We all come across propositions sparking a passion which is just meant to be whether in life, love, or regard to Legends Never Die, music. The new release from Canadian rockers The Castor Troys, everything about the EP caught our instincts and wants in a slab of rock ‘n’ roll whilst providing one of the most fiercely enjoyable encounters this year.
Hailing from Hamilton, The Castor Troys was formed in 2013, taking their name from the Nick Cage character in Jon Woo’s movie, Face/Off. Embracing inspirations from the likes of Headstones, Social Distortion, Motörhead, The Offspring, and Iron Maiden, the quartet forge their rousing sound from a tenacious mix of hard rock and punk with plenty of other strong hues involved around stories of “war heroes, bank robbers and clandestine lovers”. It is a recipe which drew potent praise upon the band’s debut album, Come Hell or High Water in 2015 and will surely lead to even greater attention and acclaim for Legends Never Die.
With shows with the likes of The Planet Smashers, Scarlett, and Silverstein under their belts and having just shared stages with Headstones and Black Collar Union in the lead up to the EP’s release, The Castor Troys get straight down to business from the first breath of the Andre Kaden Black produced EP.
Blackout Love makes the break from speakers first, hungry riffs and swinging rhythms instantly descending on the senses in an inviting trespass. Vocalist Aaron Walsh soon leaps into the mix, his powerful and magnetic tones as compelling as the sounds roaring around him. Straightaway our appetites were hooked, the steely groove of Matthew Bowker’s bass alone irresistible but with the wiry tendrils springing from the guitar of Chris Ledroit and Bryson Emmons’ swinging beats everything about the punk ‘n’ roll holler hit the spot.
The backing vocals across the band alongside Walsh also consistently make for a thick galvanic incitement and are in full force within the following We Are One, the band’s new single. From the first note they are careering through ears pulling the tracks’ devious hooks and eager exploits along with zeal and in no time, its call to arms character and chant fuelled persuasion, with a whiff of Grumpynators adding to its compelling cry and creative thunder, takes command leading body and emotions to get boisterously involved; that always a sign of prime rib rock ‘n’ roll.
The country rock lined Watch the City Burn is next, its sultry grooves and infectious chorus enough to hook the appetite. There is certainly something familiar to the song though nothing which can be exactly defined but, without hitting the heights of its companions, it leaves ears and satisfaction full to the brim with goodness before the EP’s title track uncages its punk rock rapacity. Though it reminds of UK punk metallers Fuckshovel a touch, the track epitomises the individuality of The Castor Troys sound and its insatiable anthemic howl.
Wreck of The Bastard boasts its claim for best track honours next, its melodic vines carrying something of Skids to them whilst riffs and rhythms nag and harass with a punk infused hunger. Even so their organic irritability is perfectly tempered by the hard rock breeding of the track, the song emerging as another slice of unpredictable but easily accessible rock ‘n’ roll scorched in The Castor Troys individuality.
The release concludes with a great cover of the Tom Petty track, Runnin’ Down A Dream. Certainly the song does not quite live up to the heights of those before it, but with a bouncing body and well-worn vocal chords in its wake gets the job done with a firm enterprising hand.
It is a great and again inescapably rousing moment in a release which The Castor Troys deserve all the attention and praise they get for and with Legends Never Die that should be plenty.
Legends Never Die is out now; available @ https://thecastortroys.bandcamp.com/
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The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.
Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to 