Swampstomper – Dirty Black Boots

The beginnings of Swampstomper according to the bio came about as vocalist and guitarist Paul ‘Wildheart’ Brightmann submitted and had his song Subtract and Divide placed last October on the excellent compilation album ME4, a release made up of the best artists bursting out from the Medway area of the UK. Building on that with the intent of taking his songs live, he next recruited guitarist Jason Spencer and bassist Kevin Hutchins to be followed by drummer Drew Gilby. The next six weeks brought the same number of songs in tow and the band immediately grabbing attention as they unleashed their unique rock and punk fusion to a rapidly growing fan base, from which point they have not looked back. Dirty Black Boots is their latest song, a demo track which alone makes all the persuasion needed to keep the band on tight radar.

The Chatham quartet also bring a strong whisper of psychobilly and garage punk to their almost intimidating sound, its menacing breath and hunger inescapable within the uncomplicated yet defined individuality. Dirty Black Boots is the perfect introduction to their shadowed invention, a song seeded in old school UK punk but with The Cramps like rawness which leaves thoughts and emotions on full and eager alert.

Footsteps lead the ear into the song, their tone or appeal nothing out of the ordinary but a temptation too strong to resist. Their lure lands the ear in the arms of thumping beats and coarse riffs, their embrace familiar yet new and seeded in a flavour you could imagine from a band such as Vibrators or 999. It is with the delicious irresistible hooked bass stroll of Hutchins though that the song truly comes alight, the guitars raising their presence to join in league with its dark voice and also that of Brightmann’s dark, gruff compelling style, the elevated intent shaping the track into an even more addictive beast. Now into its stride, the song is a blaze of wanton temptation and irrepressible hooks, as well as offering a groove through the verses which winds the passions around its feisty spine.

A song impossible to resist the infection of and very easy to add your own personal vocal assistance to, Dirty Black Boots leaves only one option in its tow, well two, firstly to play it again…and again, and secondly to place Swampstomper in full line of vision from here on in. Great song from a band who you can only suspect will have the fullest and brightest horizon.

http://www.swampstomper.co.uk

https://www.facebook.com/SwampStomping

8.5/10

RingMaster 08/05/2013

 

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Boomin – Original Junkie

Taken from their acclaimed debut album released august of last Year, UK power pop/rock band Boomin now release their new single and title track from the album, Original Junkie. The band has drawn intensely positive responses and reviews since forming in 2006 with their first album ignited a sure elevation in their recognition and stature across the country, and though the song is not for personal tastes the first choice which comes to mind as the strongest lure to the album, its infectious and energetic presence easily confirms the Wigan trio as a band with all the tools and sounds to leave a lasting impression.

Since arriving on the local Northwest scene Boomin has moved through winning band competitions to sharing stages and supporting the likes of The Script, Scouting for Girls, McFly, N-Dubz, Ultrabeat, Basshunter, Newton Faulkner, Pixie Lott, Craig David and even Jedward, though maybe not a claim you would want on your CV in the future as it gives the wrong impression of the pop punk/power pop sound they create. As the single gives evidence of, the band creates music which has a familiarity in its breath but urgency and bite which solely belongs to the three-piece riot of energy and captures the imagination enough to draw further keen interest.

Produced by Mark Wainwright (INXS), Original Junkie opens on relaxed guitar strokes before the bass and drums add their impressive sinews to the easy flow of the track. The bass is especially tempting, its throaty call irresistible whilst the drums snap and frame all with skill and respectful force. The guitar carves a mesh of cradling riffs and melodic enterprise with additional grooves and catchy hooks which park the song into an even stronger encounter whilst the vocals and following harmonies are stocked up on expression and emotive potency.

As said the track is not the strongest magnet on the full length release but more than persuades that Boomin is a band well worth a punt on and their album which is even better than the single hints at, an investigation set to reward with even stronger riches than the very satisfying single.

http://www.boomin.us

7/10

RingMaster 07/05/2013

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Steve Folk – Urban Fox

Urban Fox is the new single from Steve Folk (AKA Steve Thompson of Blabbermouth), a song which travels the senses and emotions whilst transporting them on a peaceful stroll through descriptive warm embraces. The track like its author’s lifestyle, he and his wife travelling the waterways on their roaming canal boat, is a picturesque and passionate narrative with a simplicity which seduces and plays with the affections.

With a trio of albums behind him, two via Hobgoblin Records and the third a self-release on his own Blabbermouth Records, Folk has graced countless festivals such as the Sidmouth Folk Festival, The Crawley Folk Festival, and Wadebridge Folk Festival, played across the UK as well as performed in the US and many European countries, and supported artists such as Seth Lakeman, Sam Carter, The Magic Numbers, and Show of Hands to name a few. He is also a renowned busker only playing his own material which on the evidence of Urban Folk will be a pleasing attention stealer for all encountering him on the streets.

The single celebrates city life and the need for a retreat, its gentle and infectious descriptive waltz upon the ear painting a beauty which one suspects a great many are blind to these days. Then again that is what people like Steve Folk are here for as well as to excite and ignite the emotions. The song sways with a smiling energy whilst the guitar crafts its own visual paint box of emotive colours for the listener to casts their own individual imagery from the lyrical palette box offered. It is a lovely little embrace which becomes more contagious with each inspiring hug.

Accompanying the song is a track called Home, a sequel to the lead track which takes the story on with a returning walk to the beginnings of the release, the sultry strings providing a tempting sunset to the guitar and vocals of the artists and its predecessor. The single as a whole is like a day in the smouldering arms of summer, the first song offering the first spring of day moving through its heated afternoon whilst the second brings a closing evening reflection of what came before and appreciation of what the day and narrator has in his heart.

Urban Fox is a great release which will deservedly find a place in the affections of most given the chance.

http://www.stevefolk.com/

7.5/10

RingMaster 28/04/2013

 

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Scout Killers – No Reason

© Annelie Rosencrantz 2013

Following up impressive single The Wave, alternative indie rock band Scout Killers have produced another slice of thickly emotive temptation with new single No Reason. Complete with video, the release is a smoking gun of a song, a track which basks in the success of its hazy persuasion and blues soaked captivation, its breath visibly enriching the air with pride from the contagion it has caused.

Consisting of the current line-up of vocalist Scott Cox, guitarists Beau Stevens and Julien Morrez, drummer Chris Phillips, and bassist Pierre Frankie Lee Muslimani, the South West based UK band first found a grip on the attention and acclaim of the media and fans with the EP We Cage the Storm, the release which bears the new track. A successful tour across the UK only enhanced their reputation with The Waves bringing even greater potency to their stock, and now with No Reason the sense that the band is about to trigger something major for themselves is hard to dismiss.

Opening with a rasp of guitar and brewing sonic beckoning the song expels a big breath before striding into a tempered yet eager stroll with the vocals of Cox seizing every syllable and intent of his lyrics with an earnest purpose and expressive lure, whilst around him the guitars of Stevens and Morrez flame with acidic and magnetic heat. The soulful blues licking of the ear ignites the senses for a keen welcome to the increasingly compelling vocals and equally enriched melodic temptation. The rhythms of Phillips and Muslimani guide the song with at times an understated air though both have a clear stance within the track, but also certainly the basslines bring shadows which add depth and caution to the fire burning around them.

No Reason is a thrilling track with a riveting video as a companion, more importantly it enforces the declaration that Scout Killers is a band to watch and has a very promising horizon ahead of them.

http://www.scoutkillers.com

8/10

RingMaster 24/04/2012

 

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Mike Tyler – Money Grows on Your Knees

    Money Grows On Your Knees the new single from poet and musician Mike Tyler is a deceptive little tease, a song which left indecision during certainly its first and even second excursion through the ear  but all the while was working away and laying a hook which emerged again and again well away from its source. It is an addictive little creature which though still coated in a less than stable opinion is like a tic which is almost impossible to remove from thoughts and imagination.

Taken from his well-received album Erection of last year, the first thing to note and praise about the release is its packaging. Coming in a 7” green vinyl/CD bundle with a sleeve design complete with jigsaw front and lyric sheet back, the single takes one right back to the late seventies/early eighties when sleeve design and imagination was as rife and vibrant as the sounds they enclosed. It is an instant clutch of strong points on the board for The Art Can Not Be Damaged released single. It is also very apt for the artist from New York. Mentored in a bar by the poet Delmore Schwartz, Patti Smith, and Tom Verlaine of Television, Tyler has sculpted interest, respect, and inspiration with his words within others. World famous graffiti-smith Banksy stencilled his words “only the ridiculous survive” outside Paddington Station in London whilst Beck also was inspired by his charismatic pull when honing his song writing craft. Tyler became known as The Most Dangerous Poet in America after breaking his arm during a reading, and his poem The Most Beautiful Word in the American Language has found its place on the blogs, MySpace pages, and Facebook walls of a great many, not to mention fridge doors. He is a puzzle in many ways, an intricate confusion which the packaging of the single perfectly hints to and to further give relevance of the artwork the artist talks about his single by saying “My new single is such a lopsided seductive beast. Deep deep bass with a pop frosting and a growling lead yawp. It can be kind of sweet in places and then a dungeon-door-slamming-echoed-thud takes over; a contradiction in tones. It’s the boiled pot of the gumbo stew of black and white that is America; greed and innocence, joy and exhausted hustle. Might explain why we decided the packaging of the single would include an actual puzzle.”

Money Grows on Your Knees instantly punches the air with heavy pressing beats soon joined by great expressive keys and the straight face vocals of Tyler. He is not a natural vocalist, his spoken word delivery a dulled edge to the vibrancy of the music but it soon persuades the longer the track plays with the ear. The persistence of the rhythmic seduction and equally tempting bass is near irresistible whilst the keys craft a warm engagement which holds the hand as the songs opens up its summer framed by additional vocals from a sirenesque female voice and singing from Tyler both standing behind his core gait of delivery. As one would expect the lyrics make you think without needing to spend over time evaluating their coaxing narrative whilst the brassy bellows of the synths are like small fanfares in the sultriness of the song’s skies. An encounter easily described as Jonathan Richman meets Jona Lewie whilst John Otway and Mike Doughty add their support, it has proved its dangerous contagiousness as whilst writing the review up to this point and listening to its throughout,  Money Grows on Your Knees has provided  a conclusive argument and won its case…or maybe just worn down the defences, whichever it is a devious little treat.

Accompanying the song on the single is Corny Song, a new track from Tyler. Energetic and mischievous the song was inspired by a show in the UK where he was promoting the Erection album. It like the first is not an instant draw and has yet to convince but again it lingers and teases long past its expiry time.

For quirky, unpolished, and honest indie/pop devilment the single is well worth a fun filled amble with, but be warned it will not be leaving you alone from that point on.

http://www.cutepoet.com/

7/10

RingMaster 23/04/2013

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Rose Redd – Perfectly Useless

A surprise and a treat, the debut single from UK singer songwriter Rose Redd is a song which manages to smoulder and romp upon the senses at the same time, its emotive elegance and gentle caress as potent and loud as the energy and eager heat driving it. Expectations were not filled with a pre-determined opinion before approaching Perfectly Useless but it is fair to say they were not biting with intrigue either. The eighteen year old songstress soon changed that with a voice and song which drew submission from thoughts and emotions.

Born in Eastbourne but within six months finding a home in the West Midlands with her family, the eighteen year on was brought up with the eclectic sounds of the likes of Ella Fitzgerald, Iron Maiden, and Kate Bush filling her welcoming ears. It was the discovery of the lyrics and songwriting of Martin Gore of Depeche Mode though which ignited her inner musical flame, the kindred spirit she found inspiring her to investigate her own songwriting and to approach the guitar for the first time. As her first single shows she has not looked back, the Gavin Monaghan (Editors, Scott Matthews, Robert Plant) produced song an impressive following to the extensive time she has had touring and playing shows to consistently growing success.

Perfectly Useless is a pop rock song which is a hybrid of styles and genres, a track holding a sultry mix of Evanescence, Depeche Mode, and March Violets in their pop rock time. It is a vibrant and compelling song as bright as a sun but is also equipped with pleasing shadows, the well-lit pop stroll veined with darker elements of gothic and symphonic rock. The simmering crystalline opening sparkles against the excellent tones of Redd, her voice a blend of Amy Lee and Alison Moyet, and the beginning a mesmeric charm upon the ear. Soon electro beats make their punchy entrance to offer a little uncertainty but it all blends into a tantalising expanse of heated melodic wash, every note and vocal touch wrapping tenderly yet firmly around the ear and beyond. Whether stepping into a reserve of passionate enterprise or a contagious dance of pure pop temptation, the artists and song offers a lingering thrilling embrace which is impossible to refuse.

Perfectly Useless is impressive, an exciting entrance by Rose Redd, a lady we surely will be hearing a lot more of ahead, her horizons destined to be wrapped in welcoming success.

http://www.roseredd.co.uk/

8.5/10

RingMaster 22/04/2013

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Ron McElroy – World At War

Singer/songwriter/guitarist Ron McElroy has earned a wealth of experience from years playing with other artists such as Trouble Over Tokyo and Amber Bella Muse, as well as making notable collaborations with the likes of Juliette Lewis, and Isabella Summers (Florence & the Machine), and writing songs with people such as with Sian Evans (DJ Fresh, Kosheen). Now ahead of his debut album All Her Kisses which is set for an Autumn release, he unveils the first single from the forthcoming release, World At War. A more than capable rock song with the ability to easily satisfy, the track is an open invitation to the man and his sounds which without ripping up trees certainly ensures that attention for his full length is going to be very alert.

The London based musician steps into his own light having helped ignite that of so many others and it has to be said that the single certainly captures the imagination. It is a song which slowly persuades, its initial grabbing of nodding approval soon tempting the listener to add their dollar of effort for a pleasing and lingering union. As mentioned it does not ignite fires of passion with its melodic rock presence but undoubtedly sparks a continuing welcome for its catchy and honest presence.

Starting with big beats and a smokey blues kiss from the guitar, World At War is immediately a warm stroll with anthemic whispers just waiting to jump out. The vocals of McElroy are decent enough without being openly impressive but his skilled and engaging guitar craft certainly is a striking call from the heart of the track, his playing a richly appetising feature. Once the song hits a fiery sonic blaze of things take a further lift with the subsequent second strain of vocals making a better impression and filling the walls of the song with an infectious warm energy. Easy to join and enjoyable to the ear, the track is a fine teaser for the album, and though it is not without elements which do not quite work as well as others World At War makes the upcoming appearance of All Her Kisses an intriguing prospect.

http://www.ron-mcelroy.com/

7/10

RingMaster 22/04/2013

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Centre Excuse – Control

Continuing the impressive stature and irresistibility of their previous releases, UK electro rock band Centre Excuse now let out of its cage their new single Control, a song which whips up the appetite with warm and infectious, wholly energetic charm. The track hungrily romps through the ear, the glowing melodies from the keys and vocals offering a magnetic embrace whilst framed by crisp rhythms and sprawling flaming sinewy guitars. Expertly fusing lush sonic temptation with almost brawling punk rock aggression, the song has again provided the persuasive evidence for a continued rich acclaim upon the trio.

From Rutland, the three-piece of brothers Jamie and Alex Rush, and Teddy Lewis have made great strides since emerging in 2010. From their first introduction with debut EP All Systems Go the band has reaped strong and eager responses to their fiery sound, the following Generation Z EP and single In Your Mind only increasing the depth of acclaim and their potent presence. Their music is not demanding but still ignites a passionate return from listeners with inspiring enterprise, the result more often than not eager compliance and dedication to the cause. Their previous releases and equally successful live shows, which has seen Centre Excuse alongside the likes of A Sky Jet Black, I Am Giant, and Tonight Alive over the past couple of years, has set the band up as a dawning bright flame in UK indie rock, Control the register that they have arrived.

Recorded with Australian music producer Antonio Hanna, the single initially is a gentle coaxing of the senses, the keys almost teasing with their smouldering beckoning. It is mere moments though before sound and band erupt into a torrential blaze of grabbing riffs, vocal harmonies, and the swirling loud wind of keys, the combination a delicious burn with seductive intent in its heart. As with previous songs from the band, the hooks and constant lure of the track is uncomplicated and pure contagion but within and beneath that unbridled siren of a call the band unveil skilled invention and mesmeric imagination. It all makes for a song which is simply thrilling yet still makes a case for so much more to come from the band with its open promise.

The single is another thrust to the charging rise of Centre Excuse, a song which stands individual in the already diverse wealth of sound unleashed through the previous EPs and single. Each release has offered surprise and exciting ventures for the world of pop rock, Control is no exception.

http://www.centre-excuse.com/

8.5/10

RingMaster 20/04/2013

 

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Nat Jenkins – East & West

An exhilarating blend of sounds from the past five decades or so, East & West the riotous new single from Nat Jenkins is a scintillating brew of invigorating rock n roll. Sounding like a mix of rockabilly, punk, garage and folk rock, the track taken from his upcoming new EP riles, thrills, and excites the senses in the way only pure hearted rock n roll can.

Through previous singles and EP, Jenkins has garnered a potent following and wash of acclaim, coming to the strong notice of the likes of producer Chris Kimsey (Rolling Stones, Peter Frampton) and The Clash’s Mick Jones with whom Nat has collaborated on the track and one assumes upcoming EP. The Camouflage Recordings released single is the first of three recorded in his tiny studio flat in Paris, the song a compelling representation and result of his investigation of sounds going back to the early sixties. As the song leaps upon and enlists the passions in its dirty scuzz lined brawl of rock n roll, the description of its flavoursome presence can only be described as the result of a mutant union between the attitude soaks seeds of The Doors, The Clash, Jesus & Mary Chain, Eighties Matchbox B-Line Disaster, and Thee Exciters with essences of Birdland and Gene Vincent to the mix too. It is a sound which covers the ages yet is entrenched and bred from the caustic times around us now.

The song towers over the ear from the start with a throaty riff grazing and clawing at the ear before crisp beats and warm keys add their abrasive and inviting touches. The vocals of Jenkins wear a coat of scuzzy effect to sizzle upon the senses along with the blistering kiss of the surrounding sounds, the full union of all aspects a flame which dances before and ignites the emotions into a hungry and energised compliance. With a bassline littered with irresistible hooks, the guitars sculpting further contagious lures, and an incendiary chorus to recruit voice and heart, East & West is a delicious invitation to the new EP and instigator of immense pleasure in its own singular rampage.

The single easily shows why Jenkins has brought such impressed recognition upon his individual brand of rock n roll, and if like us is this is your introduction to his rowdy sounds then you could wish for a better welcome than East & West.

https://www.facebook.com/NatJenkinsMusic

9/10

RingMaster 19/04/2013

 

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Horse Party – Back To Mono

Stomping with mischief and anthemic invitation whilst holding hands with melodic enterprise and expelling a fiery breath, Back To Mono the debut single from UK band Horse Party is an intriguing and thrilling introduction. A mild riot with reservation to its still vibrant energy and potent temptation, the song immediately marks the band as an exciting new tease for the passions with a matching confident swagger.

The Bury St Edmunds trio ventured forth in September of last year after guitarist and vocalist Eleanor Lou (Ellie) was ‘badgered’ into joining the band set up by drummer/vocalist Shannon Hope and guitarist/vocalist Seymour Quigley, which according to the band bio happened having got drunk together in a church and sending ‘abusive messages’ to Ellie ‘ordering her to join a band whose primary goal would be to make or lose a million pounds.’ With a mutual passion and inspiration from the likes of Bjork, Fugazi, Cat Power and terrible films fuelling their creativity the threesome released the song Clarion Call at the beginning of the year as a free download, a track which drew the attention of BBC Suffolk Introducing and support slot offers, including one with Dingus Khan.

Release through Sturm Und Drang Recordings, their first official single instantly lures the listener in with an opening Beatlesque hook of fuzzy guitar strokes and mutually resonating bass entrapment and once the great vocals of Ellie add their warm beckoning, Back To The Mono has a firm grip on the ear and emotions. The almost lo-fi touch of the song, its breath raw yet perfectly defined as a persuasion, brings a delicious organic feel whilst the blues soaked guitar hook and magnetic chorus only furthers its claim to the passions. A track which has no desires to create a tempest of evolving textures but instead offers a continual and solid prowl of the ear, it still manages to bring a heat and absorbing adventure which rivals and more often outshines the majority of similarly gaited and clothed indie tracks erupting out this year.

Standing somewhere between the Yeah Yeah Yeahs, Morningwood, and Cradle, band and single inspire such promise that the wait for more from Horse Party is going to have a taste of impatience about it.

www.horsepartyparty.bandcamp.com

www.facebook.com/horsepartyparty

8.5/10

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RingMaster 15/04/2013