Welcome The Howling Tones – Green & Blues

Welcome The Howling Tones_RingMaster Review

Around two years ago, UK rockers Welcome The Howling Tones offered a thrilling introduction with their first release, a two track single that suggested it was merely the “appetiser for greater incendiary things to come”. It has been a fair time coming but now the Farnborough quartet are poised to release their debut album Green & Blues, and prove all hints and subsequent expectations from that point were right on the money. The eleven track stomp of spicy rock ‘n’ roll is a blaze of that early potential woven into even more crucial and exhilarating blues/stoner bred exploits. Imaginative and impassioned, it is a fiery party for the senses and rebellion for the feet, and proof that Welcome The Howling Tones is indeed an incitement fit to majorly arouse British rock ‘n’ roll.

Welcome The Howling Tones cover_RingMaster ReviewFormed in 2012, the foursome of guitarists Pauly T and Chris Gilday, drummer Lawrence Arnold, and vocalist/bassist Iain Turner quickly drew strong local attention with their tenacious classic rock bred sound infused with flavoursome strains of blues and alternative rock alongside funk infested grooves and more aggressive textures, a blend impressively fuelling the thick persuasion of Green & Blues. Soon spreading their reputation and music further afield, the band released that earlier mentioned double A-sided pairing of Eyes to Hypnotise and Broken Man, earning broader and acclaiming attention in return whilst live they proceeded over time to shared stages with the likes of Godsized, The Jamie Lenman Band, Nick Oliveri, The Icarus Line, Breed 77 and many more, again to regular high praise.

Green & Blues looks to stir up ears and emotions from the off, taking little time to leap into its feistiest persuasion with opener Deep River Blues. From its first breath the guitars are spinning a tasty web of grooves, their strong coaxing aided by the just as potent and impressing vocal tones of Turner. As it slowly broadens its shoulders and expands its landscape, the song is still teasing with its early enticement, its slim but thickly tempting invitation helping to restrain excess energy even as rhythms and a cloudy atmosphere joins the revelry. Classically toned and spiced with a delta blues hue which only intensifies as the song’s drama brews, the thrilling encounter leaves on a rousing finale of stoner sculpted flames, meaty rhythms, and acidic grooving.

It is a mighty start to the album but quickly eclipsed by both Eyes to Hypnotise and Broken Man. The first of the pair virtually drizzles its initial guitar lure over ears, swiftly awakening attention and appetite in turn. It is a gripping start quickly tightening with the addition of a throaty growl from Turner’s bass and the heady swipes of Arnold’s beats, which subsequently become a mosaic of creative animation as the song grows. The grooves and riffs spilling from the fingers and strings of Pauly T and Gilday are toxic in their addictive nature and tempting, inflaming further a track which in a matter of seconds is as irresistible as it is voraciously creative. The instrumental swagger of the song alone enslaves and with the expressive tones of Turner’s voice powerfully riding their compelling enterprise, it leaves a licking of lips and hunger for more which is easily satisfied by its successor, which also from its first moments has ears and pleasure in a spin. From the first clicking of drum sticks to the tangy grooves, sandy vocals to pulsating beats, the encounter is an inescapable trap which welcomingly imposes further with a siren-esque lure of spice fuelled melodies and stoner grooves. With thrilling spurts of discord and noise seeded imagination for good measure, the rousing stomp is the kind of thing lust was invented for.

     There is no let-up of quality and success with Never Said Forever and its drama spilling alternative rock resourcefulness. Amongst many traits which stand out in the band’s sound and songwriting, unpredictability is a potent asset and in full bloom here as the track twists and turns rhythmically and sonically, every move lined with bold adventure and mouth-watering imagination. Carrying a delicious solo for extra flavour, the album’s pinnacle is set down, though rivalled throughout with Burn my Bones a swift contender next. A blues shuffle emerges with Arnold again creating a commanding frame within which a great vocal mix and the most citric flavoured sonic exploit yet on the release plays. It is an enthralling hex swinging and growling with a vintage toning courting modern dark rock prowess.

Honey I Want You NOT Your Money keeps things rocking like a dog in heat, its raucous energy and melodic flames as bracing and incendiary as standing in a lightning storm on a cliff top whilst Fresh Flesh straight after explores a sultry embrace with prowling riffs and thumping rhythms bound in evocative vocals and great sonic tartness. It does not quite have the bite of previous songs but still leaves thoughts and emotions alive especially with its increasingly volatile assets.

The southern rock brewed Dip Me in Mud is another which initially seems to lack the heat of other encounters within the album but over time emerges as a need to return to as often as possible tempting of craft and passion. It is a potency applying to the whole of Green & Blues to be honest and certainly She’s My Kind of Woman with its sweltering climate of blues expression woven in to a nest of grooves recalling the charm of the sixties, mischief of the seventies, and the snarl of the now.

Though not a hell for leather assault on the senses, Green & Blues is a highly charged encounter which never gives the body a rest, its rowdy bouts of balls swinging rock ‘n’ roll through to steamier strolls all providing a constant adrenaline shock to the system. Green God Envy is one of the saltier seductions, it’s swaying body and humid nature temptress like, and just as persuasive and intensive as such a siren before making way for the closing I Can Go Bad. As hoped and expected, the song is a stonking rocker of a proposal to end things up but also as should be assumed, loaded with alternative rock imagination and sparkling creative diversity.

The first Welcome The Howling Tones encounter certainly suggested the band was capable of something as glorious and exciting as Green & Blues but over two years you never know. Well now we do and with one of the most enjoyable propositions anywhere this year, the band confirms themselves as potentially another of those destined to pungently shape the future of the UK rock scene.

Green & Blues is available from on 13th July @ http://welcomethehowlingtones.bandcamp.com/

http://www.welcomethehowlingtones.com/   https://www.facebook.com/WelcometheHowlingTones

RingMaster 08/07/2015

Copyright RingMaster: MyFreeCopyright

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I Plead Irony – This Statement Is False

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As we all know rock ‘n’ roll can be a thing of striking beauty and in the hands of some artists at certain moments in time, something which encroaches on the realms of perfection or as close as it is possible to achieve that ever evading absolute. Such is the case with This Statement Is False, the debut album of UK rockers I Plead Irony. It is a masterpiece of rock music in its numerous vibrant guises, band and release an irresistible temptation which croons, rages, frolics, and rampages within the ear across its startling collection of impressively sculpted contagion posing as songs. It is without doubt one of the most exciting and compelling  albums this year, a scintillating mesh of hard, alternative, and indie rock with many more flavours swirling around its aural album of the year nomination.

The Farnborough based trio of vocalist/bassist Rauf Jordan, guitarist/backing vocalist Paul McDonald, and drummer/backing vocalist Lawrence Arnold, have a craft and maturity which roars within their first album as loudly and vibrantly as the sounds and energy they create. The three between them also create distinct sounds within the bands Ipanema, The Fins, Atomic Garden, and Welcome The Howling Tones, and probably more such the hunger to make potent and empowering sounds which burns within the threesome and fuels this outstanding release. Their debut was mixed by renowned French producer Guillaume Doussaud and takes the listener on an adventure driven ride with lyrical narratives which are as easily accessible for thoughts and emotions to relate to as the sounds wrapping them are for ear and passions. It is an irrepressible slab of fun and anthemic temptation, a ‘greatest hits’ like album in stature and infectiousness marking the entrance of one intensively impressive and potent rock band.

Now Or Never is the first track on the album to get the adrenaline coursing through the veins as its seductive blend of melodic rock and IMG_0361v3feisty intent makes an opening gambit before the passions. Eager guitars stroke the ear initially to awaken attention and once joined by the throaty snarl of the bass and the crisp punches of Arnold, the song provides an honest and striking piece of alternative rock enticement, ridden by the strong vocal tones and delivery of Jordan. It is maybe not the most spectacular start, the album reining in that treat until…well its successor, but it is a pleasing and bracing introduction.

The following Et Tu Brute makes a dramatic entrance, staggering its arrival before the delicious steely bass voice entwines its teasing tones onto the ear drawing everything into a hungry blaze of shadow clad almost sinister sonic declaration from each aspect of the song. With barbs lining the hooks of the song as sirenesque as the melodies and vocal smoothness surround them, there is no possible resistance to a tingle of lust for the striding anthem coated call of the song.

Things only go from strength to strength as both I Can’t Hear You and Honest Villain pull the passions to their feet for an emotive waltz of intensely impacting muscular beauty and punkish devilment respectively. The pair are sensational songs, the first a rising fire of emotional fervour that from an instant smouldering wash accelerates into a burning weave of passion, and the second a sturdy pop punk lilted stomp where the bass finds its most carnivorous throat yet and the guitars hooks that enslave instantly and permanently. One of the major highlights of the album, the song is a perfectly sculpted riot with all the power and bruising charm to secure full ardour in return for its contagion.

The height and strength of each individual sounding song is impossibly impressive, tracks like the virulently catchy [Insert Words Here], the compelling Timewaster (Behind The Glass) with its heart bred emotive heat, and the hot-blooded Faith Or Fear all charging thoughts and emotions with their distinctly unique yet uniformal impassioned grandeur and skilled tempting, whilst amongst them the superb Yourself Defence is the devil in disguise such its epidemically thrilling sonic bait and formidable rhythmic slavery. Riling the hungry ear instantly with the rapacious jaw of bass snarling ruggedly at its victim whilst the heavyweight jabs of Arnold intimidate with every jackhammer swipe, the track is a mercilessly enticing spike of brilliance driven deeper into the lustful affections by the emerging sonic swarm of toxic grooves and wonderfully niggling riffs. It is a brilliant mix of noise and raw melodic rock honed into a hornet strong sting of scintillating provocation and excellence, best track on the album and one of the most aggressively capturing suasions anywhere this year.

The magnetic Wrecking Ball and the voracious Sick complete the release, the final song another intensely magnificent chest beating clamour which simply leads to unbridled satisfaction and impatient appetite for more, bass and drums a threatening beast combining with the sweltering declaration of guitar and vocals for a lasting scald of invention and stirring craft.

This Statement Is False is exceptional, easily one of the most breath-taking and rousing releases found in a long time. Such its ravenous power and exhilarating imagination, it would be no surprise if under the term Rock ‘n’ roll there was a picture of I Plead Irony. Though they have a sound all of their own, in intent and ability to create infective triumphs the band will feed the hearts of fans bands such as Billy Talent, Reuben, Lostprophets and the like with ease.

http://www.ipleadirony.com

10/10

RingMaster 08/08/2013

Copyright RingMaster: MyFreeCopyright

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Welcome The Howling Tones – Eyes To Hypnotise / Broken Man

Welcome the Howling Tones

Make way for another band, on the evidence of their debut single, that will be lighting up British rock and stretching its boundaries and appeal to new irresistible plateaus in the future. The band is Welcome The Howling Tones, a quartet from Farnborough, who employ contagious riffs, heavily plated grooves, and blues lined soul bred enterprise to stoke up a distinctive fire which smoulders and burns with insatiable hunger. The double A-sided Eyes To Hypnotise / Broken Man is their first introduction to the nation and world, and an entrance which within moments of its tempting tantalising of the ear and emotions you know it is just the appetiser for greater incendiary things to come…no pressure lads.

It seems the seeds of the band started with rhythm guitarist Pauly T who regularly jammed with drummer Lawrence Arnold and numerous local musicians including bassist Chris Gilday. One session led to Gilday trying out guitar who consequently was persuaded to take that role in the emerging band such his prowess. This led to a search for a replacement four string exponent who arrived in the shape of bassist/vocalist Iain “Cat Scratch” Turner. Pulling on a passion for blues, rock, metal, funk and much more, Welcome the Howling Tones stepped forth fully last year and have not looked back since one suspects. Just completing an April tour with Godsized on top of their own shows, the band has earned strong and eager whispers which surely will turn to loud acclaim as the recently released single reaches more and more willing ears.

     Eyes to Hypnotise sizes up the ear with a distant guitar riff before leaping into clarity framed by drum slaps and bass growls. It is a1484196761_2the beginning of a compelling and scintillating cruise of voracious energy and thrilling enterprise. The bass and drums are soon commanding the ears, taking them and the senses on a ride of formidable and slightly intimidating mastery whilst laying the canvas for the guitars to imprint their colour rich sonic endeavour and imagination. With vocals which dance across the track with swagger and vibrant expression, and an irresistible groove which ebbs and flows but never leaves the passions alone to take a breath, the song is as virulent as it is impressively crafted and layered with melodic and inventive flames. A mix of Red Fang, Eagles Of Death Metal, and Wildhearts with a breath of classic metal, it is a sizzling voyage of excellence.

Companion song Broken Man starts off with the best moment on a nothing but impressive release, its blues/noise combo rife with discord and blistering sonic temptation, and the tap to lustful ardour. Into its stride the song coaxes thoughts and emotions with a weave of stoner and desert rock that erupts into spires of intensity and captivating imagination. It is pure seduction which licks at the heart and will certainly incite the most instinctive enamour of all rock fans. Again riffs and the excellent rhythmic enticement provided by Turner and Arnold sculpt the perfect landscape for the vocals and ever evolving melodies plus varied guitar blazes to invent further vibrant voices.

Both tracks are nothing less than blazing triumphs and the start of a very fruitful and rewarding future for Welcome The Howling Tones and thus us. Do not wait though, make this single the time to join their certain rise, you will not regret it.

https://www.facebook.com/WelcometheHowlingTones

10/10

RingMaster 06/06/2013

 

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