilation album, Peter M. Smith is firing up his own moment in the spotlight with new single Speak No Evil. It is a rousing and commandingly infectious proposition which suggests that the Dublin hailing singer/writer’s moment with be no fleeting period.

Taking inspirations ranging from Thin Lizzy to Lenny Kravitz into his tenacious songwriting and sound, Smith caught the attention of Lonely Child Records to whom he recently signed, no doubt helped by his already mentioned successes that has had the Irish rock scene offering eager support. Now it is Speak No Evil providing the fresh nudge on attention, a song which manages to sound boldly familiar yet similarly openly fresh and individual to Smith.

A great bassline opens up the song, its punkish tone contrasted by the sultry guitar flirting away in the background. Thick beats add to the ears and imagination sparking start, successful bait only elevated by the first showing of Smith’s vocals and the infectiousness brewing up in the already gripping proposal. As he vocally swings with the opening verse, there is a Huey Lewis meets Halls & Oates feel to the song, that strong lure soon boiling into a hard/classic rock roar for the easy to get involved in chorus.

The track continues to romp and incite participation, its tenacious rock ‘n’ roll a spark for feet and voice whilst heavily suggesting Smith is someone ears want to hear plenty more of. With recent successful shows in the UK alongside The Jokers and Emma Stevens, signing with his new label, and now the release of Speak No Evil, 2016 is looking like a big year where many more will be enjoyably discovering Peter M. Smith.

Speak No Evil is available now via iTunes.

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Pete RingMaster 06/04/2o16

Copyright RingMaster: MyFreeCopyright

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Faintest Idea – Increasing The Minimum Rage

FI_RingMasterReview

Though understandably often tagged as a ska punk band, Faintest Idea definitely shows themselves to be a true punk band with a penchant for ska bred hip swinging revelry loaded with oi! inspired snarls upon new album Increasing The Minimum Rage. The eleven track stomp is an irresistible roar of politically charged songs that have no qualms in getting feet and bodies feverishly bouncing whilst thoughts and emotions are inspired by its lyrical bite. Most of all though, the British band’s new offering is simply one of the most rousing slabs of contagious rock ‘n’ roll heard in many belligerent moons and deserving of everyone’s energy and time.

Formed in 2008, the Kings Lynn hailing Faintest Idea initially was a jugular ripping punk band venting their political unrest and distrust. That attitude and defiance has never lessened even as the band began weaving in inspirations taken from two-tone, ska and reggae influences. 2013 saw the release of debut album The Voice of Treason on Manchester’s TNS Records to swift acclaim, soon potently backed by the videos for tracks such as Bull In A China Shop and Youth. Live the band has equally become an essential great time for many, the “rudeboy street punks” taking their rousing presence to shows and festivals across Europe and the UK, including in 2014, a 10 date tour of Russia.

Now the band is ready to uncage a new infectious call to arms in the shape of the Hieronymous Melchers (Capdown, Citizen Fish, King Prawn and Snuff) recorded and Massimiliano Giorgini (Anti Flag, Rise Against, Alkaline Trio, Common Rider) mastered Increasing The Minimum Rage. Featuring guest contributions from Vic Ruggiero (The Slackers) and Sean Howe (Random Hand), the album quickly reveals Faintest Idea to have a grouchier fire in their creative belly and a sound at its heaviest and angriest, musically and lyrically, yet with no detriment to their instincts to swing and inflame the listener’s body. The first track, Circling The Drain opens on a theme setting sample as horns meander in the background. From there as a guitar adds its vague musing, the song grabs a breath and leaps into a captivating stroll with Jack’s choppy riffs colluding with the flirtation of mischievous melodies amidst organ shared smiles. The brass flames of trumpeter Sara, trombonist Bobble, and tenor saxophonist Lil dan add to the infection quickly grabbing ears and imagination, creating a rich platform for the snarling vocals of bassist Dani and his dark throated bassline. There is a snarl to Jack’s guitar enterprise too and a firm hand to the beats of the other Jack but as the song’s climate gets feistier and more agitated, a rampant swing stills drives it and the listener before it slipping straight into the equally irresistible Cocktails.

Faintest-Idea-Front-Cover_RingMasterReviewThe second track similarly bounds through ears with rhythms and riffs as inescapable bait and a virulent catchiness to its energy and attitude equally matched by the band’s vocals. Throughout hooks grip and again flirt with the imagination as the song’s skittish gait takes care of the body, vocals in turn challenging thoughts at the same time as brass unveils a rich seducing in something akin to Rancid meets Random Hand meets The Members. Its mellowing departure simply simmers into the sultry embrace of Down Pressure, a funk infested and ska fuelled romp as light on its feet as it is antagonistic in voice. As its predecessors, the song defies the listener not to become fully involved, dares them not to offer their hips and support; a challenge impossible to win as the song leaps around with kinetic persuasion.

The power pop/ska punk exploits of Echo Chambre steals attention next, working its addictive charm on every aspect of a willing disciple as guitar jangles and pop punk rhythms act as ringleaders to another thrilling proposal embracing smouldering brass and lively shadows furthered nurtured by Dani’s vocal attitude. Its tenacious exploits lead to the thick energy and aggression of The Well Has Run Dry which, from its first breath, is a confrontational proposition equipped with spiky hooks and a flaming melodic coaxing courtesy of guitar and some emotive lip prowess. United it stirs up air and emotions before the outstanding Stick Em Up (Lords of War) takes a stand with its punk ‘n’ roll contagion. As jazzy and funky as it is ska and old school punk spun, the track tantalises and badgers in sound and tone. Female vocals bring a B52s spice to certain parts whilst other times the song rumbles along like a mix of early Specials and The Adicts, revealing itself as another enjoyably multi-textured adventure.

Through the Clash/ Serious Drinking like chest beating of the beguiling Throw Away The Key and the ballsy rock ‘n’ roll of No Consequences, greed and thick enjoyment for the album is only confirmed before being given another big shot in the arm by the brilliant pairing of Ouroboros and Corporation. The first of the two is a web of flavours and styles as surf rock spiced guitars entangle with ska spawned riffs and intrigue loaded progressive punk grooves whilst Dani and co take potent shots at political and social injustices. The track is glorious and swiftly matched by the dramatic theatre of its successor. With vaudevillian prowess to a sinister soaked sound, the band bring the exploits of the song’s villainous title protagonist into panto-esque but certainly not trivialised view before descending upon them with oi! fuelled animosity and anthemic incitement. The track is ingenious; pure creative theatre and heading numerous memorable moments within the album.

Closing on Tightrope with its strongly brooding persuasion of sound and imagination, Increasing The Minimum Rage makes it so easy to say it is destined to be one of the year’s highlights. From start to finish it has every aspect of the listener enthralled and involved; only increasing that hold with subsequent plays whilst showing that to stand up and be counted does not have to see an absence of unbridled fun.

Increasing The Minimum Rage is released via TNS Records on 1st April @ http://tnsrecords.bandcamp.com/album/increasing-the-minimum-rage

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Pete RingMaster 31/03/2016

Copyright RingMaster: MyFreeCopyright

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Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

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Pete RingMaster 30/03/2016

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