Max Raptor are finally back with their debut full-length. Eagerly anticipated ever since their excellent mini-album ‘Portraits’ graced us in 2011, ‘Mother’s Ruin’ is everything expected from the Midlands band. It’s fast, chaotic, raw and unashamedly British. Max Raptor have carried on exactly where they left off and are ready to make an impact on more than just kids bedrooms this time round.
Big single, ‘England Breathes’ stands out immediately with its steady build-up to a big gang vocal led chorus, a now signature occurrence for Max Raptor who are happy to shove that hook down your throat until your shouting it back at them. The track sums the band up well; a patriotic march to embrace society and unity. ‘Breakers’ and ‘Grace And Favours…’ are clearly off the same hymn sheet as the songs on ‘Portraits’, whether it be a ballsy Wil Ray vocal introduction or an infectious melody, the Burton-upon-Trent boys are sticking to what they’re good at it with deadly results.
If new territory has been invaded at all during ‘Mother’s Ruin’, it’s in ballad ‘Heavy Hearts’, which gives the listener a well deserved rest to enjoy a tastefully penned softer track, which surprisingly lands just as well as the heavier material and gives Ray a chance to show off the quieter side to his vocals. A closing piano gives you just enough time to prepare for the carnage that’s about to ensue in ‘Must Work Harder’. Sing-a-long tunes and confident crowd participation has meant that Max Raptor‘s energetic live shows precede them these days and with plenty of high profile shows such as Vans Warped Tour UK coming up, tracks like ‘Back Of A Barrel Wave’ and ‘Evangeline’ are sure to turn a few heads and get new fans on board.
‘Mother’s Ruin’ is so refreshing in 2013, with overdramatic bands desperately trying to reinvent themselves for the public eye or keep up with trends and fads. There are no gimmicks here, Max Raptor are a damn good English rock ‘n’ roll band and that’s all that matters. If you like your music fast, British, aggressive and packing more punch than a beach puppet show, then this could be your favourite album of the year.
Written by Mike Heath