Liverpool Sound and Vision Rating * * * *

That Voodoo that you do so well can quite often pale into significance when placed against the virtues and endeavours of others; not that it should, but as you feel the warmth of other’s words caress your own psyche it can lead you on a path to which the dolls act more than pin cushions of memory, they are the conduit to the moment when you find yourself embracing the King Voodoo.

A mini album is often the introductory calling card that we require to gain that first step into the unknown, the telephone number from the object of desire which has been scrawled down in hope, or the casual invitation to be part of something extraordinary, all are presented with brilliance and admiration in mind and the measure of hope that it will be worth it.

For King Voodoo the hope is overtaken by the presence of the seismic potential that stirs the pot of their E.P., 4. A set of songs that do more than grease the wheels of the first meeting, it is the firm handshake that you can take to the bank and tell them you will be depositing a large, and valuable resource and then telling them they can share in it if they wish.

Across the songs, Fever, Creep, Hold On and Plain To Me, King Voodoo find the measure of themselves with ease, and it is one that flutters by with grace, a loud and raucous delivery that appreciates the finer points of the rock dynamic and withstands the constant barge of criticism that is so enjoyed by those who see the genre as nothing more than a stooge to emotion.

4 is an open-minded dive into the deep end of recording, one that understands the dangers that await, but has rigorously appraised the possible footfalls and engrained themselves into the attitude of accessibility and musical punch. It is in this that the music is enough to release the constant restraints we bind ourselves with and see us leap on board the fast-moving vehicle driven by King Voodoo.

A desirable introduction, one that shakes the mind as well as the body, nothing could raise the morale like 4.

Ian D. Hall