Sly Palms – Self Titled EP

Jul11

As they introduced themselves to us with their debut release, we introduce you to the individual Weirdo Wonk sounds of Sly Palms and one magnetically enjoyable self-titled debut EP. From the ever giving Bristol music scene, the British quintet brew up their own individual fusion of garage, psych, and blues rock described as “Nick Cave meets Go Go Bordello through the Doors.” All are references which add up as you listen to the five tracks making up their first release but also imagine the involvement of essences from My Baby, 13th Floor Elevators, and Horse Party and you have a fuller if still not quite accurate inkling to the band’s imaginative adventure.

Recorded at Malthouse Studios with Dom Mitchinson (Spectres, Oliver Wilde), the EP quickly has ears enticed with Bottle Of Sin, the new single from Sly Palms. Immediately the opener teases and tempts with its spicy percussive grooving and new wave like movement, early XTC coming to mind in the song’s unpredictable quirkiness before things settle a touch around the vocal lure of keyboardist Louise Schwarz. Poking beats and jabbing swings collude with her fine vocals, that eighties hue merging with a brewing blues revelry as the song grows even more flirtatious and irresistible with each passing second. Additional discord only adds to the pleasure, the song mere notes away from chaos at times and only blossoming with boldness because of it.

Things are a touch more reserved from hereon in across the EP but no less enjoyable as the swarthy rock ‘n’ roll of Spanish Song proves. With sultry blues melodies uniting with hazy psych nurtured sighs, the song has the same mischievous nature as its predecessor but strolls along with a less agitated gait. Lead vocals this time are taken by guitarist Ian Cross, or it could be fellow string picker Alex Davies or indeed drummer Jake Cheesman; whoever the supplier their grainy tone only adds to the Tom Waits spiced proposal swiftly tempting and pleasing ears. The warm keys and floating harmonies of Schwarz similarly enthral and add to a creative drama which is no less potent within next up River Rhein. With a rockabilly/country rock coaxing to its catchy shuffle, the song has the body bouncing, gently at first but with increasing vigour as crescendos of rock ‘n’ roll erupt across its increasingly heated body.

The bass of Jaime Botella is a perpetually appetising throb within all tracks, adding an instinctive pulse and often growl which is especially alluring within the more unkempt climate of Slaughterhouse. The track is superb, challenging the first for best track honours with its rowdy rock ‘n’ roll and expectation defeating devilment of sound and imagination.

The more lo-fi presence and touch of Wall brings things to a potent close, the song a dance of harmonies and rattling rhythms as the band weaves another slice of off kilter sound as blues, garage, and psych rock as it is simply ear exciting rock ‘n’ roll.

With potential as vocal in every song as existing imagination and adventure, Sly Palms have made a powerfully persuasive introduction to themselves with their debut. Already they have nurtured something unique about themselves and intriguingly we, like they, have only just scratched the surface.

The Sly Palms EP is released July 14^th.

14/07/17 – E.P. Launch Party @ The Old England

10/08/17 – The Louisiana, Bristol

24/11/17 – St. James’ Wine Vaults, Bath

https://www.facebook.com/SlyPalms/

Pete RingMaster 11/07/2017

Nasher – 432-1: Open The Vein

Jul5

Taking the listener in a melodic hug whilst opening windows and spotlights upon lives, intimate and more politically social, the new album from Nasher is nothing less than captivation. 432-1: Open The Vein shares memories and reflections like the sun provides warmth and clarity through songs as compelling in their writing as in the melodies and harmonies bringing them to life. It is blessed with truly bewitching and memorable moments within a body which from start to finish has ears hungry for more as the imagination weaves away.

Nasher is Brian Nash, the guitarist for Frankie Goes to Hollywood. Before his part in their success, he had already linked up with drummer Peter Gill and vocalist Holly Johnson in Sons and Egypt, forming the outfit with the duo after playing in several other bands with varying styles. Sons and Egypt came to an end in 1980 when his colleagues left to join a new band in the shape of Frankie Goes to Hollywood. The departure of Gerard O’Toole from that band two years later saw Nash link up with his former band mates again, the band going on to have international triumphs of course with the likes of Relax and Two Tribes. After their demise in 1987 Nash collaborated with singer Grant Boult as Low and later again in Dr. Jolly’s Salvation Circus. Two solo albums in Ripe and Le Grande Fromage appeared in 1999 and 2002 respectively, Nash also creating his own Internet-based label, Babylon Pink, around that time upon which 432-1: Open The Vein now appears.

It opens up with Salt in Our Veins and the sound of water falling and lapping from presumably the Mersey of his hometown as its specific noises raise their heads. From within their evocative textures, Nash’s acoustic guitar strokes the senses, his following vocals similarly coaxing attention with their harmonic warmth. The emotional suggestion and plaintive insight of his words are just as magnetic, Nash seemingly sharing light on his move to the capitol and the retaining by Liverpool of his heart. The wonderful song is a sign of things to come, of the drama lining every note and syllable, of the infectiousness fuelling every ballad and livelier engagement with ears and thoughts.

The fine start continues through the folkish stroll of Still Can’t Find the One, a song embracing eighties pop hues more akin to the likes of Blancmange and Heaven 17 than his Frankie exploits, and the observational melancholic theatre of I Spy. Not for the last time upon the album, there is something of XTC to the songwriting or more the Colin Moulding side of the band, the song a pastoral reflection in sound and insight in word of modern life. Both tracks are instinctive magnetism, warm yet shadowy caresses matched in strength and beguilement by the sunny disposition and emotional sentiment of Whole.

Through the harmonic questioning of one of the bitter protagonists of today in Katies and the boisterous rock ‘n’ roll of Prostitutes and Cocaine, the album only adds to its riveting and skilled pleasuring of ears while Just Sounds Like Noise engagingly repeats words that people of a certain age share about Saturday afternoon and evening TV. It was better in our day is a staple claim of every generation and forever will be though not always with the charm given it by Nash.

The mellow hazed Pebbles to Dust seduces next; the increasingly bewitching song almost somnambulistic in gait and air as it melancholically smooches with the senses. Its darkly lit atmosphere flows into the equally sombre glide of Where Will the Kids Live? through the lively antics of youth. The track is gorgeous, once more drama seeping into every melodic sparkle and haunted glaze of sound and emotive shadow.

Both Nothing Homes and XO simply captivate; melodies and harmonic sighs to the fore with the second of the two slipping into an animated skip for its pop catchy incitement of feet and emotions. With a whiff of Pete Wylie to its contagious enterprise, the track has the listener physically and emotionally bouncing before Yesterday’s News closes things up with its Jam lit croon. More of a grower compare to the instant persuasion of earlier tracks, it emerges as a just as momentous and stirring proposition within 432-1: Open The Vein, an album which leaves the heart even more lustfully in love with music, especially if you hang on for its hidden Bowie inspired finale.

432-1: Open The Vein is out now through Babylon Pink Recordings.

https://www.facebook.com/Nasher-105270312871476/

Pete RingMaster 05/07/2017

Hey Colossus – The Guillotine

Jun2

As proven time and time again with UK outfit Hey Colossus, the only thing expectations can assume is that any encounter with them will be thickly compelling and singularly distinct in theirs and the surrounding musical landscape. And so it is with new album The Guillotine, a release taking the sextet’s sound to a new terrain of adventure and unpredictability whilst bewitching body and imagination like never before.

Formed in 2013, Hey Colossus have persistently nurtured and evolved their sound and its exploration; from the earlier lo-fi sourced, psychedelic and heavy noise rock bred triumphs of Radio Static High and In Black And Gold, the two albums which really drew thick attention the way of the band through the more hi-fi live causticity of Cuckoo Live Life Like Cuckoo, nothing has ever stood still or relaxed into one realm of imagination. Within those albums, there was an open quest to push things further and further. The Guillotine is no different, a creative emprise of brooding tones and dark atmospheres woven into trespasses of the imagination and physical arousing of body and spirit. Using hindsight, there has been hints to this new vein of fertility within previous releases, especially those just mentioned but glimpses of something startling and vigorously thrilling which trespasses us now.

The Guillotine sees the controlled and new mesmeric tones of Paul Sykes to the fore, his presence almost like a storyteller and as boldly alluring as the sounds and voices found within the collective ingenuity of Rhys Llewellyn, Roo Farthing, Robert Davis, Joe Thompson, and Timothy Farthing alongside. The album begins with the tantalising dark psych rock of Honest To God, a track which is pure alchemy. Its initial wiry psych shimmer breeds a post punk lined meander as a slowly strolling guitar and bass grooves saunter across the awakening web of temptation. Every aspect is a rich lure, accentuated by Sykes’ gentle but dark vocal swing. Like a nostalgia kissed mix of Spizz Energi, Zanti Misfitz, and The Three Johns, the song teases the psyche with its seductive fingers while brewing up a raw energy which erupts with scuzzy zeal. Revolving through each stage of its perpetual metamorphosis, the song is pure manna for noise/post/psych punk hungry ears and appetite.

The exceptional start is swiftly followed by the fuzzier venture of Back In The Room, a track rolling on hypnotic rhythms and fizzing upon the senses with its three guitar pronged shuffle. The dual attack of vocals is just as magnetic, a collusion resourcefully driving the volatile proposition with a hint of The Birthday Party adding to its arousing shadows and increasingly rabid head. The song is part nagging dirge and part raw but multi-textured seduction united in a thorough captivation which eventually makes way for the gentler climate of Calenture Boy which smuggles its increasing delirium through ears while a smouldering climate is equally blessed with a sonic psychosis which sizzles with increasing heat second by second.

Its raw croon is followed by the mercurial enterprise of Experts Toll where beats dance with flirtatious trespass as the bass throws its own captivating dark steps into a jungle of craft and skittish imagination. The song’s relatively calm opening and agitated dexterity is subsequently given to more forceful inclinations, the track twisting into a heavily stomping, dirtily intensive brawl of enticing sound cored again by those unruffled vocals before Potions casts its own somnolent charms around ears like a melodic narcotic shaped with stout rhythms and veined with willowy psychedelic tendrils. As its creative elixir thickens so does its intensity but moving through the stages of evocative density with a calm and fluid ingenuity.

Though every track within The Guillotine had us locked into its snare, certain moments simply steal the passions; Englishman the stealthiest, glorious one of all. A stroll of senses clipping beats, broody basslines, and teasing riffs, the song simply bewitches. Scything melodies and infection loaded vocals only add to the irresistible bait enslaving ears and imagination which though not necessarily in matching sound, creates a tapestry rich in the attributes of XTC, Melvins, Talking Heads, and Fugazi; all twisted and reenergised by the unique imagination of Hey Colossus for total bliss.

The album concludes with firstly In A Collision, another brooding trap of sound and creative cunning as shadowy as it is instinctively catchy, even when its once darkly mellow body and atmosphere ignites with dirty raptorial virility. Raw beauty from start to finish, the song is succeeded by the album’s title track, an even more predatory proposal drenched in melancholy, antipathy, and sonic mesmerism with the bass at its earthiest, carnivorous best. With the guitars as potent in elegance or being abrasively bracing, the song is a final captivation to get hooked on and lost in.

The Guillotine is simply magnificent, leaping to the frontline of favourite releases of the year so far with its manipulation of body and imagination while proving Hey Colossus as one of, if not the, most exciting thing in the weaving of noise around.

The Guillotine is out June 2^nd through Rocket Recordings and available @ https://heycolossus.bandcamp.com/album/the-guillotine

https://www.facebook.com/heycolossus/ https://heycolossusband.wordpress.com/ https://twitter.com/HeyColossus

Pete RingMaster 02/06/2017

Bottle Next – Bad Horses

Jun1

Bottle Next is a hard folk band from the French music scene. It is a tag which is maybe unique to the band not having come across it before but only partially touches on their sound. Weaving seriously engaging songs from the imaginative threads of everything from indie and pop, through progressive blues and hard rock to folk and indeed any mischievous form of rock ‘n’ roll you wish to suggest, Bottle Next make for a tantalising proposition which within debut album, Bad Horses, persistently encroaches upon rich fascination and aural seduction.

There is a real sense of fun within and with the duo of guitarist/vocalist/saxophonist Pierre Rettien and drummer/vocalist Martin Ecuer; a feistiness and devilment which openly fuels their music. From the release of their first single in 2011, the pair has drawn increasing attention and support with a pair of EPs surrounded by other individual tracks and videos as well as an energetic live presence which has seen them play across France and further into Europe; sharing stages with the likes of Triggerfingers, Lofofora, Zebda, Mass Hysteria, Didier Wampas, and No One Is Innocent as well as appearing at festivals such as Rock’n’Poche Festival, The Festival du Chien à Plûmes, Musikmesse in Germany), Belgium’s Mannrock (Belgium) and the Swiss Zikamart Festival.

Released a few weeks back, Bad Horses is an announcement for a wider range of ears and spotlights of the presence of Bottle Next; the Daniel Bergstrand (Meshuggah, Soilwork, In Flames) mixed release swiftly making the most of the opportunity with its opener Break Down the Door. The initial twang twisted strums of Rettien have an instinctive striking swing to their nature, a zeal matched in the senses rapping beats of Ecuer. That energy is equally as frantic in the delivery and character of the former’s vocals; together the duo creating a body inciting, spirit dancing slice of tenacious melodic rock as garage raw as it is hungrily infectious.

It is a thickly enticing start matched in memorable heights by next up Choices, the song a swagger loaded stroll of blues tinged rock ‘n’ roll sharing a Queens Of The Stone Age meets In The Whale like adventure. There is a rapacious essence to the grooves winding around ears and an atmospheric suggestiveness to the keys which interrupts the urgency of the canter whilst emerging folkish revelry has a funk seeded grin encapsulated by the earthily sultry lures of sax.

From one mouth-watering escapade to another as next up, Running Herd, takes ears in its grips with stabby riffs and agitated beats, both entangled in a volatile web of melody and vocal dexterity. As with its predecessors, involvement in its tenacious shuffle is instinctive; voice and hips giving quick submission to its imaginative multi-flavoured dance before Revolution shows the grittier hard rock side of the band’s sound. It too though weaves in a lure of melody and pop scented indie enterprise topped by a chorus wearing sixties/seventies pop rock catchiness.

A slightly calmer air drifts over Age of beauty; the song tempting and vivaciously crooning like a mix of XTC and Be Bop Deluxe though like all songs it never settles for one idea or style for much longer than it takes the imagination to adopt one of the moments of creative chicanery. At times it is an almost punchy encounter, the next a floating caress and consistently a captivating proposal before the outstanding Overthere grabs an already keen appetite for the release’s romp with its heavier touch and spikier climate. Again a grunge seeded essence runs alongside the song’s heavier rock instincts, colluding in a slimline, impulsively addictive temptation smoking in its shadows with a wealth of additional flavoursome scents.

The album’s title track is a more kinetic and wiry caper, guitars and drums magnetically nagging and popping as the track’s rock heart and vocals roar; pure rock ‘n’ roll its creative mantra while Machines courts a matching breeding in its mellower, blues rock tinged pop ‘n’ roll. Both offerings make swift deals with ears and imagination, More Humane matching their success with its folk/indie rock enticement brewing up from within initial suggestive smog of melodically nurtured atmospherics; funk and progressive keys born revelry growing across its enthralling body sparking canter.

The melody woven infection of The Lift off straight after is no less an inducement of physical participation, its warm and boisterous invitation a fest of inventive festivity for limbs and energy. The same equally comes with closing song The Woody Man where its folkish colour and melodic charm takes the track’s kinetic nature in hand, giving it a great layer of restraint without defusing its multi-style embracing devilry and impact on body and spirit. It is a great end to a rather fine album which it is fair to say had us leaping and grinning from start to finish, no track anything less than an imaginative galvanic romp. Bad Horses offers something really fresh in its familiar flavours and boundless enterprise in its bold and playful quest to simply rock ‘n’ roll. The best album you will hear this year, maybe or maybe not; destined to be one of the most enjoyable, without question.

Bad Horses is out now @ https://bottlenext.bandcamp.com/album/bad-horses

http://bottle-next.com/ https://www.facebook.com/Bottlenext/

Pete RingMaster 30/05/2017

Bastards Of Fate – Suck The Light Out

Mar25

If Bethlem Royal Hospital had a house band at the time of its notoriously infamous period when it was better named as Bedlam, Bastards Of Fate would have fitted the role like a glove. The Roanoke, Virginia hailing outfit create a sound and incitement to which a description of lunacy is inevitable and inescapable yet, as evidenced in their new album Suck The Light Out, it is a skilfully woven and creatively deceptive aberration which borders on genius; a dementia ridden habitude obviously.

There are few bands which truly offer an adventure for mind and ears but Bastards Of Fate go even further; challenging and testing the listener, almost examining their tolerance and their psyche for unsettling creative behaviour but with something which is rich unrelenting fun. Though our introduction to the band thanks to our bud Mike at Crashing Through, the well-received releases of their previous two albums suggests the quintet has been sharing striking and daring proposals for a while, most likely from the first emerging breath in 2012 as a solo project for frontman Doug Cheatwood. Without experiencing either 2012’s Who’s A Fuzzy Buddy? or Vampires are Real and Palpable two years later, it is still easy to say that Bastards Of Fate have hit a new plateau in sound and imagination, as well as mania such the might of Suck The Light Out.

From its first breath the album has claws in the imagination, opener Freemasons heralding its arrival with the ringing of bells recorded at a Cardiff church during a UK tour. Swiftly their call is smothered in darker off-kilter hues; a breeze evolving into a quirky theatre of sound with an air of hallucination and as suggestively clockwork as it is nursery. Vocals led by Cheatwood are just as eclectic settling into a controlled incitement with a scent of Bill Nelson’s Red Noise to it, Cheatwood indeed not for the last time with a touch of that band’s founder to his delivery. Across its tempestuous flank, the song shows irritability in it rock ‘n roll, the guitar of Benji Pugh mischievously colluding with the keys of Camellia Delk for cheerier temptation while the constant nagging of bass from Jason Wellz and Doug Shelor’s swinging beats drive the raw aggressive drama boiling up in it all, an agitation ebbing and flowing with mercurial energy as 12 Stone Toddler like dynamics further colour the fevered affair.

The following Portal to Hell is creative mayhem from the first second, rhythms jabbing with relish as Cheatwood announces his throaty demon. Soon a muggy start, it subsequently clears as a melody sizzles, it in turn relaxing as madness boldly simmers before infesting the song’s eruption with a legion of styles and flavours at its merciless fingertips. Fondling the senses and thoughts with pleasure igniting insanity and psychosis loaded unpredictability, like Pere Ubu on LSD, the track is unfathomable glory. Again the former Be Bop Deluxe frontman in his latter solo era is reminded of at times but only in something so unique to Bastards Of Fate it too is hard to believe.

To be honest numerous artists are nudged into suggestion across Suck The Light Out but none are truly accurate clues to the beautiful absurdness and imagination bursting fun on offer, next up Dark Matter pushing XTC and The Residents as possible references yet neither really fitting the maze of metal and heavy rock growling upon the song’s indie and pop sculpted landscape, a pasture in a constant flux of broken normality.

Through the relatively stable stroll of Book of Lies, though a romp with volatility in every element from tenacious rhythms and synth spun poetic webbing to melodic suggestion and vocal paranoia laced reflection, and the vocal lamentation of Misanthropy, bewitchment and confusion collude in a lustful embrace of the continuing diversity and irrational lure of Suck The Light Out. All releases need numerous listens to truly get to grips with thoughts and emotions on what they offer and there is no doubt that this album needs it more than most with the pair of songs alone showing the increasing rewards to be gained.

From the captivation of Girlfren with its crystalline melodies and screwy charm to the slow funk swing of the rhythmically tribal and vocally weird Caligula, ears and pleasure are only further inflamed, the latter and our favourite track, a salaciously deranged waltz. Its majestic prowess and mental manipulation is matched by that of Supercollider, a frenzy of sound and energy bursting from calm if warped crooning like a dangerously corrupted Pryapisme; punk and psych rock just two flavours in the frantic dementia.

Unicorns in Love is instinctive Bastards of Fate twisted rock ‘n’ roll with Waste My Time backing up its raw captivation with its hazy hug of melody spun, scuzz kissed, Fleetwood Mac spiced beauty with Delk taking vocal lead; her delicious tones as mouth-watering as the sounds caressing her harmonic presence.

The album is closed by Meatstar, a celestial dirt ball of progressive and melodic intrigue again tempting comparisons but evading all with its uncompromising invention in a brewing cacophony of sonic drama and imagination driven refreshment. It quite simply sums up the album, something aggressively individual and hungrily entertaining not forgetting deliriously deranged.

Suck The Light Out is, as Bastards Of Fate, indeed Bedlam and simply one of the most striking and uncomfortably fun propositions in recent years.

Suck The Light Out is available now digitally and on vinyl through HHBTM Records from most online stores with a special limited vinyl edition including a bonus LP of alternate tracks through http://hhbtm.com/

https://www.facebook.com/thebastardsoffate

Pete RingMaster 25/03/2017

Son of Skooshny – Confection

Dec13

cover_RingMasterReview

Three years on from releasing the Mid Cent Mod EP, US band Son of Skooshny returns with its successor Confection and another collection of melodic rock/pop tracks simply warranting attention. Admittedly, three of the songs making up the encounter were released as singles along the way but it is as part of Confection that they really blossom, each adding a magnetic aspect to its engaging whole.

Son of Skooshny is the creation of vocalist/guitarist/songwriter Mark Breyer, a project evolving out of acclaimed seventies band Skooshny who despite eventually breaking up found their releases still becoming collector items around Europe. Reforming in the nineties, they soon released a new EP with an album and compilation following, the latter in 2004. Six years later Son of Skooshny stepped forward, Breyer uniting with producer/collaborator Steve Refling, before unveiling debut album Lovers Leap of Faith. Its magnetic melodic pop sound further evolved within the 2013 Mid Cent Mod EP, a mellower blossom of imagination with a country/folk rock twist now pushed on again, while embracing the band’s pop instincts, by Confection.

The EP opens with Just a Test, a track swiftly seducing ears and attention with its tangy melodies and gently nagging stride. Equally a sixties pop air nuzzles song and imagination as Breyer’s expressive tones and suggestive melodies spread through the heart and body of the richly enticing encounter. As catchy as it is sultry, the song continues to coax body and appetite, its sound not a major leap from the last EP but richer in the weave of flavours and seductive prowess it bears.

That mentioned country scent spices the following No Ho, a slower gaited song which saunters with creative confidence as suggestive keys wrap Breyer’s words and the sonic romancing of the guitars. A melodic shimmer also lines the song replacing the snappier touch of its predecessor with its alluring presence and though it does not quite spark the appetite as forcibly, the track grows into a similarly potent proposal over time.

A similar design of flavours and textures shape the melodic caress of Cloud Cover straight after, a soft slice of catchy mellow pop deceptively low key as tempting harmonies cuddle and melodies conjure. Within this tranquil serenading though, an orchestral scented theatre rises within the song’s multi-layered landscape which only draws the imagination deeper into its beauty.

Half of the World is next, a melodic rock ‘n’ pop croon with its own adventure in catchiness draped in sixties inspired melodic flames and vocal smooching, before The Subtle Eye closes up the release with its smouldering country twanged caress. Both tracks have a XTC Oranges & Lemons / Elvis Costello Almost Blue like fusion to them, a flavouring adding to the sixties and melodic pop invention Son of Skooshny persistently show themselves so adept at casting.

Released earlier this year on Bandcamp but now being given a broad release through CD Baby on iTunes, Amazon, Spotify, and other stores by the band itself, Confection is a warm melodic snug with Son of Skooshny deserving of greater attention.

The Confection EP is out now across most stores and @ https://sonofskooshny.bandcamp.com/album/confection

http://www.skooshny.com/

Pete RingMaster 13/12/2016

The Simpletone – Angels’ Share

Nov16

There are some releases which just demand success. Whether they get it in the increasingly fickle attention of the modern music fan is never a given but Angels’ Share, the new album from British rockers The Simpletone, does all the right things to make that commanding statement.

There is little we can share about the 2010 formed band other than its line-up is made up of John Davison, Craig Seymour, Glenn Eastoe, and Tom Cahill, it hails from St Neots in Cambridgshire, and has previously released the albums, Rampenny in 2012 and Dark Matter two years later, both seemingly well-received propositions. A UK tour with New Model Army in 2014 has been one of many live highlights for the band built on their stirring fusion of heavy and melodic rock with grunge, stoner and numerous other essences. It is a mix of flavours making for a striking proposition and imaginative proposal in Angels’ Share and songs which just roar with anthemic majesty and fiery enterprise.

The first of the ten cuts gripping ears and an early appetite for the band’s invigorating rock ‘n’ roll is Outta Control. Instantly a spicy groove winds around ears, leaning in closer as tenacious rhythms and riffs join its opening bait. Effect coated vocals equally lures keen ears as the song swaggers along with steady but rapacious grooves and a suggestive melody. The restraint stopping the track from exploding as it hints it might throughout is an inspired move, the song teasing and almost taunting along its enterprise shaped body. The heavier throb of bass and flames of harmonies only add to the lure of the song with guitar craft similarly as magnetic.

The following Love Street (Modern Mystery) keeps the rich enticement going with its punk folk lined stroll, simple but potent riffs colluding with swinging beats as vocals paint a suggestive picture. Its catchiness is a swift persuasion rapidly backed by the boisterous antics of the guitars as the track carries on the great variety already showing in the band’s sound, diversity more than confirmed by their mighty new single Storm Chaser. At over eleven minutes it is an epic persuasion which serenades the senses with melodic and harmonic caresses initially before building a bolder energy amidst an addictive rhythmic prowess. Weaving strands of space and progressive rock among other textures into its ever evolving adventure, the song is a kaleidoscope of melody heavy rock drawing on an array of decades while creating its own fresh, individual, and ever changing landscape of imagination. Like a mix of Skyscraper (the nineties UK band), Life of Agony, and Voyager, the track barely feels like its length and relentlessly has the listener compelled.

The fact that next up Black Box still manages to eclipse it slightly shows the quality of its own exceptional design. A spirit stoking beast from its first touch, the song canters with muscular tenacity and fiery invention bred to virulent proportions as its mix of hard and heavy rock consumes ears and imagination. The track is exceptional, as punk in many ways as it is feisty rock ‘n’ roll with a drama of character and craft that demands attention and involvement.

Fire in the Sky steps up next with a growl in its basslines and a contagious swing in its rhythms, guitars and vocals dancing within their addictive tempting as soulful blues lined grooves bring an incendiary heat to the proposal. Like a seventies inspired union of Therapy? and Reuben, to try and offer a comparison, the song forcibly hits the spot before making way for the slower stoner-esque prowl of Nehemiah, an incitement pulling sludgy textures into its increasingly exotic and suggestive theatre. It is seriously compelling stuff, another song blossoming through an array of twists and flavours as it grows in ears.

The melodic charm of Day by Day is a similarly riveting proposition, the graceful yet sinewy instrumental finding a place between XTC and Tool as it seduces the imagination, setting it up for electrified air and nature of As Above so Below. Courting ears with a rapaciously formidable core in its raw riffs and bold rhythmic, the track wraps it in a melodic spiciness and mellower harmonic seducing which echoes elements of bands like Bush, Alice In Chains, and Sick Puppies yet sounds little like any.

If we tell you that Easy Come lacks the same galvanic sparks of its predecessors do not mistake it for a weak link within Angels’ Share; the song a highly persuasive slice of rock ‘n’ roll with guitar craft which shines like a beacon as the bass uncages a funk inspired personality. The fact the track is outshone by others is down to their might, a strength revelled in again by album closer Hunters. Whether by coincidence or design, there is a Horslips feel to the song certainly early on, and of fellow Brits KingBathmat but as across the album, things are soon woven into an addiction of sound and creative hooks roaring The Simpletone.

It is a glorious end to one treat of a release which deserves all the praise and attention it should and surely will get. Angels’ Share is another rousing encounter to add to our lustful favourites of 2016 list and no keener a recommendation we can offer.

Angels’ Share is out now across most online stores and on iTunes @ https://itunes.apple.com/album/id1169473074?ls=1&app=itunes