Blacktop Mojo – Burn The Ships

The past four years since forming has seen Texan rock band Blacktop Mojo court a potent reputation for their sound and live presence, all the time increasingly nudging global attention to turn their way. The release of second album Burn The Ships is the moment that awareness just might happen, the release a striking and thickly accomplished slab of highly flavoursome, sinew moulded rock ‘n’ roll.

Formed in September 2012 by vocalist Matt James and drummer Nathan Gillis, Blacktop Mojo swiftly leapt into the live scene with the intent of playing as many shows and tours as they could. It is a hunger which prevails to this day, the Palestine, TX quintet sharing stages with the likes of Bon Jovi, Candlebox, Drowning Pool, Aaron Lewis, Saving Abel, Puddle of Mudd, Whiskey Myers, Dirty River Boys, and The Bigsbys among a great many others over the years. Debut album I Am stirred things up at home with its release in 2014, similarly inviting broader notice of the band’s hearty hard/melodic rock sound. Burn The Ships though is a wake-up call to bigger spotlights upon the band, the Philip Mosley produced and Austin Deptula mixed and mastered encounter a fiery roar very hard to ignore or avoid finding a healthy appetite for.

The Blacktop Mojo sound is arguably not the most unique, the band drawing comparisons to the likes of Shinedown, Black Stone Cherry, and Soundgarden yet has an individual character and diversity which lifts it from the crowd with ease. All the evidence lies within Burn The Ships and its inventive and impassioned rock ‘n’ roll; a proposition hitting the ground running with its majorly rousing opener Where The Wind Blows. A lone melody with a country rock twang makes the first beckon, a sister lure swiftly by its side before muscle bound rhythms loom over ears amidst the continuing invitation of that initial welcome. Soon into its thick and potent stride with the growling tones of Matt Curtis’ bass rich bait alongside the meaty swipes of Gillis, the track has its infectious claws firmly around ears and appetite with James’ delivery leading the way and in turn the listener into one peach of a chorus impossible not to get fully involved in. With the riffs of rhythm guitarist Kenneth Irwin equally steering the temptation as lead guitarist Ryan Kiefer spins wiry grooves, it is a seriously compelling proposal,

The following End Of Days is just as formidable and satisfying, its robust rhythms and gnarly grooves alone gripping body and an instinctive passion for heart bred rock ‘n’ roll. As its predecessor, the song carries an irresistible chorus to back up the already successful lures at play and the album’s powerful start, success its title track continues. As provocative guitar temptation wraps its flame lit charms around ears, Burn The Ships quickly shows itself an equal to those before in enticement, gaining even greater strength in that trait as its groove takes on a nagging quality as it meanders around the vocal potency of James. With Seether-esque hues involved, the song croons and roars; flexing its muscle as it spins its inventively intoxicating sonic web with each passing second. The track is pure drama and the pinnacle of the album though challenged throughout.

The earnest strains of Prodigal follow, its Staind lit serenade a mellow emotive caress allowing for a breath whilst enjoying its melodic heat, suggestive flames building  into a bigger blaze before Shadows On The Wall smoulders and erupts in a 3 Doors Down scented fire next, subsequently  followed by the virile throes of Sweat. The trio do not quite teach the heights of the first three tremendous tracks but each with their individual natures and temptations leave plenty to embrace and firmly enjoy.

The snarling properties of Pyromaniac bring the album back to its loftiest heights, the song as heated as its title suggests with irritability in its riffs and a bass grumble so easy to grow lustful for. Melodically, there is a 3 Days Grace air contrasted and complimented perfectly by the grungier textures at work on the senses, both linked by an instinctive catchiness  which again features in potent form within the predacious 8000 Lines, a song stalking ears with rapacious riffs and antagonistic beats as sonic enterprise and vocal drama ignite. The track is outstanding; its unpredictability enhanced by melodic beauty as an oasis of calm shares ears with its tempestuous heart.

Both Dog On A Leash with its red-blooded plaintive call and the reflective cries of Make A Difference leave satisfaction full, each revealing further twists in the album’s make-up and enterprise while Chains brings a web of athletic grooves and beefy rhythms in a burly persuasion raising the ante again. It is pure captivation preying on an already eager appetite for sound and encounter.

Concluded by the emotionally charged Dream On and the melancholic musing of Underneath, the impressive Burn The Ships has plenty to see the band make the next step towards global recognition. Its songs are shapely and sound rich if not always on the truly unique side. Its craft and imagination more than compensates though as ears embrace the open potential also lying within a triumph of a listen.

Burn The Ships is out now through Cuhmon Records @ https://blacktopmojo.bandcamp.com/releases or http://www.blacktopmojo.com/store

http://www.blacktopmojo.com/   https://www.facebook.com/BlacktopMojo   https://twitter.com/blacktopmojo

Pete RingMaster 15/03/2017

Copyright RingMaster: MyFreeCopyright

Contemplating Leaving Eden

le-3-11-16_RingMasterReview

It is quite simple. Leaving Eden is a band which demands attention with a sound and creative flair that persistently captures the imagination drawing an ever growing following simultaneously. Their ear catching and thought provoking music has help lead the band to sharing stages with hundreds of the biggest national bands in the world and tours across numerous countries. We managed to grab some time with Eric from the band to learn more about Leaving Eden and what makes them tick…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

I’m Eric Gynan: Guitarist, vocals, Keys.

Have you been involved in other bands before? If so has that had any impact on what you are doing now?

Yes we’ve all been in various bands along the way and learning from the past always gives you a jump on the future.

What inspired the band name?

Leaving Eden came to be simply that this planet is like the Garden of Eden right, with all of its corruption; wouldn’t it be nice to take off and go somewhere else to visit? Lol.

Was there any specific idea behind the forming of the band and also in what you wanted it to offer and does that intent still drive the band or has it evolved over time?

Definitely we have evolved. I think you have to in order to change with the times so long as it’s better. It’s important though to maintain your individuality. For us we set out to be different. Quick story here, we went to this huge studio once where bands like Seven Dust, The Rolling Stones and Boston recorded. The person there brought out a white board in the conference room and drew a box. They said you are here, pointing outside the box and you need to be here, pointing inside the box. I immediately said wait, are you telling us we need to be in that box?  They said well yes I guess I am. I said thank you very much and got up and walked out. I get it, if you wanna ride a wave and be like everyone else on that moment of time, they can easily slip you into a genre. For us though it’s hard to just slip us in to any particular genre. We won the best Hardcore act in New England and I thought that was funny because they couldn’t find the appropriate Genre for us. We stay true no matter what the times may change to our roots, Rock Music.

Since your early days, how would you say your sound has evolved and has that been an organic movement or you guys deliberately heading in certain directions?

I think being a recording artist, endlessly recording and working with some incredible recording engineers like Johnny K (Disturbed, Pop Evil) you learn what it really takes. When they say they will go through your music with a fine tooth comb, they mean that literally that down to the 64th beat your music will be scrutinized for perfection. Ya know good bad or indifferent, when you listen to the radio, you may not like the band you’re listening to but aside from that, you will NEVER hear something that’s not polished. It’s gotta be perfect or you’ll never make it to the radio. With this on mind, you take this knowledge of being tight to the live performance and it makes all the difference in the world. This is why some bands may record a great album but when you see them live, it’s just not the same. We try and stay true to our recordings.  We also evolve in that area after the recording we may change it up live where we may think we’ve built upon that foundation.

art_RingMasterReviewPresumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

I think all of us are inspired by what we like as far as taste in other bands music. For us what greatly inspires us is that organic sound that manifests itself in a way that is kind of like connecting the dots. We feel that Leaving Eden learns from the past, encompasses the present and forges the future. Any band that has been in the gutters not in the limelight, they’re the ones whom always forged the future. This is why we named our last album Pinnacle…Because it’s at that pinnacle where trends will be forged.

Is there a particular process to the band’s songwriting?

Sure. For me I connect with the Universe in a way that opens my mind to listening. I use my fingers as kind of line antennas to pick up the frequencies, as strange as that sounds, if you listen, you can hear the music that lyrics, melodies and harmonies completely produced. Just gotta transfer that info to the recording. Then the rest of the band puts their stamp on it and presto, there’s a new song. I’ve even felt the influence of dead poets coming through. Sometimes I feel like I really can’t even take credit for the songs as they’ve come from somewhere else. It’s a deep meditative state of mind that brings these ideas into fruition.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Great question… Our songs speak from experience, life’s experiences…Sometimes good but mostly bad lol. Bad in the way of getting screwed, for instance our song Tied and Bound comes from the frustration of the music industry; “We’ve been screwed overcharged underpaid and abused, exploited avoided and falsely accused, we’ve been cut down let down fucked around tied and bound, but nothing can take the music away”

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Pinnacle released by Rock Avenue Records USA, was completely written before we got to the studio. We like to do pre-production first, be prepared so to speak, so that we aren’t wasting valuable time and money. Pinnacle is really an eclectic array of song themes and music. We tried to keep it again organic so you won’t hear all these extra vocal harmonies for instance that we could never do live. Yes there is harmony, but it can be done live.

Tell us about the live side to the band, presumably the favourite aspect of the band?

That is where one should shine right?  I feel it is our live sound which is one of our trade marks. It’s so hard in the studio to capture that live performance primarily because it’s a one sided energy exchange. When you have a crowd, that’s where the sharing of the energy happens, therefore it really helps to put you on top of your game. You can’t see the band for instance when listening to an album, so that performance is so necessary.  Can the band reproduce that sound live? With Eve in front, she is clearly universal and really takes control of the room or festival, really just connecting with the crowd.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?14195978_1274693589207580_3294288122701219788_o

Correct. We’ve been fortunate, lucky, graced, whatever you’d like to call it. Our motto has always been that we will play anywhere, anytime, any way we can so long as we can. This philosophy has led us to share the stage with some of the biggest bands in the world with;  Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio,  Rob Zombie, 5 Finger DeathPunch, Disturbed, Marylyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, BuckCherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s,  Alice in Chains, Papa Roach, Bret Micheals, Halestorm, Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel,  Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) and many more..  This has led us to Winning The New England Music Awards & The Pulse Magazine Worcester MA Music Awards and Touring The USA, UK & Canada. If we didn’t get out there we would have never found these opportunities. There’s usually someone there that can help move you forward.

Are there the opportunities to make a mark if the drive is there for new bands?

Absolutely…In fact I believe bands who haven’t “made it” have more of an opportunity. Let’s take a band that has made it whether it was one song or many. As time passes, for whatever reason, they stopped making hits. It’s very rare for them to have another hit song or even get on the radio. It’s very strange but true. As a new artist you have more of a chance because again you’re at the pinnacle forging ahead.

How has the internet and social media impacted on the band to date?

I find this very interesting. In a moment you can be heard all over the world. It’s absolutely amazing. Back in the day I feel bad for the artists before the internet that never had that chance. Shit, back then you couldn’t even stay connected with different states via phone. It was too expensive to make a phone call so you were quite limited as far as how far you could reach. Now, our music is flying through the airways, our unreleased song Out of the ashes says; digging deeper underground faster than the speed of sound

I can see the light of day, darkness fades away”. This just says as a band that’s not superstars, they are basically underground in the gutters spreading like swill in the harbor of slime lol. God some of the venues we’ve played have been the scum of the earth. Shit when we went to UK, there was a dirt floor. But in order to really appreciate where you may end up you’ve got to crawl through the slime in the gutters. If I for instance just started a band, had lots of money, related to someone big in the industry, getting signed immediately and becoming famous overnight, how then could I appreciate where I came from? When you come from the bottom of the barrel and make your way to the top, you never forget where you came from.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers

This was fun. Please excuse my unorthodox replies here and appreciate your time. Leaving Eden will be touring the USA, Canada and Europe. Hopefully South America as well, where our management/touring Co. Alpha Omega/Darkside Entertainment has offices in Europe, USA and South America we feel honored to be part of the family there. We hope to see all of you soon!! For all Leaving Eden Info go to http://www.leavingeden.com

And see us on Facebook Leaving Eden and Peace and Harmony to all!!  I say harmony because this planet, the universe, everything in it works in perfect harmony accept one species, Humans. WTF is that about right? Let’s make it happen.

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

Copyright RingMaster: MyFreeCopyright

Patriot Rebel – Cynics Playground

PatriotRebelPromo_RingMasterReview

With their first new slabs of muscle bound rock ‘n roll since the Two Worlds EP in 2013, UK quintet Patriot Rebel take another attention grabbing and impressive step to the fore of the British rock scene. Quite simply the Cynics Playground is a thumping collection of rousing incitements, a multi-flavoured EP that stirs up the spirit.

Formed in 2011, the Nottingham hard rockers have constantly honed their sound and lured greater focus the way of their ear pleasing creative roar. Drawing on inspirations ranging from Alter Bridge, Shinedown, Black Stone Cherry, and Avenged Sevenfold, Patriot Rebel poked at acclaiming attention with the aforementioned Matt Elliss (Black Spiders, Terrorvision, Skarlett Riot) produced Two Worlds. Live the band equally earned a potent reputation, taking in shows with the likes of Y&T, Tesseract, The Treatment, Jettblack, and Skarlett Riot along the way. Last year saw the release of the similarly striking video single Propaganda, a track taken from their first EP. Now with Ellis again at the helm, the band returns with Cynics Playground and a sound which has noticeably grown in maturity, power, and downright magnetism.

Patriot Rebel Cover Artwork_RingMasterReviewOpening up with Digital Mannequin, the EP hits the ground running. Led by the most irritably growling bassline to get an appetite for, the song is soon driving through ears with the riffs of guitarists Danny Marsh and Dave Gadd stirring the senses as vocalist Paul Smith roars. It is a thick and almost muggy assault with every element crisp and precise within the infectious tempest, throughout Marsh’s grooves entwining the imagination, binding the sinew swung beats of Aaron Grainger and the persistently grouchy tone of Will Kirk’s bass.

It is an outstanding start, with at times a whiff of System Of A Down to it, which leaves a lingering impression and pleasure before being matched in creative kind and potency by Self Hate. The second track similarly has ears and eagerness devouring its robust throes of riffs and rhythms, presenting another imposing yet inviting entrance which commands attention and enjoyment with swift success. Smith again stands magnetic within the boisterous energy and aggression offered, his delivery a fiery snarl with contagious prowess to match the virulent enterprise of the guitars and rhythms, which in turn means one stirring encounter.

Two songs in and the Patriot Rebel sound while never afraid to reveal some of its influences, shows itself to be at its most unique and individual yet, the emotive power balladry of Dying Breed continuing that welcome trend as it ebbs and flows with emotional and physical intensity amidst sonic invention. More a smouldering success than its predecessors, the track emerges as another highlight within Cynics Playground, being quickly equalled by the rhythm swinging, antagonistically riffed All I Wanted. It is a beast of a proposal, that irritability of bass in the opener fuelling every aspect of the mighty incitement. The song takes no prisoners, guitars and beats biting as they entice and land alongside the predatory nature of the bass which in turn courts the catchy lead of the vocals and the infection sharing instincts of the track itself. Equally though, there is room for some sonic and exotic melodic imagination to be seriously tempted by.

The EP closes with Miss-Guided, a song which reveals all the Patriot Rebel attributes with consummate ease while sharing the new depth and adventure in the band’s sound. Though it might not quite live up to those before it, the song is an impressing finale to a thrilling release. Cynics Playground is Patriot Rebel on a new plateau yet the feeling is that the band is still working towards their true creative heights; so happy days for UK rock ‘n’ roll ahead we suggest.

The Cynics Playground EP is out now through all stores.

https://www.facebook.com/patriotrebel    https://twitter.com/patriotrebeluk

Pete RingMaster 24/06/2016

Copyright RingMaster: MyFreeCopyright

Twenty Second Dimension – Self-Titled EP

Twenty-Second Dimension

Twenty Second Dimension is a trio from Columbus, Ohio who have just released their self-titled debut EP, a release quickly grabbing attention. It offers five magnetic portions of the band’s melodic rock, a quintet of songs which bring a swift involvement of ears and feet. Theirs is a sound which nestles easily within a style many others are making successful use of too and in that respect it is not the most unique proposal you may come across with few big surprises involved yet there is no questioning the accomplished body and character of the tracks or the enjoyment each provides.

The band is made up of Eliot Hosenfeld (vocals and bass), Matthew Bowden (guitar and vocals, and Jeremiah Ross (drums), a threesome with CVs which include the sharing of stages with the likes of Limp Bizkit, Rob Zombie, Papa Roach, Sevendust, Theory of a Deadman, Incubus, Shinedown, Marilyn Manson, Five Finger Death Punch, Halestorm, Volbeat and many more before Twenty Second Dimension. It is a background easy to suggest has helped hone the skills and invention of individual members and the band as a whole; the growing of a craft which certainly makes their first release something to find strong rewards in.

Twenty-Second Dimension_RingMasterReviewReleased through Pavement Entertainment, the EP opens up with Afterlife. Making a low key entrance it soon hits a catchy stroll with simmering keys surrounding a great blend of vocals and am equally inviting and throaty bassline. Guitars add their own specific tempting to the swiftly infectious encounter too, especially as the tenacious chorus erupts, though it is the blend of Hosenfeld and Bowden’s vocal harmonies which grab biggest attention. Continuing to unveil inventive twists and turns through the stylish hooks and riffs of guitar, the track provides a potent start, one soon backed with similar potency by the feisty croon of Without You. Whereas there was a more unpredictable edge to its predecessor, the second track shares a more rounded melodic rock persuasion with again vocals and harmonies commanding as melodies take their share of the imagination involved.

An infectious character and tenacity fuels Dreamless next, the track a vibrantly strolling slice of rock ‘n’ roll springing catchy hooks and riffs like confetti around the throbbing bassline cast by Hosenfeld and the magnetically jabbing beats of Ross. As suggested earlier, big surprises are rare but with the track easily whipping up physical and vocal involvement, there is little more to want from the excellent encounter.

Blindside steps up next, its initial guitar enterprise carrying a slight blues tone and subsequent melodies a classic rock feel before the track slips into a prowling gait with dark intimidating shadows. That in turn is followed by a flaming roar of evocative melody and harmony before the sequence is repeated to increasing effect.  That earlier unpredictability is in full swing here too, the song subsequently taking best track honours before Good Enough fires up its imagination to bring the EP to an impressive close. It too takes unexpected turns with a seamless flow, feistily seducing ears and great satisfaction with each breath and lure of invention.

The Twenty Second Dimension EP is a thoroughly enjoyable and striking introduction to the band and a great base for them to search out greater originality from. Such the quality and rousing success of its contents though, another offering from Twenty Second Dimension like this would certainly go down very nicely too.

The Twenty Second Dimension EP is out now via Pavement Entertainment.

https://www.facebook.com/twentyseconddimension   https://twitter.com/22ndDimension   https://instagram.com/twenty.second.dimension/

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Fahran – A Thousand Nights

Fahran_RingMasterReview

Giving another potent nudge on attention for their excellent and increasingly impressive second album Chasing Hours, British rockers Fahran release the track A Thousand Nights with another slice of the album in Take This City Alive for company. Both tracks epitomise the creative and rousing qualities to be found in the full-length and the Nottingham hard rock band’s sound as a whole.

Formed in 2012 out of the ashes of Toxic Federation, Fahran soon made a potent impression with their self-titled debut album which embraced inspirations ranging from the likes of Queen, Iron Maiden, Metallica, Led Zeppelin, Thin Lizzy, Shinedown, Alter Bridge, and Black Stone Cherry into an expressive and dynamic hard rock sound. With a just as attention grabbing live presence which has seen them successfully play Bloodstock and Download, the band made a bigger and bolder statement with the 2014 released Chasing Hours, again a success backed by their tenacious live exploits.

Now the single gives a potent reminder of album and the Breaston quintet’s enticing sound with one of its highlights. A Thousand Nights wraps ears in a sonic seducing straight away, riffs and rhythms collecting around the sonic coaxing before springing fiery grooves and classic rock bred flames around ears. Inspirations are an open colouring to the classically honed encounter, the guitars of Chris Byrne and Jake Graham a snarling captivation alongside the impressive vocal tones of Matt Black. Major surprises are not a bold element of the song but more than covered by the melodic seducing and rhythmic intimidation shaping it. Within Chasing Hours, the song was one which took longer to convince to the same stature as others but persuade it did and now seems to shine even more as a lone temptation.

Alongside it, Take This City Alive is a far more ballsy and hungry offering, a slice of rampant rock ‘n’ roll with delicious grooves entwining JR Windsor’s anthemic beats and bassist Josh Ballantyne’s throaty lures, not forgetting that powerful vocal prowess of Black. Inescapably infectious with a creative and physical swagger to match, the track roars with sonic endeavour and rhythmic aggression, teasing and pleasing ears with its boisterous swing and lively hard rock vivacity.

Both tracks provide all the best reasons to check out Chasing Hour, if it is not a friend already, but more so to give yourself the best kind of night out by seeing Fahran live.

A Thousand Nights is available now.

Upcoming Live Dates:

March 24th – Grand Central, Manchester

March 27th – The Prince of Wales, Kettering

April 16th – The Cellar, Oxford

May 1st – Dementia Aware Fest, Birmingham

May 21st – The Woolpack, Doncaster

June 5th – The Rock Bar, Tamworth

June 25th – The Birdwell, Barnsley

July 14th – Carnfield Hall, Alfreton

September 10th – Redemption Festival, Wakefield

https://www.facebook.com/Fahranmusic/   https://twitter.com/fahranmusic

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Adelitas Way – Getaway

AW_RingMasterReview

Adelitas Way has persistently shown themselves capable of writing and creating anthemic roars that instinctively ignite the spirit and adrenaline. From their self-titled debut album and tracks like Invincible, the US band has early on uncaged impassioned and dynamically persuasive proposals. With new album Getaway though, they have hit a new peak. From start to finish, it is a conveyor belt of rousing proposals, as sturdy and aggressive as they are melodically contagious. It is probably fair to say that the Adelitas Way sound has never been one close to re-inventing the wheel, but they and certainly these ears have no issue when body and spirit is relentlessly given a shot of the band’s fresh and anthemic virulence.

Getaway is the fourth album from the 2006 band, and as suggested another in a line of highly persuasive and captivating releases. Whether they have hit the personal sweet spot or not, all have gone to establish the Las Vegas quartet as one eagerly devoured proposition on record and indeed live where they have shared stages with the likes of Guns N’ Roses, Shinedown, Creed, Alter Bridge, Three Days Grace, Chevelle, Theory of a Deadman, Breaking Benjamin, The Pretty Reckless, Godsmack, Staind, Flyleaf and many more.

The successor to Stuck of 2013, the Johnny K (Disturbed, Staind) produced Getaway sees the foursome of Rick DeJesus, Tre Stafford, Robert Zakaryan, and Andrew Cushing in no mood to hold back on their emotive intensity and sonic dexterity. The evidence is immediate as the band’s new single Bad Reputation, and first taken from the album, launches at ears with infectious bait. Choppy riffs and similarly tempting rhythms immediately press suggestively upon the senses as the always welcome tones of vocalist DeJesus step forward. Inspired by his own feelings about a reputation he has earned over the past few years, his reflections come entangled in a web of spicy melodies and snapping hooks within a climate of sound which builds small but effective crescendos of energy and intensity.

COVER_RingMasterReviewIt is a great start which barely waivers over the next stretch of songs starting with the album’s title track. The band’s hard rock bred sound is in feisty mood from its first breath, almost irritable in its sonic jangle backed by attitude lined rhythms. Increasingly fiery yet equally catchy, especially around its sizzling chorus, the track has feet and emotions quickly involved and in time exhausted, though they get a chance to relax with the sultry smoulder of Good Die Young. The fiercely energetic tracks always emerge as personal favourites across an Adelitas Way encounter but as proven here, the band is very accomplished at creating emotively and sonically incisive balladry. Expectantly it does come with a raw edge and dramatic intensity which only helps it make a potent impact as enjoyment flies high.

Low brings a great grouchiness to its riffs and nature next, guitars almost carnivorous in tone as a Sick Puppies like flame of melodic and harmonic energy emerges from within the song’s growl. As many tracks, ears feel like they are meeting up with an old friend, being enveloped in a recognisable infectiousness which adds colour to the band’s blaze of heavily pleasing and fresh enterprise. By the end of the first minute, vocal participation is inevitable, a temptation most tracks are equipped with as shown by the volatile roar of Put You in Place with its web of spidery steely grooves and the mercilessly contagious I Get Around. A resonating bassline invitingly groans from the heart of the second of the pair, its dark hues a gripping tempering and spark to the tempestuous and boisterous roar around it. Not alone in showering the senses in serious infectiousness, the song epitomises the power, attitude, and rousing ferocity of the band’s sound, and equally its rock pop prowess.

Across the tenaciously excitable Filthy Heart with its blues spiced sonic winery and the mellower coaxing of Harbor the Fugitive, band and album, maybe without matching earlier heights, has ears and firmly attentive whilst Sometimes You’re Meant to Get Used really stirs things up again with its tantalising blend of rapaciously snarling textures and melodic revelry bound in emphatically infectious imagination.

The album concludes with firstly the blues rock flavoured Shame, an enticing flame of enterprise which again might not create the same lustful reactions as others but with a whiff of Bowie-esque toning to parts of the vocals, only holds attention firm before Deserve This twists and turns with robust rhythms and crunchy riffery leading its fractious yet anthemically layered tapestry of striking sound and endeavour.

It is a fine end to a thoroughly enjoyable release where major surprises are low but invigorating rock ‘n’ roll is nonstop incitement. Getaway is the most rounded and fertile release from Adelitas Way, and for us, the most fiercely enjoyable so far.

Getaway is out now via most online stores and @ http://adelitaswayshop.bigcartel.com/category/cd

https://www.facebook.com/adelitasway   https://twitter.com/adelitasway

Pete RingMaster 07/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Stone Angels – Give In To Temptation

Stone Angels Promo Shot_RingMaster Review

Give In To Temptation is a great title for the debut album from the Brighton hailing Stone Angels (not to be confused with The Stone Angels from Devon), as that is exactly what you do, inescapably submit to its eventful rock ‘n’ roll roar. Jammed with eleven fresh sounding tracks which brew up rousing exploits from admittedly pretty recognisable sounds and inspirations the album is hefty in anthems and punchy adrenaline charged stomps, and as high on that familiarity to others as it can be at times, Give In To Temptation lets no one down when it comes to thrills and enjoyment.

Stone Angels emerged in 2011 from the ever musically resourceful scene in Brighton, the experienced quartet rising from the ashes of ‘several broken’ bands. Drawing on inspirations from the classic LA rock and legendary UK rock scenes, and bands ramngimng from Alter Bridge, Black Stone Cherry, Black Spiders, AC/DC, Massive, and Rival Sons to Five Finger Death Punch, Foo Fighters, Iron Maiden, Motorhead, Slash’s Snake Pit, and King’s X, Stone Angels’ hard rock incitement has seen them become one of the UK’s most potent live propositions. Now the band is looking to awaken even broader attention with the national re-release of Give In To Temptation, a prospect you can see gathering rather potent success.

The reason being songs like Misplaced Memories and Devil’s Child, they just the first two tracks on the swiftly persuasive encounter. The opener worries ears with a torrent of hungry riffs and spiky grooves meshed into a rhythmic web cast by drummer Ben Taylor and bassist Chris Wilson. There is grouchiness to the tone of the song and instant contagion on offer with the sonic enterprise of guitarists James Innes and Niall Kersey tempering the growl a touch with melodic enticement, especially the former’s precise grooves. Kersey’s vocals also carry a dusty snarl which only adds to the easily accessible and familiar but refreshing confrontation, a blend exploited enjoyably again in the slower prowl of the second song. Bands such as Black Stone Cherry and Rev Theory get hinted at though the song has a more vintage bluesy hue to it as it backs up the album’s forcibly engaging start.

Stone Angels Album Cover_RingMaster Review   That sultry air and texture becomes richer in the following fiery melancholy of Last Goodbyes where keys deliciously add a psychedelic strain to the increasingly eventful and impressive croon, Stone Angels revealing more good variety to their sound and songwriting. Uniqueness is, as suggested earlier, not a dramatic quality to their sound and indeed the song but it matters little in its persuasive bellow and not at all in Can You? straight after. Again attitude and melodic flames fuel the track, but it is the bewitching sonic hook and easy swagger which grips most prominently, they and the vocal lure of Kersey backed potently by the rest of the band’s calls.

At only two and a half minutes, the track is a swift, bait loaded jab and the relative shortness of most songs within Give In To Temptation does add to the rapier like feel of the album and its thick success on ears and appetite, this proven again by the not much longer body of Fantasy and swiftly after in the slightly lengthier Lines In The Sand. The album is like a heavy weight poking senses and satisfaction, this pair uppercuts of rock ‘n’ roll which has energy reeling and bodies exhausted. Both tracks unveil individual grooves which induce ears and hunger to arousal amidst greedy riffs adding enticing weight to the song’s tenacious grip.

Thousand Years slips into a mellower melodic reflection within a hazy flame of emotive intensity to bring a respite of sorts for adrenaline and energy whilst Falling Down gets funky on the listener whilst unleashing another dose of predatory riffs, wicked rhythms, and spice rich, bordering on salacious, grooves across guitar and bass. The first of the pair takes longer to find the right spot but is perpetually enjoyable nonetheless whilst its successor is an immediate stomp which just has bodies swinging, an anthem no doubt igniting venues for the band and calling out to be a single.

There is a darker almost sinister shade to the imposing blues rock stroll of Devil’s Grip and a lighter glaze of stoner-esque infectiousness to Fine Day, both songs rich with tendrils of sonic imagination and the healthy spices bred by some of the band’s influences. The latter is another single prospect for these ears; its Alter Bridge meets Shinedown character tantalising before Shadows Of The Black Sun is left to bring the album to a close. Again it is ripe with a familiarity which only seems to works in the song’s favour, as indeed for Give In To Temptation’s success.

Future demands might ask for more distinctness to the Stone Angels sound next time around though you are pretty much sure of some stonking songs at the very least anyway, but for an introduction, Give In To Temptation is one enjoyable slab of rock ‘n’ roll you can only have a thoroughly good time with.

Give In To Temptation is nationally released on Friday 4th September on CD and digitally through all stores.

RingMaster 04/09/2015

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