Pearl Handled Revolver – If The Devil Cast His Net

Pearl Handled Revolver _RingMasterReview

This month British rockers Pearl Handled Revolver release their third album, a collection of dark rock ‘n’ roll encounters which almost deviously seduce ears as they work their way into the psyche. The band spins tales of mystery and intrigue graced shadows, creative episodes shaped and coloured by the magnetic hues of blues and psych rock, though that is simplifying the enthralling tapestries of sound and imagination making up If The Devil Cast His Net.

Since forming, Pearl Handled Revolver has released four EPs and two full length albums, all between 2010 and 2013, and shared stages on tour at shows with the likes of The Black Crowes, Stray, The Blockheads, FM, The Quireboys, Black Star Riders, Toots and the Maytalls, Donovan, and Focus along the way. It is fair to say that the quartet has not been lost for acclaim and attention but equally with If The Devil Cast His Net, they have breached a new plateau on creativity and sound which you can only see being rewarded by a similar increase in attention and reward.

With the gravelly tones of Lee Vernon fronting the house of blues mystery, a Tom Waits like comparison is easy to offer but equally the band’s sound has tantalising hues reminding of The Doors, Nick Cave, and Japanese Fighting Fish to its magnetic body and invention. It is a rich temptation working away at seducing ears from the start of If The Devil Cast His Net, opener Help Me Down From The Trees gripping the imagination within seconds as the pulsating lure of Simon Rinaldo’s peddle bass is immersed in the mystique soaked suggestiveness of his keys. It is a quite mesmeric coaxing driven by the great nagging beats of Chris Thatcher and only increasing in temptation as the scythes of guitarist Andy Paris seem to spark a new weave of organ cast enterprise. Dark and brooding yet simultaneously warm and celebratory, the song beguiles as it intrigues, Vernon’s dusty tones opening up the narrative for greater captivating drama.  It is mesmeric stuff, the bass a perpetually enjoyable nagging and the spicy lilt of the keys a dark temptation within a fiery dance of sound and creative theatre.

Pearl Handled Revolver Front Cover_RingMasterReviewThe sensational start is followed by the more straight forward rock ‘n’ roll of Don’t Throw It Away. A cleaner tone to the vocals is matched by a lighter spring in the step and voice of the psychedelia lined sounds around them. A sixties/seventies mixed scent potently adds to the inviting lure of the song and though it cannot live up to its brilliant predecessor, it has ears and body rocking before they are faced with the tantalising seduction of Someone Like You. It’s surf rock spiced melodies and ambience is a swift bewitchment, as too the rolling rhythmic bait of Thatcher; all caressing  and coaxing the senses as Vernon’s sandy tones paint an evocative picture in word and tone. It is a hex of a song, a spellbinding incitement of appetite and imagination to bind listener and release closer together.

The rhythmic design of the track is emulated in the album’s title track, though around it the guitar and keys weave their own distinct episode of encroaching shadows and sultry flavours around the devil’s lyrical play. A compelling persuasion, it is matched in success by the melancholic hug of Walk These Streets. Reflective and emotive, the song is a smouldering serenade painted by the cleaner side of Vernon’s voice, provocative strings, and the sombre yet graceful caress of keys. As expected, shadows court this cast of emotive protagonists, bass and drums guiding their intervention as much as the sorrowful scent of voice and word.

Current single, Absinthe In Adelaide stirs air and spirit up again with its almost rapacious growl of voice and steely grooves whilst Loverman is a primal shuffle of blues courted rock ‘n’ roll; both tracks basking in the unique psych and classic rock imagination of keys and guitar. The second of the pair is especially irresistible; a heady, almost muggy trip into the dark psychedelic backwaters of mysterious deeds and lives. We have not really touched on the cinematic side of the album, each song tempting the imagination to conjure their own at times almost pagan-esque adventures to accompany the rich tales of the band with this proposition a prime example.

The album closes with Into The Blue, a groove entangled romp luring the listener into a salty tango of organ spun melodies and wonderfully niggly hooks, all driven by the ever compelling rhythmic persuasion of Thatcher and Rinaldo. It is an impossible to resist flirtation bringing the album to a riveting anthemic conclusion.

Some tracks shine over others within If The Devil Cast His Net, but from start to finish it feeds the spirit and ignites a hungry appetite for more; almost as if the Devil had a hand it.

If The Devil Cast His Net is released April 29th through all platforms.

http://www.pearlhandledrevolver.co.uk/   https://www.facebook.com/pearlhandledrevolver/   https://twitter.com/PearlHandledRev

Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

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Heartbreak Remedy – Midnight Groove

Heartbreak Remedy Promo _RingMaster ReviewShot

Embracing a host of flavoursome flavours in their energy loaded sound, UK quartet Heartbreak Remedy create rock ‘n’ roll which just rolls with the instincts to party. The weight of proof comes in their self-released debut album Midnight Groove, a collection of tracks which may have found variable success with personal tastes at times but all left an appetite for more of their feisty enterprise.

Hailing from Cumbria, Heartbreak Remedy emerged in 2013 with the intent of merging LA’s classic rock sound with seventies bred grooves. The band’s founders, vocalist/bassist Matty Penn and drummer Stephen Jackson soon linked up with guitarists Callum Glynn and Luke Blair, that union the springboard for Heartbreak Remedy and a live presence which began with a debut show at Trillians in Newcastle playing alongside Enuff Z’nuff. 2014 saw the band playing across the UK, their own potent gigs beside support spots with the likes of The Quireboys, The Electric Boys, Kory Clarke/Warrior Soul, The Burning Crows, Bad Touch, Falling Red, and Knock Out Kaine. A full UK tour with The Last Vegas only added to their emerging presence and reputation whilst with two well-received EPs also under their belts, the band more recently has shared stages with Hardcore Superstar, Keri Kelli, and Brad Gillis, and played the Hard Rock Hell Road Trip in Ibiza. Now with its national release, it is the turn of Midnight Groove to awaken new ears.

Heartbreak Remedy seemingly gets referenced to the likes of Mötley Crüe, Lynyrd Skynyrd, and Deep Purple most often, something relatively understandable as the opening track of Midnight Groove erupts in ears. There is certainly something familiar to their sound and seemingly no real intent to be dramatically adventurous but for heart bred rock ‘n’ roll there is little to dismiss the album over or first song Convoy. As soon as a single groove entangles ears attention is awake and seriously intrigued, especially once increasingly anthemic rhythms pave the way for a vocal bellow from Penn and the riff driven stroll it sparks. The beats of Jackson become even crispier bait as the bass of Penn offers a great grumbling lure whilst with acidic hooks and sparkling guitar endeavour wrapped in blues rock hues dancing in ears, the track gets more adventurous and compelling with every passing minute.

Heartbreak Remedy Cover Artwork_RingMaster Review  The following Already Gone is a slightly mellower proposition energy wise and in tone, and maybe because of this lacks the same spark as its predecessor, though the guitars again potently entice with their melodic narrative before Cocked and Loaded from a great devilish bassline emerges as another fiery slice of blues/hard rock. Vocally Penn is a touch wayward at times but equally more expressive as the track dangles spicy grooves and magnetic bait from the bass in ears.

Things really pick up with Tell Me Why, the track a sonic floozy of southern grooves and seventies seeded funk ‘n’ roll. Rhythms add a dark edge to the encounter, the muscular tones of the bass aligning to jabbing swipes from Jackson as the guitars of Glynn and Blair weave a contagious temptation of sultry grooves and riffs. Quickly establishing itself as a major highlight of the album, it seems to ignite something in the release as the following pair of All You’ll Ever Be, with its tangy lining to a nest of writhing grooves, and the pulsating Girl At The Bar keep the new plateau of good times rolling. Both tracks enjoyably explore contrasts and essences of discord, with the latter also slipping into something more eighties glam rock coloured to pleasing effect. The fact that there is a constant raw almost punkish surface and inner flame to the band’s sound only adds to the potency of indeed all three tracks and those to follow.

The skittish beats and southern seducing of Heartbreaker provides feet and imagination with the base for a good time which the southern/seventies hard rock textures of Southside recruit in its own dusty stroll before Rose clams things down with its soothing melodic croon. Guitars cradle ears with their tantalising melodies and evocative reflection whilst Penn almost mesmerises with his emotive croon. The song reveals more of the depth and diversity in the band’s sound, than arguably all the previous songs added together, simultaneously adding another high point to the release.

Next up Perfect Crime reveals more of the punk essence which lies within the band’s sound, fusing it with a dirtier hard rock proposal before its successor Thrill Me. Kill Me musically snarls around more restrained but nicely diverse vocals and Ice Queen sizzles in a bluesy climate, its guitars a sonically bubbling and hazy protagonist around funky rhythms and plainer vocals. It is a slim yet rich fusion of contrasts which works a treat though is over shadowed by the album’s closing triumph it is fair to say.

Like Rose earlier, Far Away is a captivating ballad with Penn really coming into his own as acoustic guitars embrace every syllable and escape of emotion. An increasingly impressive treat, it is a fine end to a rather enjoyable proposition from Heartbreak Remedy. Midnight Groove suggests at times that maybe the band’s sound is more potential than realisation right now, but to that offers the promise and excitement of bigger and bolder things ahead.

Midnight Groove is released on Friday 11th September through all stores.

Pete Ringmaster 10/09/2015

Smash Fashion: Blame It On The Brandy/Marionette

Whatever the shade or flavour which sparks up our individual fires, we all love a bit of music nostalgia. Arguably a major chunk of current music harkens back to earlier times in some way, whether a band inspired by the first days of death metal, another by the psychedelic sounds of the sixties or one investigating the post punk discord of the eighties. There are others Like US rockers Smash Fashion who openly and eagerly attempt to re-ignite and re-energise a style which gave breath to their love of music.

LA based quartet Smash Fashion is, in their description, a power pop rock n roll band, in our description the band is quite simply rock music at its best, honest, enthused, and here to aurally molest with the wink of a devil. The band show with a passion their distinctive dandy rock in their current single Blame It On The Brandy/Marionette, two songs which pull you back to the seventies with a fine mix of power pop, hard rock, and a spattering of glam. The tracks play like a fusion of The Motors, Sweet, Cheap Trick and most of all Thin Lizzy brought up to date and given a fresh heart. The single follows two acclaimed albums, A Gentlemens Guide to Sophisticated Savagery of 2006 and Don’t Pet The Sweaty Things which came out three years later, all through Electricpudding Recordings.

The band is fronted by the iconic Roger Deering, a man with a swagger in attitude and songwriting not to mention vocally. With him the band has a line-up which could almost be called a super group. The guitars are brought by ex glam/punk band Rock City Angels member Lloyd Stuart Casson, whilst on bass there is Nigel Mogg, ex member of British hard rock band The Quireboys, known in the US as London Quireboys. Completing the line-up is drummer Repo (Reijo Kauppila), once of Finnish glam rock legends, Smack. The four come together to create sounds which resurrect feelings and thoughts from earlier times whilst turning them into a thrilling proposition with its place firmly in the now, the result a evocative feast for the senses.

Blame It On The Brandy is first up and immediately has the senses at attention with the thumping and anthemic rhythms of Repo pounding at their door. The track then settles in a keen yet reserved brew of infectious hooks, stirring riffs and pulsating rhythms. The vocals too have a welcoming draw which invites one to unify in voice with the chorus whilst group harmonies further light the air. The track is pure rock n roll tinged with contagious seventies glam flourishes especially mid way in, and a closing crescendo of burning guitar play which is hard rock at its best. The song is an evolving pleasure starting with an American rock introduction moving through that a glam rock teasing and ending with a guitar climax which would fit smoothly into any Thin Lizzy set. It is a seamless flow which takes the infectiousness of the song deeper until it is a raging presence in the head long after the last note has drifted away.

Marionette is a dirtier and feistier track, the band adding a punk rub to their sound. Though the song ruffles the ear more than its companion it again is instantly engaging with immense satisfaction left in its wake. The rawer air to the song brings a heavier and more mischievous adventure to the ear, its attitude combative yet respectful. The song, a reworking of a track on Don’t Pet The Sweaty Things, has glances of The Damned and Dead Boys to it and having checked out the original for comparison, the band definitely bring a strength and roundness maybe lacking in the original to the song for a fuller impact. From the rhythms and hypnotic basslines to the expressive vocals and searing guitar invention, the song hits the spot dead centre and arguably is the better of the two tracks.

If Smash Fashion is a band which has eluded your ears then there is a no better entrance into their naughty, hungry, and exciting world than through Blame It On The Brandy/Marionette. They are a long overdue treat no one should be denied.

http://www.smashfashionmusic.com/

RingMaster 18/08/2012

Copyright RingMaster: MyFreeCopyright

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Those Dirty Words: Sitting Pretty

Last year saw the promising Sitting Pretty EP from UK rock band Those Dirty Words get more than a few people excited with its quartet of eagerly driven rock n roll. It marked the band as one to not only watch but enjoy immediately with their straight forward and honest rock music. If you missed it do not panic as the band has released their debut album under the same name. It consists of the four songs which made up the EP as well as four new songs to further enrich the standing of the band. It is a release which leaves one enthused with its almost live feel and as a band with a great reputation for their shows and hardworking ethic that is a sure plus.

The quintet from Clitheroe, Lancashire since forming in 2010 have unmistakably honed their craft and style to become one of the most accomplished musicians and bands in the UK even if acclaim as yet is still more reserved than they deserve. The sharing of stages alongside the likes of The Quireboys, Waltari, and Jettblack as well as their own gigs and tours has as mentioned given them a great stock throughout the UK and Europe so with this great album and luck now could be the moment they make the next step forward.

The album opens with Devil’s Disguise, an eager and rippling feast of carefully carved grooves and melodic enterprise cruising along strong muscular riffs. The song whilst not lighting the same fierce fires as later tracks is a more than powerful start and showcases the impressive talents of guitarists Ricky Blenk and Mark Duckworth, their play expressive and at times startling. Vocalist Paul Tierney too stands out but then he does on all songs, his vocals and delivery an impressive weapon to further drive home the excellent songwriting and sounds.

The following Overdrive was the standout songs on the original EP and has lost none of its might though is challenged for top honours more consistently on the album. With an openly wanton groove to tease and test ones resistance the song enflames the senses with a dirty anthemic rock n roll energy driven by the excellent drums of Tom Rice. A track to rile up any barroom or stage the song is a classic, maybe not overly original but as honest and deeply pleasing as the day is long.

The slow burning Shadows brings forward a more reserved and impassioned side of the song writing to great effect, the song slowly warming the ear with passionate strokes from guitar and vocals whilst the bass of Jimmy Swan add a moodiness to enhance the emotive atmosphere brewing within the song. As the track slowly evolves it mesmerises the ear to then wake it up with a fiery blaze of incendiary melodic interplay and blistered intensity before intermittently immersing within its subdued breath again. It is a great song and something different to expand not only the release but the craft and prowess of the band.

The brilliant Stranglehold is a rampaging mix of Motorhead and Thin Lizzy, a track which fires up the pulse rate and heart to leave one wanting more of the same which the following Crash & Burn is more than happy to provide. With a bluesy swagger the track stomps with a reserved yet heavy presence to again ignite only the most heated of responses. These two songs alone show that though the band may not be too intent on creating new pastures for the genre they use existing tools and ideas to inspire the strongest and most compulsive rock sounds.

    Darling…You MUST Behave? and Hate Me continue the great ride. The first has a catchy heart and infectious hook which is impossible to resist whilst the second with Swan bringing an extra predatory presence is an agreeably dirtier weave of darker shadows and intent. Once more the guitar play is outstanding without being indulgent and adds a sure richness to the track.

The closer What You Do like the opener did not exactly leave the strongest impression compared to the other songs first time around and nothing has changed here. The song is strong and easily digestible but pales against what are now even more great tunes to grace its side.

Downloadable for a name your own price from http://thosedirtywords.bandcamp.com/ Sitting Pretty is a must have for all hard rock/rock fans and Those Dirty Words a band poised to hit new heights.

RingMaster 25/07/2012

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