Bonz – Broken Silence

With Stuck Mojo deeply entrenched in the passions maybe it is no surprise that Broken Silence, the debut album from BONZ, immediately felt like an old friend returning to stir up trouble and the passions. Led by the original frontman of the former, and welcomingly dosed with all the recognisable tones, raps, and roars vocalist Bonz offered in the major protagonists sculpting and ferociously driving rap metal forward, band and album swiftly set a lively spark in the passions. Around him though the sounds offer plenty more than an echo of former glories; twisting rap, nu, and southern bred groove metal into one riveting and ridiculously contagious proposition. Think Stuck Mojo, Body Count, and (Hed) PE in a passionate collusion with The Union Underground and you get a colour of the creative blaze of BONZ. It is familiar in many ways but still dramatically fresh and best of all, ridiculously anthemic and instinctively compelling.

The band came about after Bonz played with ex-Primer 55 guitarist/bassist Curt Taylor in Killer in the Workplace in 2009. With the band coming to an end in 2011, the pair wanted to continue working together and BONZ was the outcome. Early demos suggested something tasty was brewing, a realisation now openly unleashed on the world through Broken Silence. Last year saw the band sign with Germany’s Eternal Sound Records and the creating of the band’s imposing full-length debut, showing in the words of their bio that “the “Mouth of Mojo” is indeed back in fine form.”

If any album in recent times has started with as potent and irresistible a stomp as Broken Silence we missed it. Opener Sinister Grin is pure virulence, from the wonderful earthy lone bassline which sets it in motion, the song is the seeds to addiction. It is almost rockabilly in tone at the start but just the simple lure into the furnace of rap metal tenacity which explodes upon the listener soon after. Grooves are as immediate in appearance and captivation as the distinctive provocations of Bonz, their united bait framed by the punchy rhythmic trap laid by drums and bass. Body and thoughts are increasingly seduced as the track romps with anthemic fury and enterprise, every lyrical spit and tangy hook the inescapable kindling to a fiery ardour for the punk infested tempest.

Such a powerful gripping entrance was bound to be followed by a slight dip, not that Comes Over Me gives it much room to breed with its mustier breath and heavier rock infused protestation. Slim but strong diversity from the vocals adds to its inviting drama whilst the guitars scrub up a great dusty atmosphere to the riled encounter. It keeps the potency of the album high as does the excellent Godshine which follows. A thick vine of southern rock flaming veins the track, infusing the stormy attitude and intensity of the encounter with a sonic colour which flames nicely against the infectious vocal conflict.

The album’s title track like the opener is baiting and binding ears and imagination within seconds, this time with another delicious toxic groove which is belligerently unrelenting in its persistence. It cores the track from start to finish, shifting its shade of colour only as Bonz almost duels vocally with the listener. The rhythmic stomp of the track is just as gripping and incendiary, beats punching ears with a middleweight’s consistency and accuracy as bass and guitar prowl and flirt respectively. There is no denying you cannot escape the Stuck Mojo comparisons but it is hard to remember that band finding the same depth of swagger and epidemic like temptation in as many songs on a single release as already shown upon Broken Silence.

30 Seconds To Swat is a punk metal brawl, the bass providing a dirty groove whilst riffs blister and inflame the air with a budding fury. Not as unique as other tracks but a thoroughly absorbing incitement to neck muscles, the song makes way for the exceptional stalking that is Take It Personal. Bass and riffs prowl around the listener, leery and combat ready. They do step back for the rap of Bonz though, the bass accompanying his vocal contention as beats equally slow their assault. It is going to erupt at some point of course and does in the ridiculously addictive chorus which has voice engaged in its call within one round of its rivalry. The track sets another pinnacle in the heady heights of the album, easily sparking thoughts that if live audiences bellow for one song it would be this mighty antagonist.

There is enough diversity to the album to make Broken Silence more than a rap metal revival, the great melodic charm and chant of Sour Diesel teasing with a bluesy groove and Insane Clown Posse like vocal sway whilst Bad News stamps and seduces with a feisty fusion of hard and melodic rock. Jared Gomes and Co come to mind during the song but equally a loud whisper of P.O.D. shows itself, both mere spices to the rock ‘n’ roll roar. Their pleasing successes are surpassed by the great punk causticity and dirty rock ‘n’ roll bellow of Bad Love, where essences of hardcore and melodically infested rapcore collide within the furious climate of the song.

Completed by a great live version of Take It Personal, it is easy to suggest Broken Silence will be sheer joy for fans of rap and nu metal, and for sure those of Stuck Mojo even as BONZ unravel their own identity with their debut. If you are looking for flaws, maybe not enough striking diversity to the delivery of Bonz could be offered, though why change something which works, and surprisingly the release never gets as nasty and spiteful in its anger as expected. When it is this much fun and thrilling though, it simply does not matter.

Broken Silence is available now via Pavement Entertainment/ Eternal Sound Records @ http://eternalsoundrecordsshop.bigcartel.com/product/ltd-cd-digi-pack-pre-order-bonz-broken-silence-ltd-cd-didi-pack-2015-release-date-13-02-2015

http://bonzband.com/

RingMaster 11/02/2015

Copyright RingMaster: MyFreeCopyright

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The Milestones – Higher Mountain-Closer Sun

Photo by Pasi Rytkonen Photography

We cannot say we have a natural appetite for southern and classic rock, nor an over attentive interest, but occasionally something hits the right spot and sparks a thorough investigation. The recent impressive album from Norwegian blues rockers Electric Woodland has been one and the legendary Bad Company in the past another to light a fire of interest and pleasure. Now with new album Higher Mountain-Closer Sun, Finnish southern rockers The Milestones have lit another potent appetite with their hot sultry sounds. Another reason for mentioning the first two bands is that this album comes with a healthy soak of blues/hard rock to its southern sonic climate which brings potent comparisons in many ways to the enticing sounds of those two bands. Higher Mountain-Closer Sun seems to soak up those essences and many more flavoursome spices to create its own feistily simmering proposition, an offering which seduces even our more aggression wanting tastes.

Twenty years since taking its first steps and with now four albums under the belt, The Milestones has earned a strong presence within world hard rock since the release of their debut album Vol. 1 in 1996, an album seeing a re-release later this year. Acclaimed and drawing strong interest in the States, its success and the band’s live presence led to them traveling to New York to record second album Souvenirs of 1999. This proved to be nowhere near as successful in sound and impact as its predecessor and as the promo sheet accompanying the new album states, “Ultimately it would take ten years for The Milestones to heal the wounds.”

That was when album three emerged, Devil In Men in 2009 pushing the Helsinki quintet back to the stature and acclaimed attention enjoyed before on a global scale. It was followed by tours around Scandinavia, Central Europe, and the US the band supporting the likes of Whitesnake, Deep Purple, Black Stone Cherry, Gary Moore, Raging Slab, and D.A.D. along the way. Now they uncage Higher Mountain-Closer Sun through Listenable Records, a magnetic and fiery romp of instinctive rock ‘n’ roll taking body and passions on a fevered stomp.

From the first track the album seems to have a hook deep into thoughts and emotions, the opening Walking Trouble instantly smothering ears in a blaze of sonic and melodic haze with the guitars of Tomi Julkunen and Marko Kiviluoma a seductive graze on the senses whilst the bass of Veli Palevaara roams with equally captivating enterprise and swagger. Completed by the firm beats of drummer Tommi Manninen and the dusty vocals of Olavi Tikka, whose harmonica flair also ignites a twinge of hunger, the track is a storming romp to start things off and get the listener to their feet.

Both the smouldering heat of Shalalalovers and the tarmac stomping Drivin’ Wheel keep the impressive start heading along the same plateau. The first of the two merges a great sultry climate over verses with an almost too easily accessible chorus, its lure predictable and over familiar yet irrepressibly addictive. The union works a treat with a soft spot for the harmonica well fed again before the song’s successor pulls on a Stones like blues colouring to wrap its southern bred adventure. Again there is a simple but inescapable virulence to the chorus which makes a great contrast to the more intensive creative tenacity before and after their expulsions. Both tracks incite full engagement physically and emotionally before allowing a breath to be taken with the evocative southern rock heated scenery of Oh My Soul. With a breath of gospel passion and ‘red neck’ causticity, the track is a sizzling temptation which increases its strength with every listen.

The acoustic ballad Grateful is a pleasing encounter but lacks the spark of previous songs, though that is probably more down to personal preferences for feet sparking revelry. To be fair it is a vocally and musically accomplished song which at times sounds like a mix of Elvis Costello in his country era and Bon Jovi. The following Sweet Sounds does have the body moving with intent next and again apart from its stirring chorus is another enjoyable but underwhelming offering when up against songs like the brilliant It’s All Right. The track is an insatiable rocker from start to finish, grooves and hooks as eagerly tenacious as the increasingly impressive vocals of Tikka and the addictive rhythmic bait. As with all the songs on the album, you feel you already know this bruiser of rock ‘n’ roll devilry which only adds to its invigorating and refreshing presence.

Such the strength and tremendous pull of the track it gives the likes of the energetically fevered You and the melodically and vocally reflective Looking Back For Yesterday a stiffer task to match up to, but both without quite lighting the same fire still treats ears and imagination to exciting endeavour and enflamed melodic sounds. Their success is taken to a new level by the raw and gripping drama of Damn. Again ridiculously compelling hooks and grooves vein what is a darker and sonically fevered canvas to the song. It makes a slow initial impression but emerges as another evolving into a big highlight within the album.

The scintillating Fool Me brings the main body of the album to a tremendous close, the guitars of Julkunen and Kiviluoma bordering on sonic eroticism such the potency and spellbinding strength of their grooves whilst vocals and rhythms dance with impassioned devilry around them. It is a stunning track, a show stealer on any other album.

The CD version of Higher Mountain – Closer Sun is finished by a couple of bonus tracks in Call Of The Wild and Quicksilver which sadly our promo did not contain but such the quality of the rest of the album it is easy to assume they only add to the fun. The Milestones may have taken ‘ten years to heal the wounds’ but there is little to stop them now with releases like this.

Higher Mountain – Closer Sun is available now via Listenable Records @ http://www.amazon.co.uk/Higher-Mountain-Closer-The-Milestones/dp/B00ILWB4VS and http://www.levykauppax.fi/artist/milestones/higher_mountain_closer_sun/#cd

https://www.themilestonesmusic.com

RingMaster 30/09/2014

Copyright RingMaster: MyFreeCopyright

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Tyson Leslie – Train Wrecks, Havoc and Heartbreak

US musician Tyson Leslie has been a vibrant part of the Kansas City music scene for over twenty years, playing in cover bands such as Karma, Baloney Ponyz, and 90 Minutes, whilst also aiding onstage the likes of Corey Taylor (Slipknot/Stone Sour), Gavin DeGraw, Paul Gilbert (Mr. Big), Carmine Appice (Vanilla Fudge, Rod Stewart,), and George Lynch (Dokken/Lynch Mob), as well as recently touring as a temporary member of Red Line Chemistry. Train Wrecks, Havoc and Heartbreak is the debut of his own material after two decades of playing other people’s music and such its irresistible infectious charm and masterful anthemic might, you have to ask why it took so long for the man to thrust his own songwriting talents forward. Merging a tasty mix of rock pop, country rock, and melodic invention, the album is an exciting romp to set ears and passions firing.

Leslie provides everything from song writing and production to the multi-instrumentation and vocals on the release with only KC drumming legend Go-Go Ray a constant addition. Train Wrecks, Havoc & Heartbreak does also see guest back-up vocals from people such as  David George (David George & A Crooken Mile), Laura Roach (Solus), Jacklyn Unruh amongst many, as well as guest solos from Tory Stoffregen (Enuff Z’ Nuff/New Black Seven), Josh Johnson (The Slowdown/Wonderfuzz), Freddie Francis (Saucy Jack), and Samantha Fish. It is a vibrant proposition which from its opening seconds is dancing with the senses.

From a failed attempt to start its motor, Little Green Honda bursts into life with vivacious riffs and crisp beats, hooks immediately taking a welcome grip. The strong vocals of Leslie soon join the ride, his delivery clean and potent to match the surge of the power pop heart of the song. With keys winking throughout and grooves flirting with ears, the track is an infectious romp with a familiar yet refreshing presence. Not for the last time, Leslie veins a song with skilful guitar craft engaging enterprise ensuring the album gets off to a thumping start.

The following Crazy All Over provides a rich country rock twang to its initial caress, keys and melodies equally southern rock heated and inviting. Undemanding yet irrepressibly resourceful in sound and vocals, the track strolls with a commanding swagger and coaxing rhythmic mischief sparked further by magnetic sonic endeavour before stepping aside for the equally enjoyable She Danced Under Lights. The third song on the album brings a choppy eighties riffery to its entrance and similarly timed breath to the vocals. The sharing of an excellent female delivery with that of Leslie to lead the song is potent as the expressive sound, the resulting warm seduction rife with feisty attitude playing like a meeting of Nick Lowe and T’Pau.

Selective Amnesia bounces in next with jaunty keys and punchy rhythms within a rock ‘n’ roll dance which easily reminds of Dave Edmunds, never an unwelcome inspiration for a song to embrace. The track leaps and bounds through the ear with an appetite to rock which triggers the same in the listener, its anthemic lure contagious and unstoppable. It is an exploit to get pulses racing which A Mourning To Lament brings back to a more stable rate with its melodic breeze and emotive caress. A gentle yet keen song in gait and invention, the track makes a pleasing stop on the journey of the album, keys an emotive narrative, but does slip in impact against the tremendous presence of the album to this point. Nevertheless it is an engaging song feeding the greedy attention inspired, a success matched by the ballad Goodbye To The Rain. Once again piano and vocals craft the evocative narrative which is further strengthened by flames of guitar and emotion.

The thumping drive of Suckerfish has the release flipping up the gears again, guitars and rhythms guiding the imagination into an epidemic dance of insatiable addictiveness pushed by again outstanding vocals and harmonies from Leslie and guest. Its mighty temptation is taken one better by the Costello-esque croon Stranger, a song which plays like an old friend with recognisable habits and brand new deeply gripping hooks. It is a masterful piece of rock pop matched by the distinctly differently guised but similarly delicious Wasted Time. Power pop at its best, the song has feet and voice recruited early on with passions close on their tail.

Both If He Comes Home and Blanket For Your Soul provide further proof of the varied flavour to Leslie’s songwriting, expression, and humour, the pair engagingly crafted melodic suasion in their respective rock and bluesy offerings. Their pleasing if underwhelming, again only in comparison to the weight and power of songs around them, presences are soon paled by the excellent 88 MPH, its urgently fuelled energy and rhythmic grin another impossible to resist adventure within Train Wrecks, Havoc and Heartbreak. The final song with its Lennon and McCartney like make-up, The Last Word, provides a closing ‘lullaby’ with its fine sounds and lyrical enticement, a last kiss from the strengths which have bloomed across the album.

    Train Wrecks, Havoc and Heartbreak is an excellent introduction to the solo side of a highly respected artist. Better late than never they say, and it certainly applies to the Tyson Leslie.

http://tysonleslie.com/

http://tysonleslie.bandcamp.com/album/train-wrecks-havoc-heartbreak

9/10

RingMaster 27/03/2014

Copyright RingMaster: MyFreeCopyright

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Gypsy Chief Goliath – New Machines of the Night

    Whether smouldering incandescently on the senses or burning them with blazes of blues soaked melodic rapaciousness, New Machines of the Night is one furnace of an album, a rigorous force which seizes senses and passions taking them on a goliath ride of heavyweight rock and metal fusion. Building on from their acclaimed debut, Canadians Gypsy Chief Goliath explore imagination and heart with ten slabs of scintillating and bruising rock ‘n’ roll. Classed as a stoner metal band, the Ontario sextet bring so much more to their presence and sound, the new album a magnetic fury of southern and classic rock with stoner and blues rock additives as well as melodic and heavy metal predation. It is a distinct and singular temptation to Gypsy Chief Goliath and in the Pitch Black Records released New Machines of the Night, a triumph at its invigorating potent best.

With songs sculpted by the three guitar assault and enterprise of Al the Yeti Bones, Dave Ljubanovich, and Sean Hamilton, the album is an adventurous and twisting flame of scorching invention and irresistible intrigue. Driven by the rhythmic framing and coring of drummer Adam Saitti and bassist Sean De Faria it is equally impacting with their enslaving spine of commanding persuasion and when you add the outstanding vocals of Al the Yeti Bones, who whether growling or offering a cleaner suasion coats the songs in an extra blaze of passion and energy to compliment the already fierce potency of the songs, the result is one of the best albums of this year. It does not end there though as with the harmonica sultriness of Brodie Stevenson teases the ear and boiling extra ardour, New Machines of the Night becomes an ever greater release combining themes of despair and dark shadows in a presentation which at times finds a feel good factor which has body and soul on their feet with jubilation.

The album stomps in with almost intimidation as opener Uneasy Kings raps the ear with measured beats and sonic spears of guitar strikes, a beckoning which wraps teasingly around the ear inviting thoughts and imagination into its seductive embrace. With the throaty predacious charm of the bass the platform for the excellent vocals to parade the narrative, the track is soon a shady yet dazzling companion, grooves and a sure swagger leading submission by the hand through scenery of Pantera like provocation within a vintage Thin Lizzy bred temptation. It is a striking start and the portent of things to come, certainly with that Lynott and co lilt coming to plenty of the offerings and an overwhelming perpetual contagious presence unveiled.

The following Are you Pulling Through also takes little time in gripping the ear and emotions, its starting stroll of feisty riffs and thumping rhythms aligned to a sirenesque call from the harmonica It soon evolves into an addiction causing growl of downtuned intensive bass and guitar which forges a dark stoner Down like ravishment with doom whispers and melodic acts of delicious discord. Easily continuing the impressive stance and power of the album with the blues furnace of Dirt Meets Rust matching the early heights with its blues swamp of enterprise and adventure the album is already in control of attention and appetite. With a fuller clean delivery to the vocals merged perfectly into his scowling gruffness, Al grabs as much of the attention as the fire spawned sounds. Thoughts of Bad Company make glimpses within the earlier part of the song though its heavier Sabbath suggesting latter portion shows the rich craft and diversity within the songwriting and album.

Busting the Avenue is another impossibly infectious bait of magnetic acidic invention, guitars conjuring a web of unpredictability and smouldering enticement which with the sinews of the rhythms and carnal snarl of the bass swings in comparisons from Clutch and Corrosion of Conformity to Motorhead. From one pinnacle the album provides another, and it’s loftiest in the brilliant wonderfully persuasive form of St. Covens Tavern. The song is glorious, immediately whisking feet and passion on a mesmeric dance of again Thin Lizzy seeped imagination. But it is only a teaser as riffs suddenly show their carnivorous side, barbarous tones springing infectiously from their strings whilst the rhythms equally harden their stance. It is when the folk metal like taunting enters with a whisper of Gaelic folk reminding of Horslips that the track becomes rock manna. It is rapture breeding raptor of a song, a treat which preys on all the weaknesses of the passions to feed all their wants in a multi-flavour insatiable metallic waltz. Not only best song on New Machines of the Night, it is one of those treasures which takes classic status.

The sizzling melodic pyre that is Got no Soul makes a strong rival with its southern blues coating of the ears, harmonica and keys aural alchemy within the cast of guitar and bass passion whilst both Secret Liaison and White Owl provide a slower sultriness from their heady blues angst and incendiary spicery, the second of the pair stretching into wider southern and hard rock endeavours. Though they arguably fall below the previous charge of songs they are borne of an invention and heart bred intensity which is at its height on the album within these two compelling snares.

Completed by the grizzled heavy metal breathing Slow Leak and the riveting Fought for Death with its again esuriently charged riffs stalking the senses for rhythms and vocals to play upon, New Machines of the Night is a magnificent release which leaves thoughts and senses ignited in a mix of adoration and greedy hunger for more. Gypsy Chief Goliath create an enthralling blend of rock and metal which is unafraid to stretch its limits and coax out startling fresh spices whilst offering something almost familiar to consume, certainly it is a treat with easy access and the fullest rewards. Heavy rock album of the year? Definitely the band has crafted a powerful contender.

https://www.facebook.com/GypsyChiefGoliath

9/10

RingMaster 09/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Face Down – The Long Lost Future

Building on their well-received first EP The Runaway of 2010, French band Face Down return with a raging blaze of a release in debut album The Long Lost Future. Consisting of eleven tracks which consume the ear like a tornado and buffet the senses in a torrential downpour of thrash riffery and stoner/southern rock heat, the album is a pulse racing riot of contagious enterprise and breath-taking energy not forgetting accomplished invention. Not quite a ground breaking release but certainly offering something fresh and exhilarating to thrash, band and album is a ridiculously magnetic storm for which hunger and passion comes easy.

The Parisian quintet , complete with a new vocalist takes the essences and qualities of their previous release into a greater fire of passion and adventurous invention, each track upon The Long Lost Future superbly sculpted and unleashed with flare and thoroughly addictive energy. It does not take long for the band to corner and persuade ears and thoughts through opener Lone Ranger, the track an immediate fall of thumping rhythms and powerful riffs which settles before stalking and parading around the senses crisp commanding drum suasion and potent riffing which leaves the air heated and emotions alert. The vocals provide a scratchy gruffness which only enhances the presence of the song, especially when it ventures into an aside of bass led melodic restraint and temptation. The song is a strong introduction but only the appetiser for greater things to come which starts with the next up My Last Tequila.

As previously the band launch themselves at the ear with eagerness, a carnivorous tone to the bass a devilish coaxing whilst the fire bred riffs and sonic scythes do their devilry on the passions. The song as ultimately the whole of The Long Lost Future comes over like a bleeding union of Bloodsimple and I-Def-I with a healthy dose of Crowbar and Hell Yeah juice added to the mix. There is a familiarity to release and song which reaps those seeds for greater attraction whilst equally the band unveils their own distinctive charms and invention to leave them standing apart from most.

Horse Power makes a compelling entrance, its southern breath around the acoustic and guitar elegance quite irresistible. The seduction offered soon leads the listener into a towering weight wall of heavy metal excellence, sonic mastery veining the almost tsunami like energy and rhythmic provocation. With the vocals continuing to impress as richly as the instrumentation, the song leaves lips being licked and emotions stoked harder. Its chugging climax lays down even stronger bait to excite the appetite once again for the following Smokecoat. Complete with opening sonic teases, punchy rhythms, and the required cowbells, the song is soon into a stride of prickly riffery and grumbling bass stalking. As its predecessor the track inspires easy submission to its tempting and melodic flames, and though it is more of a slow burner compared to earlier tracks the song eventually takes the same grip of the passions as anywhere else on the album, its passion and fire in the belly impossible to refuse.

There is an interlude of sorts next, well more an allowance of breaths being taken. Under the Sun is an absorbing evocative instrumental of southern sultriness within a medium paced caress watched over by a brooding shadows wrapped ambience. It is a glorious piece and fits perfectly within the album even if of a different kin to its thrash and adrenaline fired companions, especially Kiss of Death. The track is a raging storming stomp of thrash rapaciousness, guitars and rhythms as well as vocals all surging through the ear with instinctive exciting rabidity and mouthwatering raucousness.

Both Only Human and N°1 Must Die swagger across senses and imagination with eager attitude and in the case of the first a towering almost intimidating mountain range of rhythmic demanding and lyrical/vocal causticity. It is a glorious brawl which like all the songs is unafraid to quickstep expectations, the song twisting and turning its body into numerous imaginative detours and through epidemically magnetic ideas. Its successor is more of the same in structure and individual in voice, riffs and rhythms finding a barbarous intent matched by the intensive vocals which offer fury and vitriol without losing the great clarity which allows the whole song and words to breathe.

Blow Away the Dust brings another flavour to the album, its expressive melodic colour and sonic hues creating a scenic narrative whilst still taking the lock off of some of the most hellacious intensive and thoroughly pleasing torrents of sound and energy on the album. With the excellent Poker Time providing a final full hand of southern spawned thrash and almighty passion it is just left for the short instrumental of Evil Blues to bring a close to one deeply satisfying and thrilling encounter. Whether The Long Lost Future is rewriting the future or direction of thrash is debatable but it and Face Down certainly gives it a new vein of impressive adventure.

http://facedownband.bandcamp.com/

https://www.facebook.com/pages/face-down/338939868759

9/10

RingMaster 04/10/2013

Copyright RingMaster: MyFreeCopyright

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The Howling Tongues – Self Titled

Brian Hall Photography

Having impressed immensely with previous EP Keep the Dust Down, Atlanta rockers The Howling Tongues return with their debut album to confirm all the promise previously tantalising the ear. The ten track album is a further evolution in the bands rise of sound, the previously ravenously raucous and scuzzy tinted approach given a polish and clarity which allows the emotive breath of songs to make an even bolder declaration. Equally the throaty bass almost grizzled bass persuasion has moved on though debatably not to greater strength, its presence again whilst pulsating less intensive and enthralling. Overall though it is a fiery release which continues to mark the quintet as one of the most flavoursome emerging southern blues rock ‘n’ roll bands.

Formed by guitarist Nick Magliochetti, vocalist Taylor Harlow, and drummer Tylor James in 2011 with the trio soon joined by bassist Zach Smith and keyboardist Thomas Wainwright, The Howling Tongues took little time in making a marked impression locally. An early EP and live performances bred a hungry response to their self-termed “no regret rock-n-roll”, whilst Keep The Dust Down thrust the band to an even greater and wider recognition.

Recorded with producers Stan Lynch (former Tom Petty and The Heartbreakers drummer) and Billy Chapin, their debut album is a rich and fire breathing encounter. Recorded mostly live and mixed to analog tape in 15 days at Sound Emporium Studios in Nashville, the album starts off with a feisty enticement in Gotta Be A Man, the big rhythmically boned track with scorching guitar enterprise and strolling gait an open continuation of the previous EP. Ridiculously addictive and  strikingly rapacious in its seizure of the senses and passion, the track has control of feet and hunger within a few sizzling seconds and never relinquishes its grip, even with a groove and hook combination which is straight out of the Ballroom Blitz songbook.

From the thrilling start things take a down shift in attack, the album as a whole turning to a more smouldering and slowly burning persuasive premise. Let Me Be shows it is not a bad move at all but for personal tastes more almost brawling energetic explosions like the opener and like those found on Keep the Dust Down would have lifted the album to even greater heights. The second song though has a sultry atmosphere which is easy to consume and an evocative touch which leaves a lingering satisfaction, keys and harmonies as compelling as the now almost expected striking guitar invention from the band.

Both Chainsaw and Strange Way To Say Goodbye continue the inviting offerings if without the same potency of the first two tracks. The first is a heavy yet respectful melodic rock beckoning with a certain swagger to its walk across the imagination whilst its successor comes rife with evocative and dramatic keys to stand as a broody ballad with the vocals of Harlow as expressively tempting as those powerfully calling keys of Wainwirght. The following Let It Fade also has a reserved approach to the ear which works so well but ultimately does lack that spark to explode within the passions. Again the keys and vocals are outstanding; their presence continuing the variety at play upon the album, but the tempered sound of the bass alongside suggests the band missed an opportunity to really score the senses, a darker more predacious lilt from Smith maybe unleashing a more virulent success to what is still a pleasing confrontation.

The gentle yet tall standing song The Sound makes a more than decent mark before the excellent I’m In Love wraps it in shade through its fizzing incendiary invention and melodically flaming sonic imagination. With an anthemic call and sinew clad body wrapped in the sixties tease of keys, the adventurous and continually moving track is a major highlight to rival the starter and set fresh fires burning in the emotions.

The closing trio of songs, the bluesy crooning Another Heart To Bleed, the emotionally simmering What’s It Gonna Take, and the acoustic southern country rock ‘hymn’ Too Many Times keep attention and appetite strongly engaged as they complete a fine and rewarding suasion of passion and imagination. As mentioned a lack of a storming blaze of contagion like a Makes You Tick or a Nagasaki arguably leaves the album short of really setting the heart ablaze but nevertheless The Howling Tongues has created an album which brings real pleasure to the day.

www.thehowlingtongues.com

www.twitter.com/howlingtongues

8/10

RingMaster 18/09/2013

Copyright RingMaster: MyFreeCopyright

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Tombstone Highway: Ruralizer

    Ruralizer is one of those unexpected gems which come out of nowhere awareness wise, to thrill and invigorate the emotions and ear. Unleashed by Italian band Tombstone Highway, the album is an immensely satisfying encounter of stoner rock, blues, and southern rock all soaked in the sinews of doom metal. Refreshing in its imaginative use of existing formulas within the above genres all captivatingly transformed into something distinct to the band, the Agonia Records released album leaves an insatiable appetite for much more from and strong passion for Tombstone Highway.

The band comprises of duo H.M Outlaw (vocals, guitars, banjo) and Emilio Sobacchi (drums), and has its beginnings back in 1999 with the pair inspired by the likes of Black Sabbath, Lynyrd Skynyrd, traditional Root Blues, and Bluegrass emerging as Leaf Season Death. Employing the heavy shadows of low-tuned guitars and bass to their ideas, the band failed to take off through the lack finding additional members to create their invention. The duo moved into other bands soon after but then 2006 saw them join up again and begin writing new material, with bassist Mike B. of Viscera brought in to the line-up.  Debut EP Padus River Graveyard Blues followed the next year and received strong responses to its limited release. Another hiatus for the band followed with Mike B. leaving but in 2011 the Piacenza pair united again to write and record their first album, the mighty creation Ruralizer.

The album combines the heaviness of a Corrosion of Conformity and Down to the southern fires of Lynyrd Skynyrd and ZZ Top before immerses them in the heavy metal power of Black Sabbath. It is an inspirational result which is soaked in the rural and folklore essences of its homeland to further ignite the flames of all its other fires of sound. Outlaw and Sobacchi also brought in additional musicians in the shape of Mario Percudani (HungryHeart), one of the very best rock guitarists in Italy, guitarist Razor SK (Forgotten Tomb), and Paolo Apollo Negri whose Hammond keys bring another flavoursome persuasion to the album.

Opening track Old Blood is a sensational invitation to the album, the weighty lure of the riffs and basslines veined by irresistible banjo teases to immediate intrigue and please. The track strolls through the ear with purpose and a sure hunger which with ease demands eager attention whilst leaving a depth of pleasure which is immeasurable. The guitars carved a place in the passions with skill and enterprise whilst the rhythms without unleashing their full venom cage it all with craft and intensity.

From the startling beginning the album piles on the thrills with firstly Acid Overlord, a track with grooves as addictively sour and sharp as you could wish within its snarling insatiable presence, the sweltering Graveyard Blues which has whispers of Soundgarden within its Orange Goblin coated furnace, and the outstanding Hellfire Rodeo. The last of the trio is a virulently infectious romp with riffs and sonic taunting causing an epidemic of ardour within the emotions. As in all songs vocally Outlaw has a dust coated growl which ignites the whisky fumes of the music into another hot wind of satisfying enterprise, the union of all aspects within the band and songwriting forging something new and inspiring within a familiar context.

The title track employs that irrepressible banjo sound again within more searing sonic mastery, its swagger and muscular gait an imposing yet deeply stimulating instigator to feet and passions. Up to this point every track ignites the fullest hunger for their contents and the same can be said for Bite The Dust (and bleed) and At The Bitter End though both despite their quality and energy fail to quite match up to what came before. The two songs do not quite find that something to step forward into their own unique spotlight but nevertheless cannot be offered any real negatives.

Completed by a strong and inviting cover of the Mountain track Mississippi Queen and the excellent closing inventive maul of the ear Hangman’s Friend, Tombstone Highway has brought the world an album which is rock at its most rousing and bracing. If references mentioned above work for you than Old Bones is a real awaiting treat.

https://www.facebook.com/Tombstone.Highway

9/10

RingMaster 15/03/2013

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