Turning on the LoveSick Radio

US rockers LoveSick Radio “bring a distinctive blend of unapologetic rock guitar coupled with pop melodies and a little hip-hop swagger, creating a fresh sound all their own. “ The words of their bio are swiftly backed up by a sound which infests body and spirit and a live presence which has had halls bouncing long before the likes of All-American Rejects, Bon Jovi, Dorothy, Bobaflex, Scott Weland of Stone Temple Pilots, Justin Bieber, Blue October, Kid Rock, Steel Panther, Three Days Grace, Hinder, Twenty One Pilots, Safety Suit, Paramore, Dead Sara and New Found Glory have followed the band on stage.

A short while back we had the pleasure thanks to the guys finding out more with the band, chatting about origins, their sound, songs, and much more…

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

Can you first introduce the band and give us some background to how it all started?

David (Guitar):  Thanks for having us! We are LoveSick Radio & we play honest rock & roll with a touch of blues/punk. This line-up started when I reached out to Troy, our singer. I asked him if he wanted to sing on a track I had & he was game. Oddly enough we have known each other forever but can’t remember how we met. That song snowballed into bringing in Glenn & the Matts. We’ve been writing & touring ever since.

Were you involved in other bands previously? If so has that had any impact on what you are doing now, in maybe style or direction?

Glenn (Bass): All of us have played in a bunch of bands prior to coming together and doing this one. We’ve all brought a lot of what we learned in the other bands, as far as what makes a band work and what doesn’t and what we want out of music, to this band. Everyone’s past musical experiences have really shaped the way this band operates. Being in a band is like a relationship: you have to go through some tough ones to discover what you want.

What inspired the band name?

Matt B. (guitar): Our previous drummer was going through a breakup. Whilst on his way to rehearsal he kept hearing all these songs about heartbreak on the radio & when he got to rehearsal he made a comment about how the radio seemed lovesick & everyone thought it sounded cool so we went with it.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Matt S. (Drummer): I wouldn’t say there were any specific ideas about forming the band.  We are just 5 guys who vibe well with each other musically, have an almost obsessive passion for music, and the drive to write and play day in and day out.  All of us have differing backgrounds musically, but at the heart of it, we love rock and roll.  The sound is a culmination of the individual influences of all of us, but more importantly, we just want to write good songs.  A good song is a good song, regardless of the genre.  Some might sound heavier, more twangy, or more soulful than others, but that’s all of our personalities coming out.

Do the same things still drive the band from those fresh faced days or have they evolved over time?

Matt B.: Essentially writing great songs that we get off on performing & connecting with an audience has always been the driving force within the band.

As the band evolves the drive to widen our reach & get our music out to the masses becomes stronger & stronger

Since your early days, how would you say your sound has evolved?

Troy (Singer): “Early days” kinda makes me laugh as I still feel like we are in our “early days”, but as far as evolution I think that honestly happens from song to song. Not just in our sound, but as a band overall…getting more comfortable with one another and for me as a vocalist pushing myself to new places. I think evolution has started since day one for us.

Are those things, that evolution, something organic or more the band deliberately setting out to try new things?

Matt S.: We aren’t afraid to try new things or experiment musically.  It just depends on the mood of the song and what makes sense.  We don’t just follow a music equation, but obviously we want our music to be accessible to everyone.  From the time that someone shares an idea, we build on it, we practice it, and we finally record it, the song could be almost completely different.  I’d like to think it happens organically.  When we get in the studio, that’s where the fun and experimentation begins.   On the current album we are working on, we have instruments which we do not have live on stage (strings, keys, horns), the band plays kazoos and sings gang vocals, we stomp, we clap, we play instruments that we have never played before, just to get the sound and vibe that we hear in our heads.. 

Presumably 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?

David: Yes everyone in the band love a million different things but I think the artist the inspire our approach are Aerosmith, AC/DC, The Stones, LED Zeppelin, Sex Pistols, The Rival Son & Stereophonics to name a few. These are all iconic bands & that’s what we strive to be one day. So we are constantly pushing ourselves to be the best we can be.

Is there a particular process to your songwriting?

Troy: There are always gonna be some variations, but music usually comes first…typically a killer riff. I’ll take a rough demo and live with it for a while…usually spend time driving around coming up with ideas and bring them to rehearsal where everyone chimes in. So in the beginning it’ a very “isolated” process but as we get things worked up, the band as a whole will bring in all the different influences.

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

Troy: Inspiration for me is always life…either something I lived or something I am watching someone go through. The only time it would vary is if I am asked to write for a specific TV or movie thing, but even then I have to draw from personal experiences…As an introvert I spend a lot of my time just watching people. I write what I see.

Please give us some background to your latest release.

Glenn: Our latest release is a song called “Young Hurricane”. It’s written kind of like a poem in the way the vocals are structured. Basically it’s just about sticking’ to your guns and doing what you know is right (kind of a metaphor for playing rock n roll in 2019). A lot of the really cool elements of the song came together in the studio when we had a chance to really sit down and play with different ideas to build the song.

Give us some insight to the collective themes and premise behind songs.

Troy: I think it is fair to say we have some pretty universal themes with all our tracks…def some self-reflection and overcoming, some rebellious middle finger flipping and of course love and loss. I’d say our next release “Bloodshot Eyes” falls in the self-reflecting/ overcoming category but doing the reflecting in some smokey bar if those still exist…haha

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?

David: It happens both ways in the studio. But a lot of time we will have the music done to a certain point & start tracking before the vocals are finished. The bed tracks might influence Troy to do something different then what we had for the rough demo. We are never married to an idea. We are always changing or rewriting trying to get the best out of the song.

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

With the live show we want to sound like a freight train going a full speed. So we work on dynamics, power & energy. We want you to feel it when you come to a show.

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?

Matt S.: Like any other band, you have to put in the time.  We have played for empty rooms, we have played for packed houses, and we have played festivals where you can’t see the end of the crowd.  People seek out good music.  The hard part is introducing it to them (luckily the internet exists).  I feel that we have the sound and energy to lure people in, and to keep them coming back to shows.  It doesn’t matter if it is regionally or worldwide.  As long as you connect to the crowd, you will build a following.  Whether it is a home show or something across the country, we put on the same game face each night and try to win over every crowd we play for.  We have found that people like the resurgence of good old fashioned rock and roll everywhere we go, so everywhere feels comfortable and like our neck of the woods.

Are there the opportunities to make a mark if the drive is there for new bands and talking of the internet how has social media impacted on the band to date?

Glenn: Absolutely. It all comes down to a band’s desire and willingness to push themselves and go outside of their comfort zone to grow and do something cool and original. Social media and the internet are a great thing for bands because it allows us to reach people all over the world as independent artists. Without the internet, we might not have the opportunity to do this interview!

Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Troy: I think there will always be both negative and positives whether being the “underdog” band on the come up, or at the top trying to stay there. I think the internet and social media will always have the ugliness and trolls looking to tear you down, no matter what your status….however, the positive of how many people can be reached is hard to argue. Honestly with this band being started in the “new world” of technology, it’s really all we’ve known so is kinda our new normal.

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

David: Thank you again for having us!!

If you would like to check out us & the music you can go to these links. See you on the road!

AppleMusic: https://itunes.apple.com/us/artist/lovesick-radio/203509719

iTunes: https://itunes.apple.com/us/album/feels-so-good-single/1436316245

Spotify: https://open.spotify.com/artist/7zca83vBdFEDg0119J8thJ?si=4bw6zx7-RL-fbpKajO1aHw

YouTube: Youtube.com/lovesickradio

Instagram: @lovesickradio

Twitter: @lovesickradio

Facebook: https://www.facebook.com/LoveSickRadioBand/

 & anywhere else you stream & download music

Pete RingMaster 03/04/2019

Copyright RingMaster: MyFreeCopyright

Monte Pittman – Inverted Grasp of Balance

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Pic stephanie-cabral

I wanted to make the heaviest and craziest music I ever have” is how Monte Pittman described one of the intents behind his new album, Inverted Grasp of Balance, going on to add, “I really feel that it’s an album that will grab you and demand your attention.

It is an aim which is powerfully realised and statement swiftly proven true by his fourth album, though he should have added the adjective ‘rousing’ in there somewhere too as the Metal Blade encounter certainly raises the spirit and energies with forceful potency. The successor to acclaimed predecessor The Power of Three, Inverted Grasp of Balance sees the ex-Prong guitarist and long-time collaborator and guitarist with Madonna narrow the diversity to his sound without losing its broad character, a move which has brought a fresh intensity and predacious heaviness to another fiercely contagious and anthemic proposal from him.

Beginning the writing and creation of Inverted Grasp of Balance almost from the minute the work with The Power of Three concluded, Pittman teamed up with drummer Richard Christy (Charred Walls Of The Damned, Iced Earth, Death) and bassist Billy Sheehan (Mr Big, David Lee Roth, Winery Dogs) to record the album with Jay Ruston (Anthrax, Steel Panther) handling production duties. From its first breath, the release launches itself at ears with an urgency and raw energy arguably not heard before in a Pittman offering, opener Panic Attack rising from a great sonic probing into a tempest of thrash fuelled rock ‘n’ roll. Pittman’s pick toys with guitar strings, creating an ensnaring web from the first seconds before both Christy and Sheehan collude in a fevered charge. Like Metallica meets Foo Fighters, the track romps and stomps, the trio creating a virulent tempest ensnared with the striking craft and imagination of Pittman’s grooves and splintered solos.

It is a mighty start which maybe even raises the ante in the following Arisen in Broad Daylight, certainly keeps the persuasion as intensive as the track excites and incites body and spirit. With moments of carnivorous personality, its powder keg of infectious energy and aggression simply infests the senses leaving the appetite greedy which successor Guilty Pleasure feeds further. Rising from the closing strains of the second track like a close cousin, the track is as grievously confrontational and irritable as it is an epidemic of punishing rhythms and bewitching guitar interplay, Pittman’s ever strong and galvanic vocals like a ringleader. With an excellent moment of predatory calm, the song makes a play for best track honours.

evolve_cover_RingMasterReviewThe Times Are Changing has a less menacing nature to its body next, but still weaves a network of sinister grooves and invasive rhythms to challenge the senses while Double Edged Sword entangles classic metal hues in its melody thick and magnetically volatile climate of sound and intensity with Sheehan’s bass a gloriously snarling and adventurous beast. Both tracks make a compelling persuasion with the brief Skids like hooks of the second a nice tempting touch around another fine wine of a solo before the haunting melodic seduction of the short guitar sculpted instrumental Cadabra allows a breath to be taken. It is a recovery quickly spent though as Pride Comes Before the Fall uncages its feisty prowl of cantankerous rock ‘n’ roll and even more impressively California devours the senses. Starting on a deliciously grumbling and inventive lure of bass, the track skirts ears, sizing them up with dark intent before sharing a half catchy and half raptorial proposal.

Through the ferocious virulence of Be Very Afraid and the drama soaked creative psychosis and tenebrous air of Obliterated, enjoyment of Inverted Grasp of Balance is firmly reinforced, the latter a muggy imagination inspiring instrumental after which Skeleton Key returns to a lighter and warmer landscape built on commanding rhythmic muscle and impassioned melodies and vocals.

Completed by New Blood Keeps Us Alive, a moment of melancholy spawned acoustic captivation which brews and explodes into a heart sharing roar, Inverted Grasp of Balance simply hits the spot. It might not be the most unique offering this year and is at its strongest in its first half but with the songwriting of Pittman its most rounded, his guitar craft exhilarating, and Christy and Sheehan matching in their individual invention, few releases will be as enjoyable in the short and long term than Inverted Grasp of Balance.

Inverted Grasp of Balance is out now via Metal Blade Records and through http://www.metalblade.com/us/releases/monte-pittman-inverted-grasp-of-balance/

http://www.montepittman.com   https://www.facebook.com/MontePittman   http://twitter.com/montepittman

Pete RingMaster 29/09/2016

Copyright RingMaster: MyFreeCopyright

Demons Of Old Metal – Dominion

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We all know rock ‘n’ roll is spawned in hell and eager through hordes of bands to spread its glory, an infestation proven over the decades to only thrill especially in the hands of bands like Demons Of Old Metal. Theirs is a forcibly vocal and thrilling stomp consuming the senses which is in full roar within the glorious shape of new album Dominion. The UK band has been around a little while, working away at trying to “win back the souls of those that have turned their back on sex, drugs and rock ‘n’ roll!” From the fact that their new release is our and a great many others introduction to them suggests it has been a slow battle to date but things are about to get hot and dirty we suggest once their outstanding album uncages its contagion.

Formed around the time 2010 turned into its successor, Demons of Old Metal emerged as four veterans of the UK metal scene united to play “what got them into music in the first place – classic metal.” Casting a sound, presence, and stage show coloured by schlock horror inspiration, the band released their debut offering on the Halloween of 2012, in the riot of mini-album, The Demonic Chronicles Vol. I. It as a well-received and praised proposal followed by the band creating metal havoc across the country live and the subsequent releases of Vol. 2 and 3 of The Demonic Chronicles over the next couple of years.

The Torbay hailing band’s sound is mutant rock ‘n’ roll rising with creative bloodlust from a twisted blend of Pantera, Them County Bastardz, Hell Yeah, Steel Panther, and Machine Head, to give its hellacious voice some description. And as Dominion swiftly reveals, it is an infestation of ears and imagination refusing to take no for an answer with its virulent hostility.

Dominion Artwork -_RingMaster Review   The album announces itself with the brief theatrical Domintroduction before launching itself at the senses, with nostrils flared, through the outstanding Fakeskin. Riffs and rhythms quickly build a wall of spite and enticement, already badgering and welcoming a just as instant appetite for the provocation. As the expressive punkish tones of vocalist Tombstone Cowboy leap into the brewing tempest, electronic slithers and teases play, a side-helping of temptation to the full meal of a voracious onslaught luring away as the guitars of Tombstone Cowboy and Psycho Wing continue to rampage and flirt with the throaty toxicity spread by bassist Babyface Stephens s. With the scything violence of drummer Dr Doom simply nasty and gripping, a rich Slipknot essence can be added to the suggested breeding of song and album, but all flavours here and ahead stretched and mutated into a web of metal distinct to the demons.

You Version 2.0 leaps on the listener next, its physical and emotional agitated an open toxicity within another storm of merciless rhythms and riffs bound in nagging grooves and confronting vocals. The electronic sparks of the first song is replaced by a more industrial metal predation, thoughts of Pitchshifter teasing throughout whilst heavy and more classically honed spices venomously soak the pores of the track and senses. It’s addictive quality is emulated by both Dance of the Damned and Open wide and Scream, the first stalking its victim with rugged textures and the electronic toxins woven by Digital Death whilst growing into its spite with an increasing weave of flavours and inhospitable but gripping enterprise. The successor to this Devildriver like animus of a song, stomps with a dirty rock ‘n’ roll swing and theatrical snarl, its lure smothered by a sonic climate of intensity and rancor. The band seamlessly fuses the contrasting yet similarly belligerent winds of that invention, creating a hellish primal nursery rhyme as catchy as it is intimidating.

There is a ‘mellower’ trespass next with The Quiet Ones, its southern rock flames and dirt lined grooves locked into a thick turbulence of riffs and rhythms, neither outweighing the other but mutually leading to a moment of groove heaven and an increasingly explosive and vicious outpouring of sonic rabidity. A borrowing of a Rage Against The Machine tempting only adds to the fun, and as much as the album bruises and devours it also offers a rich tongue in cheek layer through lyrics and mischief.

Grind was a little ‘disappointing’, though only in the fact with its title hopes were it would burrow into flesh and psyche like a drill bit. Instead it spun a wiry web of grooves and sonic tenacity amongst a threat of rhythms and riffs; the result being another inescapably persuasive and seriously enjoyable intrusion before making way for the writhing and relentless nagging of Behind the Mask. With a ripple of rap metal to its persistent niggle of riffs, the song demands attention, evolving new strains of melodic and cantankerous imagination in return. Longer to hit the same rapturous reactions as most of its predecessors, the song easily succeeds in leaving satisfaction full before being over shadowed by the excellent The Star of your Nightmare. Its electronic coaxing amidst prowling riffs is almost Marilyn Mansion like but in no time a cancerous violation unique to Demons Of Old Metal with the track emerging as a theatre of cinematic mayhem and sonic ingenuity.

Cast around a fiery acidic groove, See How They Die seduces and menaces before overpowering its initial rich flame to dominate through bearish riffs and ill-tempered rhythms, the vocals bridging both emotions with open relish. Like The Union Underground with anger problems, the song is a grizzly treat leaving Get Outa Dodge to provide one last growl of insatiable and uncompromising rock ‘n’ roll, and ending the album on another big high.

British metal/rock ‘n’ roll is building towards a new heyday going by releases over the past few months, and when it erupts in full voice, there is no way Demons Of Old Metal will not be there leading the thrilling riot.

Dominion is out December 1st with pre-ordering available now @ http://www.ebay.co.uk/itm/-/221931265158

http://www.demonsofoldmetal.co.uk   https://www.facebook.com/demonsofoldmetal  https://twitter.com/demonsofficial

Pete RingMaster 05/11/2015

Copyright RingMaster: MyFreeCopyright

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

Sacred Wind – Sacred Wind

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Having had our pleasures goosed by Odin’s wind courtesy of Metal and Curry, the recent single from Welsh Viking bred rockers Sacred Wind; there was no option but to check out the album from which it comes. Released towards the rear of 2014, the thirteen track adventure, also going under the name of Sacred Wind, reveals the full landscape and creative emprise hinted at by our first introduction to the band.

The album is a tale of bold knights, even bolder flatulence, and a rampant hunger for cheese, not forgetting a few buxom women draped around a curry or two. Even more potently the album is bulging with glorious heavy metal and classic rock psalms of heroic deeds and Norse seeded challenges. From its first moments there is no doubting that Lord of the Rings/ Game of Thrones have found a richly mischievous companion in Sacred Wind, an alternative reality comparison, but that cannot hide or devalue the impressive craft and roaring sonic might of band and album.

Opener A Time of Magic is a vocal introduction between grandfather and child, be it a kid with the squeak of an adolescent aged forty plus with one ball dropped and one hovering. Questions from the latter bring an unveiling of the scenery and drama behind the album’s premise from the former, a telling of the background to the quest undertaken by the noble warriors regaled through the songs. These brave souls are called Sacred Wind and the following album title track, their opening scene. Hefty rhythms and fiery riffs make an immediate impression upon ears; the guitar hooks an almost predacious lure matched by the heavily throated bassline courting their attitude. Subsequently keys and raw melodies add to the canvas upon which Memphis bred Viking and vocalist/guitarist Olaf the Berserker reveals the narrative. It is a pungent offering, old school and swiftly anthemic.

The impressive opening song is matched straight away by Metal and Curry, the track similarly an inescapable anthem but with a lighter swagger to its gait and harmonic roar. Whilst meaty hooks and melodic tenacity from Olaf and Grundi the Windy are thrust through ears to seduce the senses, a rhythmic stomp provided by bassist Smid the Merciless and drummer Agnar the Hammered ensures neck muscles and imagination are flush with an appetite to devour the song’s tremendous contagion.

Already Sacred Wind is lighting body and emotions like a mix of Gwar meets Green Jelly meets Judas Priest, though that only narrows down what is a much broader flavour to the album. The band’s humour is just as open and ripe too but only in the lyrical and thematic adventure, their sounds a blaze of creativity and exciting endeavour which has plenty for all metallers, let along those just honed in with just a taste for classic rock ‘n’ metal. It is fair to say though that Hurricane Ass next is purely steeped in seventies metal bred in a bed of similarly aged classic rock. Begging for the power of a certain bodily function to help woo a prospective love, the song flames with sonic enterprise and vocal harmonies, transfixing ears as it heads towards to a firework like display of a finale, beats exploding across its melodramatic sky.

The combative character of Warriors of Asgard takes the success of its predecessor to new heights next, the track sinew and ferocity as the warriors take arms to rescue damsels in distress. Equally though it is unafraid to light their way with beacons of melodic ingenuity through the guitars and the symphonic yawn and soar of keys. The track is a delicious cinematic like escapade, not only a potent visual offering for the imagination to run with but simply an infectious slice of melodic metal.

Both the eighties kissed Sail with Me and the climactic bellow that is Rock, Rock, Rock, Rock Ragnarok keeps things on appealing and satisfying course, though neither can rival the some of the previous encounters. The first covers an emotional realisation brought by romance and the other an apocalyptic incitement to the Gods. Each brings new diversity and intrigue to the album leaving thoughts engaged and enjoyment contented is without setting a fire in their attention, something the power ballad Frigg certainly manages with its dark grouchy shadows and sonic balladry of vocal and melodic expression. Strong the first time and increasing its lure thereafter, the track is a slow burner which as quite a few songs upon Sacred Wind has the ability and persistence to flirt with the memory whenever it wishes.

Fart for Odin, by title alone, needs no help in explaining its narrative to the imagination, it a bar room ode and mead fuelled anthem within a tempestuous sonic and rhythmic turbulence. It is another thumping antagonist to body and fun though soon surpassed by the outstanding Dragon Ships and Women’s Hips. Impossibly virulent from its first sweep of vocals and initial tease of melody, the song brings rock pop from the late seventies, glam metal from the eighties, and nineties folk metal in one irresistible catchy croon. Think Alestorm meets Duran Duran and you get an inkling of the majestic lure of the pinnacle of Sacred Wind.

The battlefield brings the background to My Sword is my Sword firmly into thoughts, the power metal offering soon expanding its tale with horn like calls of the keys and predatory rhythms around the vocal roar of Olaf, all courted by the cantering invention of the guitars. Its spicy persuasion is followed by the celestial instrumental hymn of The Sheep’s Lament, which in turn makes way for the closing celebration of The Power of Cheese, though why anyone would want to crow so favourably about the mouldy stuff beats us. The song, as the previous track is a bonus offering on the album, and brings the release to a riotous yet melodically sizzling end.

It would be wrong to think of Sacred Wind as a one off good time to file away as you might a Green Jelly or in some ways a Steel Panther offering. Lyrically yes it is a roaring laugh but musically album and band stand side by side with any power metal, classic rock offering, just with an extra dose of mischief. Produced and arranged by Andy Coffey, who has a much bigger hand in things then you might suspect, including writing the excellent books which accompany the album’s story, the album is recommended to anyone with an appetite for strong, accomplished, and most of all enjoyable full fat metal.

Sacred Wind is available now via iTunes, Amazon etc. and the Sacred Wind books @ http://www.amazon.co.uk/Andy-Coffey/e/B00LXLNW64/ref=ntt_athr_dp_pel_1

https://www.facebook.com/pages/Sacred-Wind/136135083263791

RingMaster 18/02/2015

Copyright RingMaster: MyFreeCopyright

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

We Hunt Buffalo – Blood From A Stone EP

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     Clad in a thick rich blanket of enticing fuzz, the quartet of stoner sculpted tracks making up the Blood From A Stone EP provide one of the most refreshing and invigorating treats from the genre in recent months. The new release of Canadian rockers We Hunt Buffalo, it is a masterful tempest of intensively persuasive riffs and commanding rhythms around melodic imagination, the result a release which captivates and fires up the emotions.

     The Vancouver trio of vocalist/guitarist Ryan Forsythe, vocalist/bassist Brendan Simpson, and drummer Brandon Carter, soon set tongues wagging and appetites awakened for their compelling sound with the release of a first EP in 2010. Linking up with Tanis Gibbons at The Hive recording studio in Burnaby BC the following year, the band recorded their self-titled debut album, the release re-working tracks from the previous EP and new slices of psychedelically touched stoner spawned rock ‘n’ roll. 2012 saw the band place in the top three, out of 400 entries, in the 99.3 The Fox annual SEEDS competition which led them to supporting Monster Truck at Vancouver’s The Commodore Ballroom, a stage which subsequently saw the band returning often to sharing space with the likes of Chevelle, Matt Mays, Danko Jones and Steel Panther over time. Released at the tail of last year, Blood From A Stone reinforces and stretches the band’s stature and potency with four tsunamis of creative power and hungry riffery, the release a wake-up call for a still sleeping world to the band’s tremendous potential and presence.

      We Hunt Buffalo opens up the EP with its title track, a song which from a restrained sonic mesh of guitar acidity canters into an coverinstant attention grabbing proposition, fuzz cloaked riffs and crisp rhythms leading the imagination into an evolving and enveloping stoner grooved almost doom based embrace. The vocals are as impressive and appealing as the sound, their expressive and earnest clean pleas openly magnetic within the squalling incendiary smog of fuzz and sonic invention. Essences of Black Tusk come to mind briefly during the excellent track’s persuasion but with its dirty climate and roughened touch the adventure creates an evocation of sound purely down to the Canadians.

    The bouncing yet heavy weight opener is followed by an equally energetic suasion in Cobwebs. A blues soaked flame of guitar veins the merger of military seeded drum beats and the tempestuous sonic scuzziness drifting across and drenching every note. Vocally the delivery takes a slower mesmeric radiance, Forsythe and Simpson blending for a resourceful and compelling mix within the fiery breath of the song. There is a Palms essence to the track, something which reappears again later in the EP but again an essence which is merely a radiant spice in a distinctive and unique recipe. You admittedly would not say song or EP is setting new avenues for stoner and heavy weighted rock but certainly it offers something strikingly fresh and individual to We Hunt Buffalo.

     Hometown taps a stronger vein of southern blues in its flame of guitar, the sultriness of its charm evolving into shards of heat and invention through the slowly strolling reflection of stoner fire and emotive ambience. We mentioned Palms earlier but maybe more so a Deftones embrace wraps this track through the atmospheric and evocative intensity dripping from every chord and syllable of the excellent track. It is a hypnotic incitement with punch and inventive endeavour to contrast with and add to the immersive journey into the depths of the song, excellently crafted twists and imaginative nuances working away at the senses on route.

     The triplets of outstanding tracks become four with the closing Telepathic Eyes, an arguably cleaner faced meeting though also not adverse to a healthy dose of fuzz permeated enticement. It is another slow and smouldering piece of melodic rock with blooming stoner flavouring, a fire of sound and temptation which retains the release on the same impressive plateau it started on and held. Blood From A Stone is one of those stoner cast treats you hanker for time and time again, and We Hunt Buffalo a band the world will be eagerly aware of sooner rather than later on the evidence of this.

http://www.wehuntbuffalo.com

http://wehuntbuffalo.bandcamp.com/album/blood-from-a-stone

9/10

RingMaster 12/02/2014

Copyright RingMaster: MyFreeCopyright

 

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FALLING RED have unleashed new video single in preparation for new album ‘Empire of the Damned’

Falling Red Online Promo Shot

BRIT ROCKSTERS RELEASE NEW VIDEO SINGLE AND STUNNING NEW ALBUM!
Within just three short years, rising rockers ‘Falling Red’ have taken their high octane fist pumping brand of Rock from the backstreet clubs to the legendary Hammersmith Apollo! Now, with further fire in their bellies, Falling Red set loose their brand new video single ‘We Escaped A Cult’, which is taken from their forthcoming album ’Empire Of The Damned’. ‘We Escaped A Cult’ is already stirring up the senses as Empire Of The Damned’ lies in wait for its unleashing for public consumption on Monday 27th January 2014.
 
Formed in 2007 and hailing from Carlisle, Falling Red have already acquired a stellar name for themselves for their intoxicating blend of post-sleaze metal with just about every rock publication, from guitarist magazines through to national rock press such as Classic Rock, Rocksound, Metal Hammer have reviewed, interviewed or supported the band. However everything that the band has achieved has been born out of sheer hard work. The rampant rocksters  cut their teeth by playing just about every sweat-drenched flea pit from the highlands in Scotland to the pits of Southern England. After over three years of hard gigging, living out of a tour van and crashing on friend’s floors, the foursome are finally beginning to reap the rewards as word on the band is now spreading like wild fire. The band’s show have now increased in both venue size and numbers coming, as new fans are checking out the most talked about British band in years.
With a glowing reputation for exhilarating live shows the four-piece soon racked up invites to play both Hard Rock Hell & Hammerfest, the band duly obliged and left audiences with memorable high energy performances. Supports slots with Skid Row’s frontman Sebastian Bach, followed and Falling Red upped their game both on & offstage. Due to the their growing status the band were hand-picked as main support to the meteoric rising rock crew Steel Panther. Falling Red killed it again and left the stage every night to mass applause and with thousands of new fans wanting more. Falling Red toured again in March 2013 with a Headline tour which packed out 02 Academy2 venues. After another successful tour, the band bedded down and began to work on their follow up to their debut album ‘Shake The Faith’ (2010). Falling Red decided to utilise the Pledge Music platform for their sophomore album ‘Empire of the Damned’, it was launched on 4th March 2013 and reached its 100% funded target on 19th March, this is quite an achievement highlights the strength and loyalty of the band’s fans.
The album is now fully completed and has been recorded by Matt Elliss (The Black Spiders, The 1975) and mastered by Pete Maher (U2, Rolling Stones, Linkin Park,). ‘Empire of the Damned’ soars with high-energy melodies laced with dark aggressive undertones, the record is rammed with eleven potent cuts and is loaded to the nines with contagious hooks. Look out for the new video single for ‘We Escaped A Cult’, along with a series of headline tours in the UK & mainland Europe – see  www.falling-red.com for updates.
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FALLING RED announce video single’We Escaped A Cult’ and tour dates.

Falling Red Online Promo Shot
BRIT ROCKSTERS FALLING RED RELEASE NEW VIDEO SINGLE AND HIT THE ROAD!
“Riotous slabs of hard edged sleaze that remind me of the likes of Guns N’ Roses and Skid Row but with the attitude of the Sex Pistols. One of the finest live bands I’ve seen this year.” Power Play Magazine
 
Within just three short years, rising rockers ‘Falling Red’ have taken their high octane fist pumping brand of Rock from the backstreet clubs to the legendary Hammersmith Apollo! Now, with further fire in their bellies, Falling Red set loose their brand new video single ‘We Escaped A Cult’, which is taken from their forthcoming album ’Empire Of The Damned’. The band release ‘We Escaped A Cult’ on Monday 14th October and head out on tour in support of the record this October.
Formed in 2007 and hailing from Carlisle, Falling Red have already acquired a stellar name for themselves for their intoxicating blend of hard rock. Just about every rock publication, from guitarist magazines through to national rock press such as Classic Rock, Rocksound and Metal Hammer, have reviewed, interviewed or supported the band. And they are rightly deserving such attention, as everything the band has achieved has been born out of sheer hard work. The rampant rocksters cut their teeth by playing just about every sweat-drenched flea pit from the highlands in Scotland to the pits of Southern England. With a glowing reputation for energetic live shows, the quartet soon chalked up invites to play both Hard Rock Hell & Hammerfest; the band grasped the opportunity with both hands and graced audiences with a series of invigorating performances. Supports slots with Skid Row’s front man Sebastian Bach followed, and Falling Red upped their game both on & offstage, with the wild man of rock being over shadowed at every turn. Due to their growing status, the band were hand-picked as main support to the meteoric rising rock crew Steel Panther. Falling Red killed it again and left the stage every night to mass applause, with thousands of new fans wanting more. Falling Red toured again in March 2013 with a Headline tour which packed out 02 Academy 2 venues.
The band have now just finished working with Matt Elliss (The Black Spiders, Scarlett Riot) on their eagerly awaited new album ‘Empire Of the Damned’ and the UK rock crew unleash their first video single ‘We Escaped A Cult’ this October. Look out for a series of headline tours in the UK & mainland Europe starting with a tour this October with fellow Brit Rockers New Device.
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FALLING RED LIVE: October 5th – The Brickyard, Carlisle (FR’s album launch); 10th – Trillians, Newcastle; 11th – Star & Garter, Manchester; 12th – Melbourn Rock Club, Royston; 16th – Wedgewood Rooms, Portsmouth; 20th – Black Heart, London.