Praise and enjoyment came rather easily a couple of years back for the Very Cool and Groovy EP from UK rockers Puppet Kings and both have bubbled up just as keenly again as the duo release its successor in the shape of The Mountain. Offering four tracks revelling in the hard/classic rock bred, broadly flavoured sound which has already marked the band out, the new EP equally hit the spot very nicely.
Originally formed in Brighton but Clapham based for the past few years, Puppet Kings consists of Tomas Cochrane (guitars, bass and vocals) and Harry Lehane (drums and vocals). It is a pairing which swiftly sparked and has increasingly earned a potent reputation and eager following through their rousing live presence and just as stirring releases starting with debut EP Timebomb of 2015 and Very Cool and Groovy two years later. With each release, the band’s sound has grown in adventurous maturity and bolder imagination; a blossoming still on going with The Mountain.
The band’s sound is a mix of the familiar and individually fresh which has already produced songs which boisterously leap from the speakers with open dexterity and instinctive energy. The last EP offered up tracks which grabbed appetite and memory with ease but none as masterfully and tenaciously as The Mountain opener, The Message. The track teased and tempted the passions from its first breath, a throbbing bassline the main culprit but soon joined by the equally captivating throes of guitar and vocals alongside the skittish beats of Lehane. Their lure only escalates by note and riff, exploding in a manipulative roar within a chorus which just commands participation. Everything about the track is a rousing incitement, from its devious stroll and virulent bounce to the vocal prowess and lead of both men, the song pure rock ‘n’ roll motivation.
Such its mighty roar and success, the following three tracks sit in its shadow but fair to say there is little about each which fails to bring added pleasure to the EP. Mountain Song is the following encounter, a blues tinged groove emerging from sonic air to spark another body trespassing, keenly infectious canter. Again the vocals play a big part in any tempting but similarly guitar and rhythms imaginatively shape a song which settles rather enjoyably in the ears.
Age Of Austerity is next up, a coaxing melodic tendril luring the listener into a shadowy but just as inviting embrace of inventive infectiousness. At various times, Puppet Kings has been compared to bands such as Foo Fighters, Guns N Roses, Alice in Chains, and Royal Blood some of which echo the spicing within another compelling track but as it and the EP overall confirms, the band’s sound is becoming more individual to the pairing by the release.
Fellow UK duo, The Sea does come to mind at times across The Mountain, they another outfit unleashing honest and passionate rock ‘n’ roll and the closing roar of Bag Of Bones epitomises the power of those traits. Slowly but firmly rising to its feet with melodic and emotive intensity wrapped in blues rock nurtured grooves, that passion fuels every syllable and seductive fiery chord which erupts, charging up the track’s animated fervour and fire.
It is a fine end to another inescapably enjoyable outing with Puppet Kings, a band which just gets more compelling by the record.
The Mountain is out now.
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Pete RingMaster 06/03/2019
Copyright RingMaster: MyFreeCopyright
The following Thief is soon into its carnal swing, its unapologetically raw air and flesh instantly magnetic and bawling away with proto punk causticity. As with the first, there is an inherent catchiness which had the body bouncing even when tempered by the song’s feral garage rock belligerence. Abrasive and bracing, the track just hit the spot as too unerringly did next up Motley. Like a mix of a proto punk Queens Of the Stone Age meets the hungry rock ‘n’ roll of The Sea, the song is another predatory trespass which simply aroused body and spirit.
The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.
The new single opens up the album and swiftly has ears enticed and gripped, Silhouettes swinging in with energetic rhythms and jangly guitar within a warm atmosphere led by the potent vocals. There is an instant familiarity to the sound of the song, nothing specific but recognisable hues welcoming an appetite for vibrant pop rock. It also comes with a thick drama and magnetic virulence, the song bridging melodic intimacy and rousing incitements with a stirring quality that soaks the album throughout as shown by the track’s successor Second Guessing Games. Again hearty and gentle caresses with a catchy intent lead into boisterous exploits with matching infectiousness, their persuasions alternating and entwining across the dynamic swing of the equally impressing track.
It is fair to say that the British alternative rock quartet has been garnering hefty praise in reviews and attention since the release of their debut EP, Thankyou & Goodnight late 2012, its track Chew Me Up, Spit Me Out, selected as one of BBC Introducing’s top 10 tracks of 2013. Its success helped lead New York Tourists to support slots for the likes of The Subways, The View, The Sunshine Underground, and Buzzcocks whilst also headlining the Alternative Stage at Blackburn Festival. Second EP Dead Man’s Leather was unveiled in 2014 via London based label Kittiwake Records, and more acclaim and attention flew their way as well as opportunities to play with band such as We Are Scientists, The Cribs, and Shed 7 soon after. Having begun recording their successful Kickstarter funded debut album earlier this year and playing Hogton Tower in Preston as the main support to Status Quo in front of 12,000 people, the foursome of vocalist/guitarist Gary Taylor, guitarist Carl Rutherford, bassist Adrian Mckenzie, and drummer Joe Mooney have had an exciting year, one only continuing with Call, the band whetting and inflaming the appetite for their album at the same time.
Stooges, all essences which make strong whispers across the EP though the band undoubtedly trigger their own unique presence through it. It also sees the band stripping down their sound to one guitar, a set of drums, and impassioned vocal squalls, the result a fire as raucous and commanding as anything on their previous releases with their more expansive armoury, but with an intensity and contagion which with ease declares the release as the best thing from The Sea yet.