Hitman – The Offering: Side 1

With their sights unerringly on giving heavy rock and metal fans a rousing sound to erupt with, Canada’s Hitman release their third EP in the shape of The Offering: Side 1. With Side 2 scheduled for release next year, the first four track encounter is an attention grabbing slab of stoner metal ferocity blended with classic and fresh essences of rock and metal. It is a mixture which has a familiarity as potent as the individuality it breeds and most of all a concoction which incites thick enjoyment as neck muscles keeps busy and the body bounces.

Hailing out of Halifax, Nova Scotia, Hitman emerged in 2011 and has earned a fine reputation for their sound, releases, and a voracious live presence.  The band was the brainchild of drummer Sylvain Coderre who linked up with long-time friend and vocalist Jordan Rose initially before the duo were joined by bassist Andrew Coutts. Subsequently the line-up was completed by guitarist Corey Norman. 2013 saw the release of debut EP, Whiskey Downfall; its successor, The Preacher, dropping the following year and sparking even greater awareness and praise of the band with a re-release in 2015. All the while gigs and festival appearances escalated their reputation; headlining the Maritime Metal and Hard Rock Fest in Nova Scotia and playing the Warped Tour in New York in 2016 major highlights. Now the band is aiming for broader attention with The Offering; intent easy to see breeding success.

 Their inspirations are said to include the likes of Black Sabbath, Corrosion of Conformity, Clutch, Pantera, and Down; influences you could maybe guess listening to the new EP. They are spices though which adds to its potency rather than defusing its individuality. You can debate whether it makes for a sound which is unique enough to make a truly major impact but as release opener Curtain Call proves it all makes for one seriously appetising proposal commanding attention. The first track initially unleashes a defined rally of beats which swiftly sparks grooved tendrils and rapacious riffs aligned to a great bass grumble. There is equally a grainy growl to the vocals of Rose which in turn ignites an even more potent snarl to the already captivating proposition. Short but a sweet snare of rock ‘’n’ roll with a sludge hued spicing to its stoner liquor, the track quickly and increasingly had ears and appetite gripped

There is no dismissing those Pantera/Down essences to the track though in some ways its heavy rock drawl reminds of now demised Northern Irish band Triggerman while the following Under The Weight openly wears its Sabbath influence especially when it makes its punchy entrance, rich riffs to the fore. Intoxicating grooves are swiftly woven as beats land with creative zeal, the track a magnetic web of enterprise where maybe surprises are understated but the freshness of sonic and melodic endeavour is all 80% proof fresh.

Next up, Nero is grooved entangled rock ‘n’ roll also proving very easy to be hooked upon, the track an inescapable lure of flaming guitar, bass predation, and vocal enticement. Its blues lining and sonic sighs add sonic firewater to magnetic rhythmic temptation, tempting escalated by the smouldering grizzled grouch of the bass and Coderre’s irrepressible exploits.

Enchanted Wizard/ Hail The Outro bring things to a close, its wiry tendrils leading to a hellacious outcry before once more grooves simply entwine and seduce ears. Classic metal instincts dance on the senses before the band springs a stoner bred canter, all the while embracing and evolving things with those initial essences and perpetually lighting up the imagination and the intensity of the pleasure found in the exhilarating tapestry.

It maybe only four tracks but side 1 of The Offering is a rich and thick morsel of rock ‘n’ roll. It may not be overtly unique but it is mightily damn good and we for one always have a hankering for that kind of sonic intoxicant.

The Offering: Side 1 is out now, available @ https://hitmanhalifax.bandcamp.com/

https://www.facebook.com/Hitmantheband   http://www.twitter.com/hitmanhalifax

 Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Mammüth – Outlander

An epic journey in time at almost an hour and a half and a rich exploit in sound, Outlander the new album from Norwegian rockers Mammüth is one unforgettable proposition already easy to suggest will make regular appearances on end of year best of lists. The band’s sound is a thick and flavoursome not forgetting imposingly heavy invasion of stoner metal and quite addictive within the walls of their striking new album.

Hailing from Drammen, Mammüth emerged in 2007 forged in its members love for stoner, space rock, metal, doom, drone, and hard rock. They are flavours which entangled to make the quintet’s debut album of 2012, Gone with the Wolves, a well-received and praised encounter. Since then the band has honed their writing and sound while breeding open maturity in all aspects, all fuel to the instantly and increasingly impressive Outlander.

Produced by the band and mixed and mastered by Martin Skar at Skar Productions and Norsk Lydstudio, Outlander instantly draws and grips attention with the opening strains of Circling Vultures, its initial wired grooves and senses rapping rhythms nothing less than predacious. With just as hungry riffs in tow, the potent bait only strengthens with the earnest vocals shared by rhythm guitarist Stian Svorkmo and synth player Steffen Overaa. Their union is superb, magnetism in its own right and matched by the rabidly writhing yet controlled sounds around them. Like a fusion of Mastodon, High on Fire, and Down yet not such its and indeed the whole album’s individual character, the track is manna to an appetite for heavy, voracious rock ‘n’ roll and a great tease for what is to come.

The compelling dynamic beats of David Hjellum lead in next up Dead Man’s Trail, a track swiftly as addictive as its predecessor and unveiling a web of varied flavours in its bold trespass. The bass of Stig Johansen growls with almost bestial temptation, its dark lures contrasted but matched in salacious intent by the gripping enterprise of lead guitarist Christian Schei. Drama soaks every twist and turn, accentuating each inventive note and atmospheric breeze blowing across the track’s serpentine landscape whether melodically calm or tempestuously intense.

That mellower air blows through the following Fields of Bones in voice and music though there is always a certain volatility waiting to catch which it does with a dirtier, grouchier eruption. Virulently catchy and manipulatively fascinating, the song is quite superb and if the album collapsed in on itself thereon in, with its two companions, would make Outlander a notable recommendation.

Of course the album does not slip from its heights, Fortuneteller and God Eater just as beguiling as they devour the senses. The first, and one of the candidates for best song, is a relentlessly nagging irritancy on ears, riffs and rhythms alone harassing quick submission for its proposal with vocals again pure raw seduction in the midst of the guitars tenaciously resourceful webbing. Its successor has a more concussive touch tempered by grooves which crawl under the skin with primal desire, again everything offered as predacious as it is irresistible.

Through the early atmospheric suggestiveness of Hadrin’s Wall, a lure which grows more invasive and portentous as the band bears its gladiatorial dexterity, and the even more confrontational, certainly cranky, Heirophant, the real world is an even more distant reality, band and album consuming all attention soon gripped even tighter by the senses enveloping, discord blessed Lightyears. With grooves which worm into the psyche with ease and a tempestuousness that roars upon the senses from within a mercurial sonic cyclone, the song is just majestic yet still eclipsed by the mighty Monstrosity. With waspish grooves swarming the senses from the first second and vocals buffeting ears with their emotive holler, the track soon steals best moment upon Outlander in our ears, its voluminous rock ‘n roll manna.

The album’s title track finds a somewhat moderate attack in comparison to the previous track but as expected with a threat of a brutal eruption at any time. It is a peril which remains lurking around as melodies and harmonies radiate though it does have a say on the growing energy and flurry of the encounter before the extensive creative theatre of Space Ghost unfolds. With an eager lilt towards thrash metal at times across its sinuously textured evocation, preying on body and imagination at every turn and there are plenty across its nine minutes plus, immersion into the song’s crafty tale is easy.

Uncharted Waters completes the exceptional adventure of Outlander, its thick shadows and dark depths as transfixing as the sound as they colour. An array of flavours twisted into a coiled spring, nothing predictable escaping as it tenses and discharges its enterprise, the track is an enthralling finale to one remarkable album to which we can give numerous references to others for certain moments but really only embraces its own uniqueness.

There will be many important propositions across 2018, encounters which will guide its musical direction and Mammüth with Outlander has come up with the first.

Outlander is available now through Negative Vibe Records across most online stores.

https://www.facebook.com/MammuthMetal

Pete RingMaster 18/01/2018

Copyright RingMaster: MyFreeCopyright

Lark – Self Titled

Their sound is described as progressive sludge/stoner metal but as the debut EP from Lark reveals, it is a broadly flavoured proposition truthfully rather hard to totally pin down. The creation of the Mizzi brothers, it is maybe no surprise that it is a multi-layered and styled proposition; Raph the former guitarist and lead singer of Sail In Between and former bassist of Angher Incorporated bringing a passion for and experience of hardcore and progressive metal while Zach, ex-drummer of Bright Curse, has nurtured his craft within stoner, psyche and hard rock adventures. They have melded their talents, experiences, and tastes for a brand new exploration, one which has ears and imagination pretty much enthralled from the first to last moments of their first offering.

Though immersed in music for numerous years, surprisingly the uniting of their enterprise and invention only came earlier this year, from which the EP emerged with the help of Robin Mariat of Grey Matter Studio France, Chris Painter of Red Roof Sounds, Marco of Marc&Cheese, and Jake Read of Living Room Studios, all London based studios. Said to be inspired by the likes of Mastodon, Opeth, Gojira, Black Peaks, and Russian Circles, many essences easy to surmise, the EP immediately has attention held with opener Hailstorm. Instantly an inviting wall of sound presses on ears, its potent lure the spring board for a charge of hungry riffs and spicy grooves ridden by equally enticing vocals. Both men holler and croon with melodic dexterity, guitars weaving a matching web of suggestion and enterprise as rhythms rumble. A fusion of post and progressive metal with grooved and melodic imagination, the song continues to evolve and tempt; that varied sound fuelling its increasingly compelling character and imagination.

It is an impressive start quickly backed by the tantalising endeavours of Red Eye. Though its air is warm and melodic prowess magnetic there is a dystopian tone to its breath shaped by the raw throated vocals and dark hearted grooves. It is a compelling blend which, as simply the gait of the song has the body bouncing, has ears and thoughts hooked. Raw but beauty laded, the track swiftly and increasingly gets under the skin, its strength in its instrumental prowess but potently backed by vocal suggestion and intensity.

The beginning of next up Heavy defies its title, its gentle melodic caress aural poetry but soon departing for the portentous tower of atmosphere and thickly toned sound which looms around vocal trespass. Sludgy bordering on the pestilential, the track is a blackened suffocation veined by melodic wires which shimmer with temptation. Though not quite finding the heights of the first pair, the song is raw captivation keeping expectations guessing and attention keen before Too Far Gone shares its post rock beauty and tempestuous emotions. Once more a host of metal bred shades and heavy rock essences collude in a kaleidoscopic tapestry, and again the imagination and appetite can only keenly sink into its creative landscape.

Decay brings things to a close, the track a vexed and portentous proposal crafted with melodic dexterity and emotional turmoil as dark storms simmer and erupt. Maybe the EP is at its most striking across its first few tracks but it never is less than riveting and ends on an engrossing high with the potential of greater endeavours as ripe as the pleasure found in its varied enticing and imposing soundscape.  It is a release which demands attention for a band you can only think is setting out on one striking adventure for them and us.

The Lark EP is out now as a name your price download @ https://larkbandofficial.bandcamp.com/album/lark

https://www.facebook.com/LarkBandOfficial/    https://www.instagram.com/lark_band/

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Boudain – Way of the Hoof

BOUDAIN_SPACELAB

For those with a lust for the groove and the fattiest slabs of heavy rock ‘n’ roll flavoured meat, the checking out of US stoners Boudain might just be the best order of the day. The quartet has just unleashed debut album Way of the Hoof,  a ravenous swamp of stoner and sludge infested waters  which preys on the psyche whilst feeding the appetite for dirty and fiery rock ‘n’ roll. Influences to the band include the likes of Sleep, Melvins, Kyuss, and Fu Manchu which their album does not shy away from bringing to the party in flavour across its eight thumping trespasses, especially the last of the four. To that though, Boudain add their own meaty sauce for something which mighty not be breaking the banks of originality but certainly feeds the soul and appetite for imposing metal and invasive rock.

Consisting of bassist/vocalist Chris Porter, guitarists Brian Lenard and David Karakash, and drummer Stephen Jester, Boudain released their first EP in 2013. The self-titled six-track offering caught the ears and attention of a great many which Way of the Hoof is now poised to escalate, to easily assumed, broader heights. Opener Sleazy Feats swiftly has ears wrapped in almost salacious grooves as rhythms badger and bear down on the senses with a hefty hand. Riffs and vocal swipes only add to the highly agreeable introduction, a potency which continues as the song swings with zeal and enterprise across its fiery body. Surprises are not an open proposal though a freshness to the familiar landscape is, and increasingly so as Lenard and Karakash incite their grooves and toxic melodies to breed an even stronger strain of temptation.

Boudain art _RingMasterReviewSome might suggest that the album is a touch muddy but as the opener and following Neptune alone show, it is a thick smothering which adds to the swampy, at times almost delta blues like, intensity and richness of songs and release. The second track brings a bit of punk to its contagious confrontation too, clashing percussion uniting with the predation of the rhythms as the song simultaneously swings and prowls. Quickly it eclipses the impressive strength of its predecessor, continuing to impress and inflame ears with its thickening web of grooves and sonic acidity before allowing CODA to share its own imposing wares. Whereas the first pair flew at the jugular and senses, this track prowls, almost stalks the listener as its tar thick sludge breeding consumes ears. Porter’s vocals, or Lenard’s as the two apparently share duties across the release, again provide a great mix of growl and dirt encrusted infectiousness as they match the textures of the sound around them.

A cosmic ambience lines the sweltering lure of guitar as 3 Man steps up next; that sultry invitation and suggestiveness lying upon a great rhythmic rumble led by the swinging throaty infectiousness of the bass. The song soon slips into a more expected stoner blaze though drums and bass continue to cast their rhythmic hex on ears and appetite as the guitars weave an intoxicating tapestry; a knit which continues right to the end even as the song becomes more aggressively volatile.

First Class rips into ears next, it taking the listener back to the more hellacious type of assault the album opened with as tangy grooves and scything beats take their share of attention along with the brooding bass and attitude soaked vocals. Once more, a recognisable air to the track is rife but only within that welcoming Boudain character that ensures nothing is as simple as being a copy of those earlier mentioned influences or others.

Through The Mighty Turn Around and its sonically spatial exploration, and the rawer bruising stroll of Disco Jimmy, ears and album continue to be bound together. The first of the two has some of the most mouth-watering bait in its grooves and psyche infesting rock ‘n’ roll whilst its successor is a psych rock igniting of the imagination which lights the flames of thorough enjoyment if not the major excitement some of its earlier companions provoked. Nevertheless both leave ears more than content with the closing cover of Blue Oyster Cult’s Godzilla adding its enjoyable feed; the band treating the track to its prowling strain of sludge and stoner predation.

It is a fine end to an album which might have provided its major moments in its first half but from start to finish only inspires a real want for more and the idea that Boudain have the potential to sculpt major temptations luring equal attention ahead. They have plenty to get a little lustful over right now too which Way Of The Hoof offers with relish.

 Way Of The Hoof is out now @ http://boudain.bandcamp.com/

https://www.facebook.com/boudainla/   https://twitter.com/boudainmusic

Pete RingMaster 21/04/2016

Copyright RingMaster: MyFreeCopyright

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

Buffalo Theory MTL – Skeptic Knight

photo - Benoit Nantel

photo – Benoit Nantel

Creating a bruising and boozy riot of rapacious rock ‘n’ roll, Canadian quintet Buffalo Theory MTL are releasing their latest uproar of sound and attitude this month in the boisterously muscular shape of Skeptic Knight. The five-track EP is a roar of debaucherous intent amidst heavy cantankerous sound which, without any major surprises, simply gets you in the mood to feverishly brawl and party.

Hailing from Montreal MTL consists of guitarists Pat Gordon and Yannick Pilon of Vantablack Warship, bassist Gary Lyons, drummer Brian Craig, and vocalist veteran Anton Parr. Between them, they have been part of very well-known Quebec groups such as the Ghoulunatics, Les Ékorchés, and Arseniq 33 whilst Parr’s history includes playing in thrash bands in Brazil. Together they brew a thick and predatory breed of stoner metal infused with thrash fury; a sound which, since the band formed in 2009, has fuelled an early demo followed by debut album Heavy Ride in 2012 and two years later, the Murder Trilogy EP. Both have been well-received proposals backed by a live hunger which has seen the band share stages with the likes of The Atomic Bitchwax, The Naked High, Diamond Head, Skull Fist, Thor, Misery Index, BARF, Insurrection, Iron Giant, Tunguska Mammoth, and many more.

Mastered and mixed by Peter Edwards, Skeptic Knight is Buffalo Theory MTL in full adrenaline pumped, rock ‘n’ roll embracing, voraciousness which Lyons describes as “…our best material to date and it’s damn heavy as usual”, adding “ It has a different sounding production that we like a lot. We completed 5 songs for the release. There were lots of riffs just waiting to be completed and it was hard to choose which ones to release first as we are already prepared to unleash another EP by next year to follow it. We always prefer to gather a few good songs and go into the studio being ready to release something new more often, rather than waiting too long for a LP type of setup with 10+ songs.

BTMTL-Skeptic-Knight_RingMaster ReviewOf course proof of word and success is always in the eating of the pudding and there is no doubting that opener Conspiracy in Paranoland alone is one tasty incitement of new yet prime Buffalo Theory MTL rampaging for ears and appetite to devour. A track knocking around since the band’s early days, it comes built on ravenous riffs, scything rhythms, and a prowling growling bassline to get lustful over. The song initially appears as a proposal just to have a rousing time with but it is soon showing itself a predator. The guitars offer a predacious flirtation led by the boisterous raw tone and vocal delivery of Parr but tempered with spicy grooves and a great guitar and bass nagging which simply helps whip up lustful enjoyment.

The following Punishment is an equally invasive character but centred round an even more bruising thrash seeded ferociousness, a fury bound in acidic grooves and vocal hostility with Pilon potently backing the roar of Parr. With a Pantera/Down like causticity and virulence to grooves and vocals alone, the song romps and stomps with the passions before Get On It swings its sinew sculpted hips as rebellious attitude colludes with bad-blooded rhythms entangled in psyche trespassing grooves. In contrast though, vocals and hooks breed their own more merciful strong anthemic persuasion, adding to devilry to get eagerly involved in whilst being battered around the senses.

The EP’s title track comes next, instantly showing the heaviest presence and thickest web of invasive textures heard yet on the release. It makes a slow, almost lumbering, bestial entrance, relaxes then breaks into a groove infested canter which has body and imagination on board within a mere handful of seconds. That instinctive enticing is helped by the spiciness coating grooves and the arousing impact of the riff driven rabidity which consumes the senses. It is a sonic war machine in hungry motion, the kind of inescapable protagonist which refuses anything less than full involvement in its roar, much like Psychic Enclosure. Like Rage Against The Machine meets Black Sabbath meets Sleep, the closing track riles up and rages against the senses whilst uncaging an imposing contagion of flesh searing grooves and corrosive riffery stalking by merciless rhythms.

It is a fine end to a thunderous encounter leaving ears and pleasure full. Skeptic Knight is heavy duty rock ‘n’ roll to be intimidated by and greedily feast upon. Uniqueness is maybe rare but enjoyment is unrestrained; a proposal few can turn down.

The Skeptic Knight EP is available via Stand Records from February 26th @ https://buffalotheorymtl.bandcamp.com/album/skeptic-knight

https://www.facebook.com/pages/BUFFALO-THEORY-MTL/243777113598

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

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

Desert Suns – Self-Titled

Desert Suns band photo_RingMaster Review

Released in the Autumn of 2014, the self-titled debut album from San Diego quartet Desert Suns gets its deserved official worldwide re-release this January through a special collaboration between Ripple Music and HeviSike Records. For those missing that original limited run of 300 copies on vinyl through Birmingham-based HeviSike , its return is the chance to grab one highly flavoursome slab of stoner bred rock ‘n’ roll.

Formed late 2013, Desert Suns quickly drew attention with their first single Burning Temples which was released in the January of the following year. Seven months later and their six track debut album confirmed the initial potency of sound and imagination within that early single in a fiery and immersive blend of stoner and heavy metal, psyche and blues rock. The band’s sound, as at times their lyrics and song themes, demands attention without the heavy weight of it ever becoming invasively imposing, and within the Tony Reed (Mos Generator/Stone Axe) mastered album provides a powerful invitation to the listener, if without really wanting to take no for an answer.

DESERT-SUNS---DESERT-SUNS_RingMaster Review

Artwork-Jimmy Ovadia

Burning Temples starts things off, an initial sonic static the bed for heavier rumblings and clamorous energies before one hefty groove grows from within the low key tempest. It relaxes with an elegant shimmer to its lure and melodic spice to its touch as the dark bassline of David Russell aligns to his quickly alluring vocals though the forceful and agile beats of drummer Ben McDowell subsequently raises the intensity as the guitars of Woogie Maggard and Anthony Belluto twist and turn with magnetic grooves and riffs. As the track becomes a contagious blaze enslaving hips, ears, and imagination, it is easy to sense Black Sabbath and Deep Purple inspirations at play, the music masterfully and voraciously ebbing and flowing in energy whilst providing a continuous full-on sultry temptation.

After the incendiary climax of the first song has ignited ears and keen involvement further, the following Space Pussy shows it is even more ferociously enflamed with quick sonic and melodic intoxication. Raw and seductive flames soon live up to the suggested salacious exploits and skills of the song’s protagonist, their intensive heat casting a vociferous smoulder in sound and atmosphere which almost has the senses woozy, though sinew swung rhythms and a great gnarly bass tone provides a rapturous temper to that cosmic inebriety smothering ears.

The blues infested rock ‘n’ roll tempest of Passing Through gets ears excited all over again, its feisty swagger courting a virulent catchiness driven by tenacious rhythms and swinging grooves matched by the Ozzy-esque vocal temping of Russell. The track is irresistible, taking a great first impression of the album up another notch with its flirtatious enterprise and anthemic dexterity of music and craft. As across the album, there is something familiar to the Desert Suns sound but a hue only adding to the lure of its bordering on mischievous revelry.

A breath is allowed to be taken by the blues croon of Ten Feet Down as ears feast on a new twist in the landscape of the release. Blues and country rock merge to serenade as harmonica and guitar colour a salty portrait of suggestiveness around it, all colluding for a magnetic encounter before Memories of Home portentously pulsates into view and unfurls a lumbering beast of a stoner/heavy metal fuelled proposition. A scent of Fu Manchu meets Electric Wizard meets Kyuss looms up within the tantalising proposal, whilst mellow and soporific textures unite with the ravaging torrents stirred up by grooves and a hungry energy to create another hard to resist confrontation.

Run Through My Roots brings the album to a compelling close, its atmospheric soundscape and pungent rhythmic suggestiveness the prelude to another forceful and heavyweight enveloping of the senses. Once more romancing calms are seductive oases amidst increasingly volatile eruptions and predacious outbursts, their mesmeric caresses breaking ravenous outpourings of sound and emotion as the track offers a fascinating end to a thoroughly enthralling and enjoyable release.

Second time around, Desert Suns is not to be missed and already thoughts are eagerly turning to what comes next from the band, where they have imaginatively ventured since the creation of their album two years ago.

Desert Suns is out now through Ripple Music in North America on CD and Royal Blue vinyl and on Beer Brown vinyl in the UK through HeviSike Records with digital copies @ https://desertsuns.bandcamp.com/

https://www.facebook.com/desertsunssd  http://www.desertsunsmusic.com/

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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Kayleth – Space Muffin

KAYLETH_band

Everything about Space Muffin, the new album from Italian rockers Kayleth is a spatial adventure; from the eye catching cover and lyrical exploration to the space rock coloured climate gathered over a stoner rock sculpted landscape, it is a flight through other worldly explorations. Equally that stoner and metal induced breeding gives songs and release a contrasting grounding which makes it as intensely imposing as it is celestially fascinating. Space Muffin, a fluffy name offering a slight deterrent before a note is heard, and Kayleth draw on recognisable influences it is fair to say, Kyuss and Orange Goblin for example. It is an open spice though which the Verona quintet entwine with again familiar space/psych rock seeded imagination to conjure something seriously compelling. The album might not be the one to really challenge your expectations but definitely it is a proposition to turn pleasure and a hunger for more up to the highest setting.

Formed in 2008, Kayleth has persistently lured an increasingly potent attention their way through their releases which started with Not Yet in 2006. Initially their sound was rigorously stoner-esque, with In the Womb of Time and Rusty Gold of 2008 and 2010 respectively, thick enticements of the broadening emergence of the band. Their sound has been on a constant evolution even from those early releases, but it was after The Survivor was released in 2012 and through the addition of keyboard player Michele Montanari that the band went on a new exploration into space/psych rock territories, investigation taken without leaving behind the stoner canvas which had already garnered the band increasing acclaim. The band and songs within Space Muffin seem to revel in this new horizon of imagination in their songwriting and sound, discovering like its premise, a new world to play in.

The heady heights and atmosphere of Mountains opens up the release, its muscular presentation an immediate wall of rugged riffs and pungent rhythms within a web of spicy grooves. Behind it the keys of Montanari seduce away, not making a major declaration yet but coaxing behind the scenes as the excellent grainy vocals of Enrico Gastaldo join the widening scenery of the song. Guitarist Massimo Dalla Valle matches the increasing lure of the keys with tangy grooves and acidic melodies, both aspects uniting in rich warmth as the bass of Alessandro Zanetti rumbles within their midst. Completed by the feisty and imaginative beats of Daniele Pedrollo, the song stomps and swerves with irresistible contagion; turning as the keys bring their interstellar KAYLETH_coversuggestiveness into an exotic temptress.

The excellent start is continued by Secret Place, a track loaded with an energetic stride driven by virulent grooves, rampant rhythms, and the potent vocals of Gastaldo. That Orange Goblin essence is a busty flavouring here but equally you can easily suggest a touch of Eagles of Death Metal to the vivacious appetite and energy of the song. It is ablaze from its first second and even with some clever twists and teasing from keys thereafter, never loses its lustful voracity. Imagination sparking invention is just as evident too and even more dramatic in the following Spacewalk. With samples and an on-going narrative offering a space flight with almost Robinson Crusoe like undertones, the track takes to the air with a magnetic shimmer and gentle melodic seducing. Thrusts of intensity led by caustic riffs and heavily swung drums pierce the beauty of the ambience drifting across the track, the burst bringing intermittent and eventually sustained tempestuousness to the bewitching encounter.

Both the intimidatingly sturdy Bare Knuckle with its mouth-watering rhythmic shuffle and sonic flaming against the charming ambience of the keys, and the soulful Born To Suffer have ears and imagination wrapped up in their designs and melodic colours. The first from a contagious ruggedness slips across sultry climes of sonic and provocative textures whilst the second with a blues toned melodic croon smoulders and entices with captivating charm before sparking with classic metal seeded enterprise. Neither quite matches their predecessors, though Bare Knuckle makes a thick challenge, but both leaves senses and thoughts riveted before Lies Of Mind flexes its striking musical and inventive muscles for a bruising and infectious slab of space rock toned rock ‘n’ roll. As most songs there are plenty of twists and unpredictable surprises employed, without going overboard, leaving ears and emotions greedy and equally a quite inescapable anthemic tendency.

   Try To Save The Appearances also has a broader rock ‘n’ roll character to its heavy persuasion, stoner and psych rock colluding in a tempestuous and wholly tempting charge which at times, as elsewhere on the album, has hints of Monsterworks to it as well as that of Karma To Burn. It is a glorious incitement leaving just the instrumental elegance and heated soundscape of NGC 2244 to bring the album’s flight to a tantalising close.

Space Muffin might have a weak title but within its walls it is one thoroughly enjoyable and invigorating adventure. Kayleth’s album does not truly surprise too often but leaves ears blissful and satisfaction over flowing, thus a release to heartily recommend.

Space Muffin is available via Argonauta Records now @ http://www.argonautarecords.com/shop/music-/47-kayleth-space-muffin-cd.html

http://www.kayleth.com/

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

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