Hellrad – Things Never Change

FRONT COVER_Reputation Radio/RingMaster Review

The sound of US sludge metallers Hellrad is like toxic lava. It crawls over and consumes ears, blisters the senses, and devours all before it in an atmosphere of unbridled hostility. It also, with weighty persuasion and hellacious intensity, leaves the listener basking in a network of scorching, seductive grooves and intimidating rhythmic slavery, it all colluding for one fierce volcanic treat.

Hellrad began in the August of 2014; the Philadelphia quartet formed by guitarist Mike Hook (Eat The Turnbuckle, Bad Luck 13) and drummer Robert Lepor (Brian Candle). The pair swiftly enlisted bassist Herb Jowett (Javelina, Lick Golden Sky), and with an album’s worth of tracks emerging from their songwriting, completed the line-up with vocalist Dirty Dave Repenning (Off Duty Death, Warsaw). Their sound is as dirty as it is ugly, as angry as it is uncompromising, but aspects aligned to a violent creativity which emerges as wholly contagious. Recording Things Never Change at Permanent Hearing Damage Studios with Steve Roche, Hellrad have unleashed a proposal which is not quite a game changer but it is certainly an uncomfortable and uncompromising fresh breath to the sludge/stoner scene.

From the uncaging of its opener Street Zombies, the album reveals depths of sound and a cast of textures which are as much ravenously doomy as they are voraciously noise rock inspired, a blend perpetually brewing in a cauldron of sludge predation. The first track comes in as a warning siren, its portentous air sparking ears and imagination though their expectancy is soon engulfed in a lumbering and slowly brewing tempest of binding grooves and scything rhythms. It is a stalking rather than an onslaught, yet it has the intensity of a sonic tsunami smothering and stirring up everything in its path. The vocals of Repenning are just as rapaciously delivered, a squall of ire and emotion and as addictive as the roar growing around him. Lyrically little is given away by his raw delivery across the release but his psyche ripping presence is all about texture and emotion, and in that he, as the webbing of enterprise around him, is primal magnetism.

The following My Jihad’s Against My Mind keeps the impressive and intrusive start going, its rage and intent a much more urgent and volatile persecution of body and thoughts. Riffs and rhythms again create an unforgivingly caustic canvas for grooves and vocals to spread their almost rancorous bait, and once more the victim is blissfully immersed in echoes of a cancerous world and destruction. The closing tonic of stoner bred lures of guitar, rather than a respite to the torturous adventure seeding them, is the flowing link into another merciless ravaging. Dope Fiend Jesus manages to be even more raw and filth clad than its predecessor but also more seductive with its flirtatious melodic enticing and passages of mellow aggression. It is deliciously fearsome stuff carrying the whiffs of classic stoner and sludge bands but quickly corrupting and twisting them into something rabidly distinct to Hellrad.

Homegrown Terrorist is one of those sonic and social statements you do not ignore. Everything from its opening sample to the insidious sprawl of Repenning’s tones and the barbarous presence of the bass to the violent swings of Lepor, create an unshakeable trespass physically and emotionally. Its brutish incitement is only enhanced by the venomous sonic vines unleashed by Hook, their virulent enticement, rather than a temper to the existing savagery, an incitement to more threat. It is a template just as addictive in the hard-line predatory saunter of Fucked Up, another unrushed violation which waits until it is ready before unleashing a scourge of sizzling sonic enterprise and poisonous intent bred in an exacting embrace of intense rock ‘n’ roll.

The rhythmic nature of 15 Years and Counting is at times almost meditative, certainly hypnotic though there is no peace or calm to be found in the ruinous landscape of the song. The infectious and anthemic bait of Lepor is only reinforced by the carnivorous tones of Jowett’s strings, both forging the irresistible dark spine within the tightly entwined mix of melodic enticing and inhospitable noise pollution. The track enthrals and thrills before making way for the groove fest of Smoke More Crack. The salacious slab of rabid, dirt spawned rock ‘n’ roll is the final confirmation of the immense and addiction forging properties of band, album, and their severe concoction of sound.

Things Never Change is a punishing treat and Hellrad the nastiest, most vicious exponents of aural castigation, and we for one cannot get enough.

Things Never Change is available now digitally and on CD @ http://hellrad1.bandcamp.com/releases

https://www.facebook.com/Hellradphiladelphia666 

RingMaster 24/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

Southern Badass – Raised In Blood

Raised In Blood cover_Reputation Radio/RingMaster Review

Over two years ago, French rock band Southern Badass impressed with debut album Born In Mud, a warts and all release revealing a rich sound and potential which lit ears and a keen anticipation for the band’s evolution. Now it returns with second full-length Raised In Blood, a dirtier, grittier proposal infusing an even broader array of styles and flavours to its core southern rock/stoner bred sound with the same pleasing success.

Southern Badass is the solo project of Perpignan hailing multi-instrumentalist Arno Bechet, who seemingly draws on the likes of Black Label Society, Down, Black Sabbath, and Corrosion Of Conformity amongst many for his blend of heavy metal, stoner, sludge, and southern rock. Debut album Born In Mud certainly awoke potent attention with is release in 2013, a focus sure to replicated and surpassed by the tighter, more mature and fiery Raised In Blood. Again it is a proposition unafraid to be raw whilst embracing any small issues it may carry, but is openly a sparkling step forward from its accomplished predecessor.

The album opens with its title track, Raised in Blood quickly spilling a mist of sonic incitement led by bulging rhythms and abrasive riffs. Grooves are never retired in the music of Bechet, and straight away a juicy one is encircling and enticing ears before the song settles into a thick and steady stride. The vocals are as raw and at times as strained as on the first album, sometimes pushing their limits too much and in other moments providing the perfect roar to the brewing intensity and persuasion of sound. Fair to say, Bechet may not be the best and most natural vocalist but his musicianship is a gripping affair, more grooves and wiry riffs in the song potent proof alone.

The enjoyable swaggering start to the album continues with Burn into Eternity as resonating rhythms and electronic beats provide the spark to flames of guitar and vocal expression, Bechet finding a stronger more consistent delivery on the quickly persuasive encounter. The track has an earthy dark groove as its temptress, its thick lure embracing the more volatile and imaginative elements of the song and only stepping back for a low key and captivating melodic passage just after midway. Ending on a pungent blaze of a finale, the track is followed by the sharp southern rock tang of When I’m Dead. A mix of heavy and hard rock, it begins the strong variety of sound also emerging across the album, though it still has that inbred stoner core to its strong stroll.

Both Under the Red Sun and Last One Standing keep things interesting and satisfying, the first of the two slowly growing from a shadow rich reflective croon of Guns N’ Roses coloured, blues kissed rock into a full and impassioned rock ‘n’ roll bellow. It still holds a reserved gait for the main though, the guitar craft and enterprise of Bechet again the attention grabber before its successor gets down and dirty with aggressive riffs and grouchy vocals. It too holds court on ears; grooves and rhythms especially dominate in the pleasing engagement, though both songs are outshone by the sultry tempting of La Marche des Morts. French sung, the song has the atmospheric heat of a Morricone composed landscape and the muscular threat of a Mastodon bred proposal, and is thoroughly riveting.

As good as the first half of the album is, from this excellent track on Raised In Blood seems to hit another level. House of the Swolen Goat is next and with Black Tusk like grooves and a new direction in vocals within a smouldering sonic glow, instantly stands above earlier songs, even its impressive predecessor. A rich and heated tapestry of rock tenacity, the track makes way for the dark country enticing of Down by the River. There is a haunting air to its dark shimmer and an incendiary impact to its subsequent volcanic expulsions of guitar and vocals, the song shadowed wrapped balladry to get greedy over.

   The Lesson is just as thrilling; its opening rhythmic bait and cantankerous bass moan anthemic might escalated by the driving charge of riffs which quickly bring feisty energy and magnetism to the excellent encounter. The track eventually spreads into a more controlled and expansively laid southern tinged rock ‘n’ roll, its potency and lure evolving rather than diminishing as Bechet lets his guitar craft also run a creative riot over ears and appetite.

Completed by Sphere of Io, a song which makes a messy start but turns into another sinew driven rampancy of heavy riffery and grooved slavery, Raised In Blood is another very enjoyable and accomplished slab of ravenous rock ‘n’ roll from Southern Badass. It has issues and as mentioned has a second half which leaves the first in the shade but if looking for some honest and organic heavy rock/metal this is definitely well worth a good hard listen.

Raised In Blood is out now digitally and as a double disc vinyl @ https://southernbadass.bandcamp.com/album/raised-in-blood

https://www.facebook.com/official.southernbadass

RingMaster 19/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

Gelato – Self Titled EP

Gelato _ Reputation Radio/RingMaster Review

Do you equally miss the days when Queens Of the Stone Age first teased and taunted ears and appetites with raw and undiluted rock ‘n’ roll cast in their inimitable manner? Then welcome to Gelato, a UK band openly wearing inspirations from Josh Homme and co in their feisty sound but only as one spicy ingredient in a contagious mix of punk and indie pop infused rock ‘n’ roll. Personally the biggest similarity is simply the thick tingle of excitement hearing the bands for the first time, the London trio rippling with an indefinable essence which leaves those around them seeming a much paler proposition.

The evidence to such claim comes with the band’s self-titled debut EP; three tracks of quirkily individual and addictively tenacious encounters fuelled by invention and soaked in creative devilry. Gelato consists of bassist Phil, drummer Ben, and vocalist /guitarist Drew, the latter previously of the excellent Hitchcock Blonde. 2014 saw the band make a potent breakthrough with low-key gigs across the London live scene with matching reactions and receive airplay via BBC6. Their EP though is the first major lure into broader awareness and attention, and the first step to big things we suggest.

Gelato EP cover _Reputation Radio/RingMaster Review   Recorded with Tobin Jones (Bo Ningen, Twilight Sad, Cold Specks), the EP kicks off with Get My Way, a track instantly flirting with ears as a wiry guitar hook repeats keenly on the senses amidst a thick prodding of beats. It is appetite raising bait which becomes a feisty stroll with the same sonic lure now embraced by crisp rhythms and a darkly wicked bassline. The vocals of Drew as just as inviting once they emerge too, whilst the QOTSA bred harmonies add a smiling extra to the contagiously engaging adventure. The song continues to snarl and seduce in equal measure, band and sound bounding around like a young colt with the maturity and craft of a rock veteran.

The band’s new single Room Service follows and again has ears and a now hungry appetite locked in with its first touch, this a dirty grizzled bassline which simply resonates in the senses before a spicy weave of guitar and brewing harmonies caress it and a fresh anthemic lure of beats. As its predecessor, the track from a slimmer start broadens into a heavier bewitching tapestry of sound and textures, it all infested in a contagious revelry and charm. As catchy and tangibly poppy as it is though, there is a dark predatory edge to the song especially in backing vocals and rhythms, which lights up air and imagination with further unpredictable adventure.

Ruffians brings the band’s introduction to a close, two minutes of punk filtered pop rock which has an underlying aggression as riveting and majestic as the warmer melodic tendencies wrapping its rugged spine. Arguably the least dramatically sculpted offering, the song still has little difficulty in firing up pleasure and a want for more, the band showing they can rock out or design a seriously involved temptation with matching potency.

As with any brief but impressive offering, there is only a needy want for more by the EP’s close, a wish to dive with haste into further endeavours but that is for the future. Right now we have a seriously impressive and thrilling start to devour from a band in Gelato, which one day might just be spoken of with the same stature of their prime inspiration.

The Gelato EP is available now digitally and on CD via https://gelatomusic.bandcamp.com/releases

http://www.facebook.com/GelatoMusic

RingMaster 17/05/2015

Copyright RingMaster: MyFreeCopyright

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

Red Spektor – Self Titled EP

Red Spektor Promo Shot Reputation Radio/RingMaster Review

There is a rich flame burning away in the Potteries, and it goes under the name Red Spektor. The UK trio are poised to release their self-titled debut EP, a blaze of psychedelic, stoner, and classic rock which fascinates as it engulfs ears and imagination, and unrelentingly thrills as it provides further evidence that heavy and fiery British rock ‘n’ roll is heading towards a fresh heyday.

Hailing from Stoke on Trent, Red Spektor emerged at the end of 2012 drawing on inspirations from the likes of Black Rebel Motorcycle Club, Led Zeppelin, and Black Sabbath. Once the threesome had honed their sound, they proceeded to hit the live scene with swift success, sharing stages with bands such as Carousel Vertigo, Attica Rage, Texas Flood, and Lawless along the way. Every step drew more eager ears to their growing fan base, accelerated by festival appearances whilst the band never letting a week seemingly go by without igniting a venue somewhere. 2014 saw the band record and release their EP via Bandcamp, a 5 track encounter recorded live and straight to tape over two days. Now it has its full digital unveiling and it is easy to expect Red Spektor stoking up a new wave of close and acclaiming attention.

The band draws on essences of “dark pre-war blues right through to the British blues explosion of the sixties and the heaviness of the seventies albeit with a modern and dirty twist” according to their bio, a mix swiftly seducing the senses and igniting the air through EP opener Hard To Please. A lone vocal guitar awakens instant attention, its rich spicy lure soon joined by a solemnly brooding bassline and crispy beats as the song quickly settles down into a feisty tempting. The guitar of John Scane virtually dances across the senses, every riff and hook incendiary and leaving a sultry residue like the trail behind Marvel Comic’s Ghostrider. Vocally he has a mellower but no less potent air, clean and alluring against the sizzling of blues/psyche invention and Rob Farrell’s dark basslines.

Red Spektor Cover Artwork Reputation Radio/RingMaster Review   It is a seriously gripping start quickly backed by the slower, more intensive presence of Transcending. The thick and freely swinging beats of drummer Darren Bowen cage ears and anticipation as an almost melancholic bass coaxing prowls; both sparking swift appetite for the song’s impending offering. A sinister seducing comes with the enterprise of the guitar, and indeed vocals, as sixties and seventies sounds collude with a modern creative rapacity to bewitch and crawl over the listener. The track is a relentless smoulder rather than the blistering eruption of its predecessor but just as persistently magnetic and irresistible.

Third song Everywhere puts a higher gear in motion for its rich persuasion of blues rock; rumbling and strolling along whilst melodic vapours intoxicate ear and air alike. Rhythms cast a dirty tempering shadow and compliment to the searing enterprise, keeping the psychedelic croon earthbound as once more the band has attention bewitched. The exploration of the dirtier textures within the song continues with greater focus and revelry within the next up Redemption, Red Spektor tapping into the purest vat of blues distilled rock and adding their own not exactly unique but certainly distinct flavouring to another transfixing and highly enjoyable proposal.

The song probably does not quite match those before it though, whilst all of the songs before also find themselves in the shadow of the glorious closer Earth Mother. From its first beat and eager riff, the track bursts into a masterful and virulent swagger. An anthemic and delicious groove leads the way, courted by similarly lively and bold rhythms aligned to a throaty bass invitation. The song relaxes a touch in urgency as the vocals add their easy persuasion to the mix, picking its knees and tempo up again between verses and around the fiery enticing which subsequently seeps from every melody, hook, and resonating bass groove. As across all songs, Scane’s solos just burn their way into the psyche, but it is the overall swing and insatiable tenacity to the song which helps it take best song honours.

Many like us missed the Red Spektor EP first time around, and indeed the band’s emergence, but its new full digital unleashing ensures there are no excuses now in not exploring band and sound. No excuses only rich rewards.

The Red Spektor EP is digitally available from May 18th via all online stores.

https://www.facebook.com/redspektorband    http://redspektor.com/

RingMaster 17/05/2015

Copyright RingMaster: MyFreeCopyright

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

 

Morass of Molasses – So Flows Our Fate

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UK rockers Morass of Molasses have been locked on our radar and feeding primal needs ever since the first moment the band emerged from its founder’s previous impressive band Karn8 in 2013. Since then Bones The Beard with his soul grasping vocals and salacious baritone guitar lures, Phil The Mountain with his treacle thick grooves and rapacious riffs, and Chris The Beast whose rhythmic swings induce more physical earth tremors then fracking, have become one of the most potent and compelling, not to mention sonically tempestuous propositions in British stoner and heavy rock. After some seismic slabs of temptation posing as singles, the trio now unleash their debut EP, So Flows Our Fate. It is as epic as it is thunderous and further evidence that UK rock is not only ready to take on the world but poised to teach it some new and template shaping tricks.

Hailing from Reading, Morass of Molasses has earned a deserved and mighty reputation for a live presence which has seen them a constantly acclaimed and eagerly devoured provocation, especially across the south of England. Now is time for a national awakening and there is no doubt in their fan’s and indeed our minds that So Flows Our Fate is the incitement to do it, with the potential to ignite a much broader landscape simultaneously.

Morass-of-Molasses-Front-Cover-Final   Rotten Teeth is the first infestation of ears and psyche, also the first single from the band igniting a horde of slavering appetites all on its own in 2013. Its opening air is immediately portentous but swiftly defused by the dirt clad seduction of grooves and equally inviting riffs. There is also a predatory nature to the offering which descends straight away on the senses as well as a delicious and unpredictable character which sees the track, out of the blue, slip into a seductive lure of restrained and hypnotic rhythms alongside a bordering on toxic caress of guitar. Bones’ vocals discover a mellower character to the rasping snarls which lit the track from the start, and the whole twist provides a mesmeric spark for the imagination, if also a deceitful wrong-footing as you just sense it is toying with the listener and luring them in before unleashing its tempest again which of course it does after more of the insidious romance. When the eruption does come with the caustically flavoursome and intensive chorus, another wave of pleasure washes emotions before the delicious cycle begins all over again.

The track is superb, one which has only gained in stature and quality since its first unveiling two years ago, and a trait matched in the following Ashtabula. It too is an earlier song from the band which just seems to get richer and more intoxicating over time and listens, something easy to expect the new songs on the EP to similarly do. The second song has an even richer and thicker blues lilt to its magnetic sound and citric grooves, as well as that fascinating unpredictable tenacity which again from a fiery and ferocious start toys with expectations and imagination, moments of eye of the storm calm and virulent sonic explorations colliding and uniting with more hellacious and ravenous almost overwhelming heavily boned rock ferocity.

In the first two songs alone a depth and diversity to the Morass of Molasses sound, which truly sets the band apart from the rest, is open and stretched once again by Fear to Tread. As its predecessors, rhythms pound as the song prowls ears and psyche whilst at the same time casting a tribal bred tempting which frames and flirts with the winding tendrils of sonic ingenuity posing as melodies and the ‘soft spoken’ tones of Bone’s vocals. Of course it is all relative and the song from start to finish is a beast, again predator being the best word to use as it stalks with addictively sick grooves and bone shaking rhythms whilst stroking the senses with its lithe moves and venomous voracity.

The sludginess of the song is explored in another individual way by Bear River, the EP’s closing and just as mighty incitement. Rhythms again are shamanic in presence and resonance, their inescapable bait entangled in a vine of melodic reflection before it all brews up into noise driven smog of virulence which has elements of lighter almost pop like rock, erosive causticity, and scorching flames of delta blues bred devilry. This is all on top of the instinctive rich grooves and bracing riffs aligned to ravenous rhythms the band exhales like air from lungs.

It was hard not to expect great things from So Flows Our Fate because of those previous singles but the EP has brought home the sheer raw majesty and unbridled potential in the Morass of Molasses invention and imagination. Watch out world is all there is to add, oh apart from only a fool would ignore this exhilarating offering.

So Flows Our Fate is available now via Wicked Boy Records on CD and as a name your price download @ http://morassofmolasses.bandcamp.com/

https://www.facebook.com/MorassOfMolasses

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

XII Boar – Pitworthy

XII Boar - Photo Landscape 2

Trampled under the heavy booted sounds of their excellent self-titled debut EP four years ago, UK heavy rockers XII Boar have just got sonically fiercer and more virulently compelling over time. Subsequent releases have continued the ignition of a hungry appetite in the British underground rock/metal scene for their rampantly aggressive and virulently grooved sounds, though nothing before matches up to the thrilling Southern fried might of debut album Pitworthy. Bulked up with ten tracks of muscular temptation with a mischievous glint in their eyes, the album is a thunderous stomp of virulently primal and dirty rock ‘n’ roll.

XII Boar hail from Aldershot and first came to light in 2010. It was not long before their blend of voracious metal and heavily slung rock ‘n’ roll was breeding a potent and loyal local following around Hampshire and the South East of the UK. Growing increasingly more distinct and individual to the band over time, their sound takes the richest and most aggressive strains of stoner, doom, blues, and southern metal and turns it into one incendiary blaze of sound, imagine Black Sabbath and Corrosion of Conformity colluding with Motorhead and Black Tusk for an inkling. It is probably fair to say that their early days which included that first EP, the band musically was offering a familiar if exciting proposal but as the Split Tongue, Cloven Hoof EP of 2012 and especially the single Truck Stop Baby last year came and went, XII Boar showed they were breeding their own musical identity, a presence now grabbing the passions in Pitworthy. It still has an instantly recognisable flavouring but now from the band’s own open sound rather than having a thick feel of others, though ripe hints are still a welcome spicing.

Live XII Boar has continued to impress and lure acclaim too, shows over the years with Corrosion of Conformity, Crowbar, ASG, and Karma To Burn as well as appearances at Bloodstock, Desert Fest, and Hard Rock Hell adding to their rising stature. It is a live feel which also seems to vein the new album, its tracks rampaging with that edge generally stages only inspire and immediately adding extra potency to the creativity and energy of album opener Sharpshooter. The song is introduced by a wrestling/boxing match like ring barker, and its entrance lit by a flame of sonic coaxing from the guitar of Tommy Hardrocks. That initial expulsion is swiftly left behind though as grooves flirt with and immediately entice ears as the thumping beats of Dave Wilbraham begin the incessant and invigorating battering which charges up the whole album. With the great heavy throated lure of Adam Thomas’ bass snarling with bestial temptation within it all, the trio has attention and imagination gripped. Hardrocks vocally roars and growls as the music around him, but already there are unpredictable twists and adventures crawling through the song. With older tracks in many ways once established you knew where they were creatively going but in the first song alone, Pitworthy reveals a fascinating depth and exciting tenacity to pull Coverout the middle finger on expectations. Bottomline though is that the track is one commanding irresistible stomp, with all guns blazing and nostrils flared.

It is the same with the following Young Man, and to be honest the rest of the album too. The second song has a stronger blues spice to its fiery blood, toxic melodies and tantalising grooves providing the intoxicating liquor veining and flowing through the Down meets Desert Storm like shuffle. Rhythmically the track is a strongly enthralling and agitated groan whilst vocally it bellows and melodically it flames within a sultry climate embracing ears and emotions. It is compelling stuff igniting the air before the bruising weight of Crushing the P lumbers in and proceeds to press its own intensive and imposing bulk on the senses. Again though, grooves temper the rugged nature of the proposition, whilst inescapable infectiousness wraps the swing of rhythms and riffs. The song is an on-going predation too; every aspect increasing in magnetism until by its conclusion the crawling posture of the song is pure addiction.

The outstanding flirtation of The Schaeffer Boogie emerges out of those final throes of intensity, the track swiftly breaking into a robust and contagious slab of heavy temptation. Grooves swing with inescapable persuasion, casting an irresistible invitation for all to join their devilry, though we warn that their weighty movement will even worry young hips getting involved over long term exposure. Never taking a breath or allowing one, the song is sheer heavy rock majesty; not demanding, except on the body, and seriously exhilarating.

The grouchy tones of the album’s title track comes next, Hardrocks’ vocals a grizzly web of confrontation and attitude, and backed strongly by Thomas whose bass simply oozes cantankerous sounds and ferocity within the thick tapestry of temperamental and predatory sounds. The track is a tempest of drama and shadowed intrigue too, again every subsequent unexpected detour or twist in the nature and journey of the climactic offering surrounded by a rhythmic and riff sculpted catchiness which has feet and neck muscles exhausted.

The short Cajun aired instrumental Crawdaddy Blues is an ok interlude for the first couple of listens but to be honest ignored as appetite wants to dive back into the punk fury of Chicken Hawk again and again thereon in. The track is a brute of a companion, that punk seeded hostility and urgency a ripe tempting against the pungent heavy metal and ravenous rock ‘n’ roll it is aligned to. Pantera meets Converge yet different again, it is another major pinnacle of the already impressive release, a peak matched by Battle Boar. The rumbling rhythmic heart of the track is an anthemic call in its own right, and the fuse and detonator to a turbulent and hellacious conflict of intensive and insatiable energy. Riffs and rhythms collide with hostile intent, ridden by the equally abrasing and assertive vocals, whilst grooves are venomous and flailing in their scything enterprise. The track is a glorious sonic conflagration but too damn short at less than three minutes.

   Rock City is smoky and at times like sonic vapour on the taste buds, a fine musical whisky which slips across the senses with smooth ease before unveiling its bite and spicy tang. As you would expect grooves and riffs make a tapestry of tart and colourful temptation whilst vocals and the deliciously imposing basslines help spark the old school predation fuelling all classic slabs of uncompromising rock ‘n’ roll. Compelling and rousing, the song is another towering anthem setting emotions up for the closing Quint, an eleven minute savaging unafraid to explore every avenue of heavy rock and ferocious metal whilst painting it all with a sludgy stoner hue. Arguably over long for some, every minute of the track is a new scene to run with and imaginative corner to dive down.

XII Boar has had little difficulty impressing and exciting since their first release but have creatively and musically come of age with Pitworthy. It thrusts the band to the frontline of British rock ‘n’ roll with even broader spotlights potentially awaiting as their excellent album surely begins to lure in the world.

Pitworthy is available now digitally and on CD via http://xiiboar.bandcamp.com/

 https://www.facebook.com/xiiboar   http://xiiboar.bigcartel.com/

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

Madre De Dios – Self Titled

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It is hard to get enough of out and out heavy booted rock ‘n’ roll, especially when it comes in the kind of shape of the self-titled debut album from Italian rockers Madre De Dios. Consisting of eleven tracks which blaze away with all the instinctive and prime essentials any thumping rock song needs, the quartet’s introduction is a stomp of impassioned energy. The band is not interested in break down walls of originality it is probably fair to say but in bringing a release which anyone can give their bodies and pleasure to, the band has an undoubted success on their hands.

Hailing from Bari, Madre De Dios was formed in 2010 by guitarist Stefano Pomponio aka S.P. Jesus (Natron). The band’s first line-up was completed by bassist Gigi D’Angella (Anuseye), vocalist/guitarist Gianpaolo di Stasi (Stainer), and drummer Marco Ninni (Swedish Death Candy), a foursome who’s live presence was soon luring in increasing masses of devoted fans. Over time a more stoner-esque character emerged in their heavy rock ‘n’ roll propositions, their sound continuing to evolve as a shuffle in personnel saw vocalist Frank Bizarre (The Missing, Cafè Bizarre) and drummer Vince Floro (Stainer) replace di Stasi and Ninni respectively; the latter joining the band after his predecessor had recorded the album in 2013, and a year’s break for the band soon after. As the album, swiftly shows, the band’s sound draws in numerous spices from varying decades to create something familiar yet fresh and compelling. With shows with bands like Bud Spencer Blues Explosion also on their CV, 2015 is looking like turning into a potent and break-through year for Madre De Dios, especially as their album grips many more appetites like ours week by week.

The albums gripping devilry opens with The Evil Guide, a song exploding from a crotchety riff into a full on assault of bracing grooves and pungent rhythms within a blaze of melodic enterprise and tenacity. There is an immediate snarl to the song but equally a captivating infectiousness, every element an anthemic lure in the rigorous persuasion of the excellent incitement of feet and appetite. Just as swiftly the craft and creative attitude of the band is an open temptation too, every swing of the sticks, casting of tangy grooves, and vocal expression drenched in a stirring energy driven by personal adventure.

The same applies to the following High Living in the Sunshine, well every song on the album to be truthful, the track making a more deliberately controlled entrance but loaded with thick MoftheRspicy grooves which make slavery of ears and imagination right away. Exploring a potent mix of hard and classic rock, the song is soon leading the listener in a sing-a-long chorus and head nodding participation for the slower but catchy stroll of its surrounding verses. Not as dramatically persuasive as its predecessor maybe, the song is still soon a masterful treat, and even more so once bluesy stoner bred temptation begins to colour the song’s increasingly appealing canvas.

That blues tang is just as ripe in Flamingos! which comes next, its rich spicery again merging with a more classic roar of rock as jabbing beats keep an antagonistic edge to the rhythmic side of the infectious encounter. This virulence is exploited further in the similarly sculpted Big Head. Coming straight out of the previous track there is an unmissable similarity to certainly the riffs and grooves of the song, though that is tempered by the excellent grizzly growl of D’Angella’s bass and the ever engaging dusty vocals of Bizarre, not forgetting a grunge meets stoner air which at times has a slight feel of Kyuss and Gruntruck to it.

I Crashed Your Car opens up our favourite part of the album, its rhythmic agitation and fiery melodies an exciting and inventive embrace for the magnetic vocals and creative majesty of Jesus’ solos. The throaty bassline also adds further irresistible bait for ears, its dark presence contrasting and complementing the increasingly imaginative weave of raw and spellbinding melodic ingenuity. As great as it is though, the song is just the appetiser for the delicious exciting meals of Shake it Baby and Mad City. The first as so many, just slips out of the song before with seamless and natural ease, and straight away unleashes an enthralling and invigorating rock ‘n’ roll dance. Like a sonic epidemic, the track is soon infesting ears and psyche, not to mention body and soul, as riffs and beats unite in a merciless temptation whilst grooves and vocals toy with the passions. Hooks are spilled left right and centre across the adventure whilst the bass has lips licking in excitement even just thinking about its lures. The brilliant proposition is matched by the just as insatiable tempting instrumental which follows, Mad City a foot to the metal juggernaut of toxic riffs and just as venomous grooves within a tempest of rhythmic and sonic charging. If you are aware of the equally addictive Buzzcocks track Late for the Train from Love Bites, you will understand the unrelenting potency of the track.

A mischievous nature adds to the raucous bellow of Ordinary Man next, the song another creatively stormy and exhaustingly fun rock ‘n’ roll romp matched by the excellent cover of The Beatles’ Helter Skelter, renamed Mater Skelter here. The Siouxsie and The Banshees version still holds the heart but Madre De Dios’ cover definitely gives it a run for its money at times, the band not twisting it around too much but still giving it their own spirited slant.

The album is completed by the stoner blues breathing Merry Go Round Song, a song which seems part Pearl Jam and part The Black Crowes, with a scent of Clutch but again finding something more to stand out, and lastly by the spatial adventure of Orbit. The final track seems to draw on all the flavours permeating album and sound so far, casting them all into its own individual escapade of eighties, nineties, and modern day rock ‘n’ roll. Like the album as a whole, it makes no demands and makes accessibility and enjoyment a done deal within the first handful of seconds, but as on all tracks it offers plenty of imagination and enterprise to be an intriguing and thrilling proposal at every turn.

If you want ground-breaking stuff, want to have your boundaries pushed into new realms, Madre De Dios will please to a certain extent but if you want rock music to leave you bloated on undiluted pleasure and fun then band and album is a must.

Madre De Dios is available on most digital music platforms and CD through Red Cat Promotion.

https://www.facebook.com/madrededios2010

RingMaster 27/02/2015

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