Midnight Mob – Honest Brutal Glorious EP

Midnight Mob_RingMasterReview

Showing even more broadness to their rock ‘n’ roll incitement, New York’s Midnight Mob unleash their new rousing proposal this month in the fiery shape of the Honest Brutal Glorious EP. Offering six tracks of multi-flavoured hard rock based persuasion, the release shows another twist in the evolution of the band’s sound and yet another reason to give high praise to the US quintet.

Formed in 2009, Midnight Mob quickly sparked attention with their music and presence, both changing and evolving over time as line-up changes have occurred alongside an organic shift in the band’s sound. A self-titled debut EP in 2011 and its successor Black Moon Rising two years later woke up eager North American appetites for their punk ‘n’ roll proposals, whilst the album These Days in 2014, courtesy of STP Records in the UK, was the spark to stronger global recognition and attention of the band. Funded by fans through PledgeMusic, Honest Brutal Glorious is the next potent step in the band’s ascent into worldwide awareness. Within it, Midnight Mob has blossomed tracks from the hard rock and classic rock ‘n’ roll inventiveness of their sound but still hungrily infuse thick strains of punk and metal  into its attention grabbing and natural sounding progression from earlier releases.

Honest Brutal Glorious opens with the glorious roar of Song for the Damned; a punk ‘n’ roll anthem with the expected defiant attitude and antagonistic growl of the band fuelling its tenacious contagion. The swinging beats of drummer Chris Beatz provide the punchy skeletal frame for the sonic flames and cutting riffs of Mickey Squeeze to leap through ears from. With the distinctive and persistently impressing tones of Blackey Deathproof driving the narrative backed by band roars, the track uncages an unbridled rock ‘n’ roll bellow which has the spirit as inescapably engaged as ears.

Honest Brutal Glorious Artwork_RingMasterReviewThe outstanding start is quickly matched by Run for Your Life. From its first breath bluesy guitar caresses hit the spot, their coaxing soon taken up a notch by the throbbing lure of Carly Quinn’s bass which in turn sparks a fresh wave of agitation in guitar and rhythms. The song’s prime hook has the imagination ensnared just as swiftly, its devilment carrying a great Rocket From The Crypt air to it. Soon though, Blackey is standing centre stage with her great contentious expression and sandy throated tones, as around her melodies infuse an increasing scent of the blues into their and the song’s feistily infectious rock ‘n’ roll endeavour.

Ghosts is just as rhythmically irritable and melodically magnetic, the bass especially grouchy within the quarrelsome mix of punk and hard rock. What takes a strong and highly enjoyable song into being a great one is the surf rock flavoured twists of guitar and the kaleidoscopic colours of invention in the array of gripping hooks and grooves. As with its predecessors, the song simply hits the spot anthemically and creatively; casting rock ‘n’ roll to raise ‘armies’ to.

The second half of the EP sees Midnight Mob pushing their diversity even further with Black Mamba the first to show new areas of diversity to their sound. Reminding a touch of Danish band Forever Still, the song embraces a classic rock seeding with melodic metal scenery. They still uncage their instinctive ability to create a catchy proposal with a raw and grouchy lining, but it is one of many bold colours in the new shade of their emotively driven rock ‘n’ roll.

The same can be said of Swing On, the band again weaving a seriously engaging tapestry from a broad web of multi genre, decades crossing rock ‘n’ roll lorded over by the striking voice and ability of Blackey. As the music is at its most colourful across the final trio of songs so her voice shows its greatest range and potency; her blues soaked tones here irresistible and stealing the show as they do in the glorious acoustic balladry of Stay, a slice of bewitchment to end the EP.

Honest Brutal Glorious is a powerful and thrilling new step from Midnight Mob and though personal tastes continue to greedily devour the band’s punk heavy exploits most, their album still one of the most played here, the band’s new expansion of songwriting and sound is one riveting and thrilling stirring of body and emotions.

The Honest Brutal Glorious EP is released Match 25th across most online stores.

http://www.midnightmob.com    https://www.facebook.com/MidnightMob/   https://twitter.com/MidnightMob101

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

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Bells and Hunters – Modern Witch’s Songbook Vol I: Fairy Tales

Bells and Hunters - Modern Witch's Songbook Vol I- Fairy Tales - cover_RingMaster Review

Hailing out of Washington DC, Bells and Hunters recently recorded their debut album Modern Witch’s Songbook and has set about revealing it to us all via three instalments. The first part comes in the new and suitably titled EP, Modern Witch’s Songbook Vol I: Fairy Tales. Consisting of four tracks revelling in the diversity of sound and imagination which the band’s fans already heartily embrace, the EP is a captivating introduction for the rest of us to the Bells and Hunters temptation.

Bells and Hunters began in 2008, formed by vocalist Kelliann Beavers and vocalist/guitarist Keith Fischer who united through “a mutual love of creativity, song writing, and Jeff Buckley.” In no time their emerging eclectic sound enticed ears; its fusion of folk, blues, and varied decades of rock stirring up attention, as shown by debut EP The Static Sea in 2010. Three years later the band released their acclaimed first album Weddings and Funerals, though the next horizons of the band almost saw it all come to an end as members relocated to other cities across the US. Instead Beavers and Fischer called on long-time friends in drummer Guido Dehoratiis, guitarist Joe McMurray, and bassist Avi Walter, to be replaced later by Eric Putnam, to complete the new line-up.

It is fair to say that the Bells and Hunters sound has been in constant evolution across its releases but Vol I: Fairy Tales shows the biggest step through its quartet of offerings, a trait to be presumably continued across the remaining parts of the album ahead. Opening with Bruises, the EP quickly grips ears and appetite with the song’s fiery start veined by great spicy grooves with a touch of Rocket From the Crypt to them. Led along by thumping beats and eager riffs, those grooves and indeed song soon have hips swinging and attention quickly on board, even more so as the similarly tangy tones of Beavers show their magnetic lure. The track continues to stomp and invention romp with infectious enterprise and anthemic energy, those early hooks still perpetual bait within the controlled yet rousing character of the Morningwood meets Martha and The Muffins like persuasion of the song.

Warm and vibrant Keys bring the following Mexico into view next, the engaging entrance springing into a busier blues rock toned canter led by the vocals of Fischer this time around. Again rhythms are a pungent enticement, bold and firmly offered as the guitars spin a spicy sonic web courted by the rich addition of Beaver’s dark siren-esque vocal backing. Sultrily tantalising, the song makes a compelling proposal more than matched by that of Lady Luck. Again sticky blues air and melodic flames colour a flavoursome stroll, though a dark country spicing adding brings new ripe hues to the seductive shadows and evocative breath of the fiery croon.

The EP is brought to an end by the electronic tempting of Fairy Tails; a song merging eighties synth pop and nineties indie rock in an electro romance. It is a hug further enhanced by the primal bass resonance rumbling within the ethereal and increasingly muggy embrace of sound and vocal seducing from within the song. Reminding of Young Marble Giants in some ways, it is a mesmeric conclusion to a great first taste for us of Bells and Hunters.

The second part of their new album is released February 2016 and anticipation for that, thanks to the thoroughly enjoyable Vol I: Fairy Tales, is already impatient in us and a great many more.

Modern Witch’s Songbook Vol I: Fairy Tales is out now and available as a name your price download at the Bells and Hunters Bandcamp profile.

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

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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The Twin Dracula – Hell Hath All Fury


Hell Hath All Fury_RingMaster ReviewAs they started the year, UK rockers The Twin Dracula end it with a ferocious slab of noise bred, punk fuelled rock ‘n’ roll. This time it is courtesy of new EP Hell Hath All Fury, four tracks which tenaciously roar and aggressively tempt as they remind all what an exciting and sadly still majorly unrecognised band they are.

Formed in 2012, the quartet took little time in arousing attention and eager appetites for their raw rock incitement through a fierce live presence and debut EP Introducing. Its success and potential was equalled and built upon by its successor TTD​/​GFY, and both in turn surpassed in sound and invention by the Death Is Our Client EP which was unleashed at the beginning of 2015. With bands such as Kid Dynamite, Wipers, Rocket From The Crypt, Propagandhi, and The Bronx potent inspirations, the encounter showed a new adventure and mature imagination brewing within The Twin Dracula songwriting and sound, one in full cry now through Hell Hath All Fury.

The EP opens up with Catholic Discipline, a seriously swift incitement which more is an introduction to the release than an individual statement, though to be fair its predatory stalking of the senses and vocal ire more than wakes an ever ready appetite for The Twin Dracula fury. The sonic wind buffets ears for a breeze over a minute before flowing straight into the quickly thrilling tempest of Liars. The track begins offloading jabbing beats from its first breath as a storm of dirty riffs blows, that the vehicle for seriously tantalising grooves and a volatile rhythmic incitement. In turn this draws in a great the blend of enraged punk vocals and a gripping web of hooks and grooves to get greedy over. The band’s sound has never seen a lacking of such attributes but here the tapestry is more creatively involved and imaginative than ever as the band entwines a broad array of noise and rock ‘n’ roll bred flavours.

From one impressive track to another as the metallic hues closing off the second track is superbly contrasted by the more punk pop/alternative rock welcome of Alura. Without defusing that potent tempting, band and track soon weave in fiercer and more aggressively tenacious elements into the infection; their punk ‘n’ roll again taking on an almost kaleidoscopic quality in its impassioned and compelling storm.

   You’ll Never Defeat The Cobras arrives to complete the EP; it another track which evolves and dances around with persistently rapid infusions of new ideation and flavours ranging from metal and melodic rock to hardcore, noise, and punk rock. The track is irresistible, its sinews veering on the barbarous at times and melodic adventure perpetually seductive as it caresses and sears ears, whilst rhythms and vocals, in their own individual ways, entrance with anthemic prowess. It is a mighty end to Hell Hath All Fury, a dramatic and thrilling finish to an equally scintillating incitement.

The Twin Dracula just gets better and better, release by release. Time for all to get bitten we suggest.

The Hell Hath All Fury EP is available now @ http://www.thetwindracula.com/

https://www.facebook.com/TheTwinDracula   https://twitter.com/thetwindracula

Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

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Atomic Suplex – Fourteen Inches of Fist

Atomicsupplex_RingMaster Review

Great rock ‘n’ roll always benefits from a good dose of creative dementia in its devilry and you get plenty of that and more in the bedlam that is Fourteen Inches of Fist. The new album from London quartet Atomic Suplex is nonstop ingenious lunacy, a dangerous riot for body and soul, and quite brilliant.

The UK quartet has been stirring up sonic trouble for a number of years now, earning increasing acclaim with every release and a reputation as one ferociously exciting and uncompromising band live. Stages across the UK and Europe, as well as Asia, have been shared with the likes of The Hives, Guitar Wolf, The Gories, The Adolescents, Nobunny, The Kids, Jet Boys, Armitage Shanks, Richard Herring, The Spits, The Fat White Family, The Buzzcocks, Theee Bat amongst many more whilst singles and EP’s over time, and certainly acclaimed 2010 debut album Bathroom Party on Crypt Records, have marked the band out as a must investigation for a growing horde of fans. Now it is Fourteen Inches of Fist raising a storm since its recent release, and declaring Atomic Suplex as not a must but the essential riot for all rock ‘n’ roll fans.

Sound and album is garage rock, punk rock, noise rock…any kind of dirty, insatiable rock ‘n’ roll you can think of and a torrent of fun from its first to last breath. One Man Party kicks things off with the announcement “When I say I’m a dick, you best believe I’m a dick! D- I- K.” It sets the aggressive belligerent tone which rousingly fuels the whole album, and a song which is soon erupting into a salaciously tenacious slab of punk ‘n’ roll driven by the rousing tones of Jim Suplex. A sonic web of noise is soon grasping ears through his and Emma Leaning’s guitars whilst a gloriously throaty bass sound is conjured by Dan Suplex amidst the wicked swipes of drummer JD Kickdrum. The track is pure attitude, like early Damned merging with The Sonics, and instant slavery.

The album’s title track comes next, it too a concussive explosion of sound but this time infusing honky-tonk piano, blues rock spicing, and garage rock ‘n roll devilry into its mix of raw sixties and seventies rock ‘n’ roll. Flames of brass only add to the theatre of the muggy scenery as too the gritty backing vocals of Emma behind Jim’s raw incitement. As its predecessor, the track has ears and appetite lustful, a success 14 Inches of Fist relentlessly achieves from first song to last.

Cover_RingMaster Review   Set It On Fire has limbs scything through air next with seventies punk antagonism meets psych rock contagion, its guitars and brass a resourceful scorching, whilst Wild Love invites naughty deeds with a Rocket From the Crypt meets Dick Venom and the Terrortones infestation of sound. Both tracks are ridiculously compelling persuasive yet find themselves outshine by the outstanding Firing Line. The song is manna for the ears and heart, its Mighty Mighty Bosstones like opening alone igniting the instincts to party before rhythms provide a jungle of unstoppable temptation frequented by wonderful squirts of sax. They develop into subsequent deranged toxicity further in, colluding with a just as rigorously arousing web of guitar and bass enterprise. As ever like a side show barker, Jim adds his vocal stirring to the mix for one slice of irreverent creative alchemy.

Fifties inspired and seventies coloured rock ’n’ roll gets the Atomic Suplex corruption next, the raw and caustic devilment of S. U. P. L. E. X. a tempest of sonic and vocal raucousness pierced by melodic bait and fiery hooks. It is less than a minute and a half of catchy mayhem before Two Girls flirts like a punk incarnation of The Shangri-las tutored by The Rezillos. As all songs though, air is raw, sound scuzzy, and the encounter as abrasive as it is virulent, and again thrilling.

   J.D. Attack pounds the senses like the bastard son of a Showaddywaddy and Reverend Horton Heat union, its thumping rhythms and heavyweight brawl of sound one party you know would welcome gate crashers with devilish relish whilst the corrosively scarring Ass Tecnica is noise punk knavery which, as in the previous song, twists anything from surf and r&b to garage rock into its ravenous bellow. The pair unsurprisingly leave exhaustion and exhilaration in their wake, as too the eighteen second punk assault of No Pain No Gain, a song more than backing up its title.

Like The Cramps meets The Mobbs, You’ve Got Some Nerve has the body throwing moves hips were surely not made for across its forty odd seconds, a wonderful physical test followed by some respite through the hex that is Pancho. Sultry sax caresses ears initially though in no time it is joined by a wall of sonic intrigue and adventure which has a whiff of Oh! Gunquit to it. Continuing to spill funky hooks, searing grooves, and a garage bred invention; the song is as psychotic as it is clear infection, and another pinnacle of a very lofty landscape to Fourteen Inches of Fist.

Chicken Rich is a ragtime hued haunt seeded in the past which descends into anarchy the further its nostalgia persists whilst closing track White Shoes is quite simply incendiary rock ‘n’ roll which manages to spin a tapestry suggesting everyone from Billy Haley to The Cramps, King Salami and The Cumberland 3 to Turbonegro, and Screaming Jay Hawkins to Johnny Thunders within its epidemic of unbridled energy and senses inflaming rock ‘n’ roll.

Fourteen Inches of Fist is one of the best real and organic rock ‘n’ roll album this year and of a few before, maybe the best, and Atomic Suplex the one band you were meant to lose your sanity with.

Fourteen Inches of Fist is available now via Dirty Water Records on 12” vinyl, CD, and digitally.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright


The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

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

Ringmaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net


Strings Of Atlas – In A Better World EP

Atlas and his Nova_RingMaster Review

Strings Of Atlas is a “psychedelic urban punk band”, a labelling which presumably comes from either the band or someone pushing them and their new encounter, In A Better World EP. It is a tag which sort of fits and does not, but one label that does is simply that the El Paso bred Strings Of Atlas is one mighty fine rock ‘n’ roll incitement. The band’s sixth studio and latest offering is our introduction to the duo of singer/songwriter Atlas Cage (vocals, guitar, bass, drums) and former Archetyped bassist Ed C., and the first feeling, after being gripped by strong enjoyment, is that we have been missing out. Consisting of five tracks which whip up attention and appetite with increasing success, the EP is a thumping treat of an encounter. Not one to re-invent the boundaries of rock music but certainly one to give it a new tasty prod.

Since forming, Strings of Atlas has opened for such artists as Nick McGalis and Guitar Slim, whilst their music has graced a trio of short films and the soundtrack of the movie, The Edison Bomb. As mentioned and according to the press release for the EP, In A Better World is release number six from the band and for us potentially the one to awaken a new broad spotlight upon their stirring sound.

Strings Of Atlas - In A Better World Album Cover_RingMaster Review     The EP opens with Burning Days and a spicy web of grooves aligned to punchy beats. It is a strongly alluring start which hits another level once the striking tones of Cage join the affair. His voice reminds of Dicky Barrett from The Mighty Mighty Bosstones, and once it unites with the already potent sounds brewing up in the song, a nice whiff of Rocket From the Crypt emerges. It is an essence which only gets stronger within subsequent songs on the EP. His guitar play is just as magnetic too, riffs and hooks laying down nothing particularly spectacular yet everything comes with a craft and instinct to it which is virulently infectious. The song continues to get feet and imagination involved before making way for its equally potent successor.

The second song is the EP’s title track, and like the first it grabs instant focus, this time with a sultry blues toned coaxing complete with soulful melodies and vocal persuasion. The song’s steady and enticing stroll continues to smoulder and sizzle, and though it does not have the imposing snap of its predecessor, the track is one lingering slice of fiery enterprise.

As strong as its first two tracks are though, In A Better World kicks up another gear from The Way You Don’t Love on. The third proposal is an incendiary slab of garage and melodic rock, that RFTC whisper entwining with a great sixties spicing springing thoughts of bands like The Kinks and The Who to mind. Loaded with an additional snarl and a breed of punkish attitude which can only give an extra spark to any rock ‘n’ roll stomp, the song perfectly hits the spot, though as it outshines the previous song it is in turn eclipsed by the following Odyssey. The feisty stomp is glorious, a cauldron of rebellious riffs and rhythms wrapped in a gripping mesh of guitar and bass tenacity, each casting contagious hooks and a predacious air. Again vocally Cage has full attention, stirring things up as potently as the sounds around him with the result one outstanding rock roar.

The release is concluded by A Light In The Dark, a rousing and tantalising seduction of psych rock and melodic punk, again predominantly recalling The Mighty Mighty Bosstones and Rocket From the Crypt whilst sculpting its own distinct and irresistible romp of anthemic rock ‘n’ roll.

Co-Produced by Charles Godfrey, In A Better World sets the wheels in motion for a far keener and expansion spotlight on the band. Strings Of Atlas have certainly now caught and chained our attention and it is hard to imagine us being a lone new recruit to this potential drenched and thoroughly enjoyable band.

The In A Better World EP is available now on Amazon and iTunes or @ http://www.stringsofatlas.com/music


RingMaster 17/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

The Graveltones – Love Lies Dying

The Graveltones _Reputation Radio/RingMaster Review

If the Devil had his own band it would definitely be The Graveltones, though we suspect the horned one has his dark seduction running through the band’s new hellacious slab of dark rock ‘n’ roll posing as new album Love Lies Dying anyway. The thirteen track hex on ears and passions is the most virulent and incendiary roar of devilish blues rock and dirt clad rock you are likely to hear this, last, or next year, a satanic bargain promising not its but your soul to the dark side.

In a time of some exceptional rock duos, The Graveltones stand boldly to the fore thanks to the creative and musical union of the Australian bred, UK based pair of vocalist/guitarist Jimmy O. and drummer Mikey Sorbello. The band emerged in late 2011, a subsequent adventure resulting from their meeting in London’s Tin Pan Alley and a mutual love of artists as diverse as Captain Beefheart, Howlin Wolf, John Lee Hooker and Queen Of The Stone Age. 2013 debut album Don’t Wait Down stirred up greedy attention and a new wave of lustful fans for their fiery and unique sound whilst live the band was soon sharing tours and stages with the likes of Rival Sons, The Temperance Movement, Boss Hoss, Monster Truck, and Cadillac Three, as well as playing a seriously successful slot at that year’s Download. As impressive as the album was, it was just the first step to the majestic rock alchemy that is Love Lies Dying, an encounter revealing the band and its sound as the inescapable real deal.

The devilment opens with World On A String, a track emerging with a heavy stride of rhythms and a thick blues soaking of riffs. From the first breath it also has a punk belligerence to its character, an attitude which fuels vocals and adds edge to the wine of grooves igniting its anthemic canvas. Like Rocket From The Crypt meets The Black Keys at a salacious stomp hosted by US duo In The Whale, a description which closest fits the whole of Love Lies Dying, the track is pure addictive rock ‘n’ roll setting the whole intoxicating riot off in contagious style.

love-lies-dying_Reputation Radio/RingMaster Review   The invigorating revelry continues just as masterfully in the following Fancy Things, its rhythmic bones bordering on predatory as they bounce on the senses as the guitar sprays flames of melodic spicing. With vocals emulating both aspects with a mix of both intimidating rapacity and infectious temptation, the song brews up an irrepressible stomp around the tangiest of grooves; a template emulated in This Love Is Gonna Break, though the song with colourful keys provided by Carl Hudson walks a more sixties garage rock kind of landscape. It is just as much punk and rock pop too, its cauldron of merciless temptation and a chorus even the dead would be unable to refuse, simply irresistible.

Things take on a slightly more shadowy turn with Running To You next, its scuzzy blues hues and catchy rhythmic bait something close to a stalking of ears, though with a mischief in those same beats and the great vocal dynamics, the song is as vivaciously light as it is menacingly toned. Once more imagination and appetite are inflamed, and four songs in it is fair to say that lustful greed is in the equation too, all swiftly encouraged and fed further by both Never Gonna Let You Go and Can’t Tell A Man. The first of the two is the band’s current single and a little fuzz pit of riffs and searing grooves badgered by another vital rhythmic trap. The song is stirring up major attention for the band and album right now and easy to see why as its creative agitation and frenetic enterprise is just punk ’n’ roll slavery. It pounds the senses as it embroils thoughts and emotions in inventive mayhem, leaving the listener exhausted and alive. Its successor is more of a smoulder in comparison; its fiery blues melodies bourbon running around jabbing beats and the ever expressive and increasingly magnetic tones of Jimmy. It is a barroom croon, sweat and liquor fumes as pungent as the emotive hues of voice and guitar, and just addictive.

In The Throes is of a similar proposal to the previous song, but less dirty and more restrained as it flirts with ears through acidic grooves and rebellious beats. Both songs bring strong variety to the album too, another good essence within Love Lies Dying, and indeed within this track alone things are a perpetual evolution as it gets heavier and darker before making way for the outstanding I’m A Ghost. Like The Stones reincarnated as Th’ Legendary Shack Shakers, the track is a maze of hypnotic beats and vocal incitement but flush with delicious surf punk imagination and garage rock resourcefulness. The song is exceptional, one of numerous pinnacles within the album but another which is sure fire manna for new ears as an introduction to release and band.

Surf seduction reeks in the haunting croon of Back To You too, the mesmeric dark balladry carrying a Nick Cave like hue to its melancholic embrace whilst Kiss And Fuck Off is psychotic brilliance shaped as a psyche/noise rock predation. Ripe with deranged imagination and masterful discordance, not forgetting rhythmic disturbance, the song forcibly hits the sweet spot which Come And Find Me stirs up even more with its aggressive and commanding rumble. Riffs snarl with alluring causticity whilst beats with a more controlled purpose prowl fuzzy air, contrasting elements uniting perfectly as the song twists and turns through varied creative scenery, including a passage of QOTSA like grooving.

Upcoming single Big Money steps forward next, slowly crawling over ears and imagination with boozy melodic vines with vocals from Jimmy to match. The relaxed percussive courting of Mikey is just as enticing, becoming punchier when the song erupts in a furnace of intensity and impassioned energy from time to time. It is not maybe the most obvious of single, compared to others within the album, but its smoulder is intensive and persuasion a lingering potency so that the song joins the major peaks of Love Lies Dying.

Together Again brings everything to a close, its low key melancholic finale a blues rock hug to drift off with until the urge to start the album all over again, which to be honest is a matter of seconds. Someone elsewhere said that The Graveltones have come of age with Love Lies Dying and you can only agree as the album song by song establishes itself as one of the thrilling irresistible proposals of 2015. There is still the feeling though that this, like its predecessor, is only a step towards even greater glories, an excitement as powerful as that bred by the album itself.

Love Lies Dying and latest single Never Gonna Let You Go are out now via Lagoon Dog Records @ https://itunes.apple.com/gb/album/love-lies-dying/id978331780. New single Big Money will be released in July.

http://www.thegraveltones.com/  https://www.facebook.com/thegraveltones

RingMaster 11/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net