Dirty strides and mischievous smiles: delving into the virulent charms of Ocasan.

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Splitting their forthcoming album up into a trilogy of diverse and creatively exhilarating EPs this past year, UK rockers Ocasan has undoubtedly provided British rock with some major thrills. It is not the first time the Milton Keynes hailing trio has made a striking and adventurous contribution to the scene, their acclaimed debut album Ricochet one such triumph, but it is fair to say using recent release the Confessions EP alone as evidence, that the band is breeding a new plateau and depth of invention and virulent sound. With thanks to drummer Luke McDonnell, we set about exploring the heart of the band and those recent releases whilst taking in mutual appreciation of a certain band, learning the back ground to particular songs, and simply exploring Ocasan in general.

Hello Luke and thanks for taking time to chat with us.ocasan5

You’re welcome.

Tell us about the beginnings of the band and what inspired you to start up Ocasan.

We’d all come from numerous past projects and like most acts shared a love for the same music. When writing we found that songs poured out like vomit from a size nine Friday night slutty binger.

Is there any special meaning behind or influence to the band name?

It’s my family name, well the Irish side. We were the Ocasan’s. It’s also Japanese for ‘Mother’.

And talking of influences what have been the biggest inspirations to the band and personally in sound and musical intent?

We’ve been on a massive journey. Having stayed together for about a decade now, our influences are constantly in flux. We’ve spent many year writing singles and mainly pop oriented tunes but now rediscovered a love for our grungier roots. We’re writing music we’d want to jump up and down and scream along to drunk in a grotty venue. It’s the tits.

One of our all-time essential listens are Reuben and I heard you guys have a taste for their inspiring sounds too?

Well this follows perfectly from what I was saying. We rediscovered Reuben’s Racecar is Racecar Backwards which led to listening to their other latter work. It’s a little obsessive and we’re seeking help.

You biography mentions “abandoned stables, hippy communes and rock and roll pubs” as well as “hot tubs with millionaires” and parties with Russian oligarchs. We can assume the band’s life to date has been something out of the ordinary?

It’s had its ups and downs but some of the ups have been out of this world. What’s incredible is that it has all stemmed from the music. OK, so we’re not a big band. We’ve been trying for years to get a break, but the one thing we’ve taking away from being in Ocasan are some life changing experiences. We’re by no means done yet.

You recently released the third of a trilogy of EPs, Confessions, which comes around three years after debut album Ricochet of 2011. How would you say your sound has evolved between what are to our mind, two rigorously contagious and imaginative releases?

Our first record Ricochet was written with sole intent of breaking the market. We were still writing music we loved but were set on writing singles people could sing along to and record labels would be interested in. As each year goes by the “Fuck that!”s from all of us becomes increasingly louder. Elixir (the EP trilogy) concentrated more on our lives and our story so far. There are mentions of some serious life changing moments that we had to deal with during the record. We thought this would make the album more sincere rather than writing about teenage fancies etc. We think it’s done just that and every song is an honest story. Apart from Confessions….that’s sung from the point of view of a piano. I’m not a piano.

ocasan confessions-artworkIt is easy to see each of the EPs, London Town, Whitey Two Step, and of course Confessions, working perfectly together within Elixir but they also show distinct personalities from each other, especially the last. Was this something purposefully set out or just organically came about?

Organically…When we set out (reluctantly may I add) splitting up the record we found certain songs had something similar in common. EP1 was our ‘hello we’re back’ EP. There are some strong numbers on there and good examples of what was to come on the follow ups. EP2 More light hearted, whimsical and more creative lyrically. EP3 was much darker both lyrically and musically. We figured if we had you sold on the solid, slightly more commercial stuff from the start, you’d be digging this by now. Safe to safe this is one of the most popular records.

So each has an individual theme and is there a more personal intimacy across the EPs than maybe explored before by the band?

I would add that the third is the most personal. It explores a few subjects that were hard to write about. A good friend of ours (our tour manager) had a brain tumour and we expected him to not be with us by the release. Dark cloud was an infamous cocaine dealer from central London that we had some nasty run-ins with. etc. etc. You’ll need to have a listen to pick apart the rest.

Elixir will be released at some point as a single entity I assume?

Yes, we’re looking at early next year once our agent has sorted the next tour.

Will you sneak in anything new or rework tracks to offer another tasty dose of freshness for fans already devouring the EPs?

Yes, there’s a hidden track and some live stuff that we’ve had stored away for a while. We may even put on some new tracks to hint at the new record. We’ve been recording it all live on reel to reel recently, it sounds out of this world!

There is a great eclectic essence to your sound, a persistently varied energy and invention to your rock pop revelry so how does the songwriting work within the band. It is a group effort in ideas and writing?ocasan1

I generally come up with lyrics and bring them to the other two. They’re both so talented that normally before I have time to blink they’ve written what I was hearing in my head…if not, better. I guess this just comes with working together for a long time.

Parasites from the Confessions EP is one of our tracks of the year, and went down a storm on our recent podcast. Can you give us some background and the spark to the riveting contagion posing as a song?

As discussed earlier, this particular track was about our friend who was diagnosed with a brain tumour. It was seriously traumatic, obviously for him, but for everyone that loved him dearly. I’m delighted to say that he’s still with us today. But yes, that in essence is the ‘parasite’. “these white coats, do they know the ropes” was a stab at the doctors that kept misdiagnosing him and putting him through emotional hell.

All the tracks across the EPs and thus album were recorded with Romesh Dodangoda (Funeral For A Friend, Motorhead, Kids In Glass Houses). How did that link up come about?

We listened to an Attack! Attack! record years back, did a little research and said Romesh was the guy for us. As we worked so well together on Ricochet we figured “if it ain’t broke…” so we went back to do our second album there. We have a big respect for Romesh and would be happy to work with him again.

You have a serious appetite for gigging and have hit stages across the globe as well as nationally. It feels like this is what it is all about as a band for you guys, where you are most at home?ocasan4

We love it! If we could be out 364 days a year (Fuck gigging on Christmas) we would. So many bands believe that you can do well from making music videos and putting them on YouTube but nothing will beat just getting out and playing to new people. We love seeing the world and making new friends, what a brilliant way to do it.

Are you a band which likes to preview and explore new songs live before recording or vice-versa?

Yes, it’s incredible how much audience reaction can help develop a song.

What is in store for and from the band going into 2015?

We’ve nearly finished writing album three. Most of it will hopefully be demoed this side of Christmas. We’re off to a studio in Italy in January to try out a studio south of Rome. We’ll release Elixir as a whole (with little extras) and hopefully have the third album ready for release shortly after. After that it’s just tour tour tour, music video, tour tour tour, music video – repeat.

Once again big thanks for sharing time with us; any last thoughts you would like to leave us pondering?

If the brain was so simple we could understand it, it would be so simple we couldn’t.

Read the review of the Confessions EP @ http://ringmasterreviewintroduces.wordpress.com/2014/09/30/ocasan-confessions-ep/

http://ocasan.co.uk/

Pete RingMaster

The RingMaster Review 10/12/2014

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The Reverse – No, I Don’t Want to See Your Stupid F**king Band

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Hailing from London, UK band The Reverse showed themselves quite handy at crafting strongly persuasive and magnetic songs with the release of their Kind Words For Cruel Times album around a year ago. Merging the drama of folk with indie inventiveness, the band’s sound is a gentle and welcoming tempting which does not startle but certainly entices keen attention. Now the band returns with new single, No, I Don’t Want to See Your Stupid F**king Band, providing more of the same charming enterprise which lit their full-length but with even greater colour and potency to its creative flame.

Formed by vocalist/guitarist Nathan Loughran and drummer Jason Moran, The Reverse was eventually completed by guitarist/backing vocalist Sam Hartley and after a previous bassist, James McKeown (ex-lead singer of The Great Divide and The Colours). A triplet of well-received EPs from debut A Clean Incision in 2006 through to Shutterspeed the following year, and in 2008 My Lifelong Psychological Experiment, reinforced the band’s emerging live reputation. It was the Graham Dominy (The Rifles, Razorlight, Ray Davies, Supergrass) recorded and mixed Kind Words For Cruel Times which opened up a broader attention, its success matched by shows with the likes of Klaxons, The Wave Pictures, Lupen Crook, Sgt Buzfuz, and Carina Round. The new single shows another engaging step forward for the quartet and you suspect with a similarly blossoming reaction.fucking_band_front

No, I Don’t Want to See Your Stupid F**king Band opens on a coaxing acoustic strum, the guitar casting a welcoming melody as Loughran begins the narrative bred from experiences and obstacles all emerging bands come up against. With lively yet controlled beats courting magnetic keys and harmonies, the song shuffles and tempts with a radiant weave of melodic prowess as bass and guitar lay down their own highly persuasive bait, the whole mix a gentle and unassuming song musically, compared to the lyrical altercation, but textured with refined and resourceful enterprise to spark the senses.

No, I Don’t Want to See Your Stupid F**king Band is a soothing seduction with a snapping title and lyrical premise, a song which reconfirms The Reverse as a band to keep good attention upon. It is not going to set your world on fire but the track is certainly going to give it a satisfying glow.

No, I Don’t Want to See Your Stupid F**king Band is available now @ https://thereverse1.bandcamp.com/track/no-i-dont-want-to-see-your-stupid-f-king-band

www.thereverse.co.uk

RingMaster 09/12/2014

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Prowling the dark side of being: exploring the corners of Invertia with Dave Coppola

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An invasive corrosion of senses and emotions, Another Scheme of the Wicked from US band Invertia stands to the fore of psyche invading threats and violating seductions unleashed in 2014. The album is a virulently compelling incitement of senses and thoughts from a duo in guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson who seem to instinctively press all the right buttons with their provocative sonic and primal explorations. With an appetite to find out more about the band and its dark depths, we had the pleasure to talk with Dave who helped us explore the new album, the creative union between the two, the art of remixes and plenty more…

Hello Dave and welcome to the site and thanks for agreeing to talk with us.

Thank you for the interview, my pleasure!

First of all can you tell us about how you both met?

We actually met thru a mutual friend.

Was there a musical connection right away and how long before thoughts of creating a band took hold?

We started working on songs right away. We basically just started tracking guitars to a beat. Those songs would eventually become Blasphemy Be My Name and Perpetual Alert from the first album. We didn’t think of it as a “band” at first. It was just a recording project that became a band! We never thought we would play live when we met, that’s for sure. It’s crazy when we think about how we started to where we have come; for example opening for Blood of Heroes with Bill Laswell, getting a remix done by Justin Broadrick from Godflesh, to putting out an album with Ohm Resistance. It’s unreal.

Did you have any specific intentions when working on your first songs or was it more of let’s play and see what evolves initially?

It was more let’s see what happens. I never thought Tim and I would still be doing this years later…I’m glad we are though.

Invertia2Though your sound seems to be tagged most often as industrial black metal we found it to be so much more and pleasingly impossible to tie down. What are the most predominate inspirations upon yourselves which you feel have spiced your writing etc.?

Thanks for the kind words! We have all kinds of inspirations whether it be bands, film, books etc. There are too many to name, especially between the two of us. I listen to a lot of metal like Mayhem and Burzum, and industrial as well, Godflesh and Ministry. Tim likes the Residents and Adam Ant. We both like the same bands like the Pixies and the Butthole Surfers. William S. Burroughs and George Carlin are huge influences as well. Also the film They Live by John Carpenter is having a huge influence on the new album which is currently underway. So that’s why we sound the way we do.

You have recently released Another Scheme of the Wicked, a captivating and intrusive hybrid of sound and enterprise. Did it in creation fulfil or your hopes and thoughts or has it evolved beyond even your expectations with its potency and might?

We did the best we could, we always do. That way no matter what anybody says about it we are still satisfied in the end. Albums are like Presidents, it takes time to see the mess you made!

It feels a much darker and more predatory encounter than your previous release, more dangerous one; does it feel like that to you and if so was that a deliberate aim from the start or an organic emergence?

I agree, it is much darker…It has a little more of a dynamic feel to it than the first one. I’m not saying it’s a dynamic album just more than the debut haha! We are fast and in your face the whole time with this album other than the remixes. When we were writing we didn’t sit down and plan it that way it just happened. I think that’s the way it goes for most artists, you never know what you’re going to get at the very beginning. It’s always a surprise at some point during the process.

How do the songs come together and evolve primarily between the pair of you?

Typically myself or Tim will write a beat, I’ll put the guitars and bass down and go from there. Tim will take the beat and make it into drum sections and the song will evolve over time. Songs can be like a photo, you have to capture the evolution at the right time or you’ll miss it.

Tell us about the intent and premise behind Another Scheme of the Wicked.

The intent was to put out a decent industrial metal record. The premise was to make it original and not your every day run of mill metal record. I think we achieved that if I may say so. The album got mixed reviews from the metal community. I knew it would, and at the end of the day I’m glad it did.

The five tracks come with another five remixes, each an interpretation of the previous quintet, was this planned from the first seeds of the release?

Not at all… That was pure luck with a sprinkle of dedication. If you would have told me this album would have those artists on it remixing our music, I would have laughed at you.invertiacoverofficial

In many ways the remixes are doppelgangers of the originals for us, though it is debateable which are the darkest and most frightening versions. Did you give free rein for the likes of Justin K. Broadrick and End.user in their take on your songs?

Absolutely…There was no way I was going to tell those guys what to do. There is no way I could have. You can’t tell Justin Broadrick or Kurt Gluck how to do their job, they just do, that’s why we chose them. That’s the element of surprise I enjoy in this art form I spoke of earlier.

It has to be admitted we have never been fans of remixes, or maybe just do not understand their function though those on Another Scheme of the Wicked have impacted far deeper than most others we have come across on our thoughts. What is it about them which inspires you and lent the idea to include them on the new release?

We are big Skinny Puppy fans and we always liked the way they remixed everything. So I guess it just comes down to demonstrating a different point of view thru a common theme. I always thought that was interesting. I think it gives an extra depth to the album when played in its entirety. The next album we may, if at all, do them separately. To be honest my thinking was it’s just cheaper for the people purchasing the album to not have to buy remixes. But this time around we will give them the choice.

I have to ask as it must happen to someone somewhere, how would you deal with a remix which you did not like and felt did not warrant a place or fitted on one of your releases?

Well, we would be pissed; we hope it would not come to that. That’s why we asked the artists we did, and of course they were very professional in sending us either a couple of versions or following up with us to make sure everything was cool.

Back to your songs; at times they seem to be alive as they ignite the imagination and emotions, feeling like they have hidden depths unrevealed to the listener. How intensively did you take sculpting and shaping the songs of the release?

We are very picky in studio. We have a simple chemistry, and it goes like this. If Tim doesn’t come out of his seat during playback of the initial arrangement, it’s not good enough and I’m back to the drawing board. That’s how I know it will ignite the imagination and emotion, because we can see it in ourselves. If it works for us it might work for the listener as well.

InvertiaWas it an on-going honing process until recording time?

Pretty much, mostly the guitars and arranging…We can bring in ideas on the spot with samples and bass parts.

How about the lyrical side of your music? Was that an intensive development and what inspires their breath predominantly?

The lyrics are inspired by just peoples wrong doing really…People’s hatred for one another and trying to get the last laugh on your own species. It’s a place I don’t like to go for too long a time. We would probably have more material if I frequented the place that inspires the lyrics more often, but it’s a creepy spot.

Tell us about the other projects you are both involved in, and were involved in a couple of the remixes on Another Scheme of the Wicked I believe?

I have another industrial project called TranZi3nT and Tim has another project call R3TRD. We use them as a break from Invertia.

What is next on the horizon of Invertia?

We just released a new single for download at http://invertia.bandcamp.com/ called Existence Exit. It won’t be on Amazon or ITunes as they called the cover “pornographic”. You can judge for yourselves.   We also a have a 7” single coming out called Forever Incision that will have a live version of Facility of the Feeble on it, which is the opening track of the debut album. That will be put out through our label Ohm Resistance, which you will be able to get at http://ohmresistance.bandcamp.com/ soon.   As for the new album we are hoping for late spring time. We are looking to play some more live shows as well. Hopefully 2015 will be a good year for Invertia!

Thanks again for chatting with us; any final thought you would like to leave us with?

Thanks Pete! It was a pleasure doing this interview, good luck to you!!!

Dave (INVERTIA)

Read the review of Another Scheme of the Wicked @ http://ringmasterreviewintroduces.wordpress.com/2014/04/10/invertia-another-scheme-of-the-wicked/

http://www.inv3rtia.com/

Pete RingMaster

The RingMaster Review 08/12/2015

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Witching Waves – Fear Of Falling Down

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Having been hooked by the band with their limited edition cassette single Concrete/Chain Of Command earlier this year, there was a fair few tingles running through anticipation with the announcement of the debut album from Witching Waves. Those urges have grown to lustful proportions now that Fear Of Falling Down has infested ears and psyche, the release confirming all the promise and thrills experienced before whilst showing a broader adventure and creative resourcefulness in songwriting and sound.

Hailing from London and formed in 2013 as the brainchild of duo Emma Wigham and Mark Jasper (Sound Savers Recording Studio), Witching Waves through their unrelenting appetite for performing live and songs swiftly drew keen attention their way. Fusing as many essences of punk as you can imagine in a noise and discord sculpted garage pop incitement, the band bridges the DIY essence of the late seventies and the voracious causticity of modern invention; kind of like Swell Maps meets The White Stripes but for a truly unique and tenaciously addictive proposition.

Released via Soft Power Records, Fear Of Falling Down sees the duo now a threesome with the addition of a bassist, though we cannot tell you the name. The band’s fourth release, after Witching Waves LP Cover Artthree cassette singles, is a master class in raw sonic temptation and primal rhythmic slavery; each song united by a certain anthemic swing and creative tenacity yet alone in warped character and discordant agitation. Recorded on to 8 track tape, the album is a minimalistic yet inventively involved incitement, a cavernously toned but intimately delivered protagonist to excite ears and imagination with ease.

The album’s title track is the first to get the juices flowing, the opening jangle of guitar just the prelude to a rhythmically driven slice of agitated pop. The excellent vocals of Wigham soon join the rampancy of drums and the scrub of guitar before Jasper takes over with his equally captivating tones. Virulently catchy with a bounce to match, the track dances with ears and emotions from start to finish; every note, beat, and vocal enterprise simple but expertly creative seduction.

The post punk kissed Cold Out comes next, the contrast of the harmonic elegance and rawer expression of Wigham and Jasper respectively, alone a gripping enticement. In some ways there is an early Siouxsie and the Banshees feel to the song but also the flowing melodic quaintness of a Morningwood, the combination an addictive proposition, though soon surpassed by the poppy endeavour of Better Run. A slight spring of surf rock runs through the garage rock bred song whilst again vocals are as broadly bewitching as the slim but pungent sounds around them. As most tracks on the album, it is hard for feet taps and vocal participation to restrain from joining the band during the progress of its gently cacophonous croon before it makes way for the post punk infused stroll of Counterpoint. With repetitious riffs and infectious rhythmic bait, the song is a more challenging persuasion with its soaking of acidic discord and off key dynamics, but another to leave ears and passions basking.

The raw charm of Concrete comes next, its opening Buzzcocks spiced hook an instant attention grabber whilst a courting stride of rhythms draw their own submissive response. The plain almost disillusioned monotone vocals of Jasper contrast perfectly with the fluid melodies of Wigham, whilst the throaty melancholic bass prowl simply adds an addictive icing to the enthralling coaxing of body and mind. Like an unhinged blend of the Yeah Yeah Yeahs and The Cramps, the song is an aurally dishevelled but controlled temptress, and the perfect appetiser for the brilliance of the following Creeping. Stalking ears with rhythmic eagerness, the song stomps with muscular and concussive beats as riffs and basslines flirt with their own rowdy enterprise. There is for not the first or last time, a similarity to Scottish duo The Creeping Ivies about the band’s sound across the album, here being a potent comparison though again Witching Waves emerge as individual and original in every sonic aspect.

Both the outstanding News, with its hypnotic rhythmic baiting and spicy garage rock keys around a creative drama, and the intrigue drenched Wait Around keeps the adventure of Fear Of Falling Down on its highest plateau. The first of the two is a web of colour rich discordance and imaginative confrontation honed into a ridiculously infectious trap which simply leaves ears, thoughts, and emotions grinning whilst its successor juggles sonic abrasion with warm pop harmonies for another song which takes longer to reach the peaks of others, but only adds to the unpredictable and captivating climate of the release.

Fear Of Falling Down closes with the excellent Barber where garage punk and eighties post punk meet for a contagion filled stamp of punchy beats and wiry hooks aligned to velvety heavy bass lures. It all of course infused with the wonderfully clashing and superbly united vocal attack of Wigham and Jasper.

If Witching Waves have impressed before with their early appetisers then the album offers a fuller and more flavoursome meal of dissonant and melody bred noise. For those new to one of the UK’s most thrilling propositions, Fear Of Falling Down is a sonic lust in the making.

Fear Of Falling Down is available via Soft Power Records as a Limited Edition Vinyl LP (250 Copies) and digital download @ http://softpowerrecords.bandcamp.com/album/fear-of-falling-down

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RingMaster 08/12/2014

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Inherit The Stars – Beyond The Beacons EP

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There is no denying that UK band Inherit The Stars is growing into one seriously compelling and impressive band, but it always helps to be forcibly reminded with releases like Beyond The Beacons. The band’s second EP, it is a gripping slab of melodic and voracious metal aligned to tenacious rock and electronic enterprise. It never gives ears a moment of dull peace or expectations the chance to stake a claim, persistently providing a strikingly diverse and flavoursome incitement. It is not without a few elements which do not quite find the same heights of persuasion as others if we are being picky, but Beyond The Beacons ultimately only grips the imagination and passions whilst reinforcing Inherit The Stars As one of Britain’s brightest prospects.

Hailing from Sheffield, the quartet of vocalist Daniel Jeffery, guitarist Chris Brayshaw, bassist Lewis Wild, and drummer Theo Egginton, have earned a potent reputation for their live performances and sound which has been more than backed up by their first EP and debut album Were Made to Walk the Skies. Both were infested with songs which showed inventive songwriting and vivaciously entwined and diverse essences. Beyond The Beacons is no different yet it seems to have a buoyancy and tenacity which moves the creativity and raw power of Inherit The Stars on to greater heights. The press release with the EP suggests that it brings “the potency of While She Sleeps to the electronic wizardry of Enter Shikari and the melodic fluency of Fightstar,” something hard to go against but there is plenty more which only enthrals and excites.

Latest single Still Alive sets the drama of the release off, though its opening caress of keys does not give a real sense of the raw power to come. It is a potent if unsurprising lure, but only around 946070_788663894538370_8391905149813282513_nfor a few seconds before a gripping rugged groove binds riffs and rhythms for an imposing tempting. It too is a mere breath in the emergence of the song, it sinking into a relaxed embrace as Jeffrey’s tones begin their narrative whilst crystalline melodies wrap the senses. There is always a sense of drama and impending intensity flirting with ears though, its expulsion through additional vocal roars and predatory riffs an intriguing and pleasing counter to the smouldering elegance elsewhere. Every movement of the track enthrals, vocally Jeffrey persistently impressing whilst the spicy craft of Brayshaw is a constant inventive enticing backed by the predatory rhythmic skills of Wild and Egginton. The electronic elements become more pronounced towards the song’s climax too, adding another hue to the fiery blaze of the encounter.

The impressive start is followed by the similarly radiant presence of Flaws, keys again making the initial colour of the developing scenery. Clean and blistering growls switch and entwine as the song grows, the former it has to be said where Jeffrey especially shines, whilst keys continue with their melodic dance and expression within the expanding tempestuous climate of the encounter. Post hardcore seeded, the track is at its best when the band erupts with their additional vocals for an anthemic incitement matched by the thick enticing of the vocals. The track does fail to reach the heights of its predecessor but keeps ears and attention bound with total ease before making way for the hellacious fury of Exit Plan. The third track brawls with and spills animosity over ears from its first breath, aggressive rhythms and raging riffs emulated by raw vocals. Within the turbulence though, tangy grooves flirt with venomous intent before the track spreads its imagination with electronic spicing and another blaze of contagious vocals. Like a mix of Dead Til Friday and Collisions, the track is a simultaneously brutal and seductive romance for senses and emotions, and another lofty peak on the increasingly striking release.

Better Than This rumbles and soars in equal measure next, the song one which also does not hit surrounding heights yet with its weave of electro and sinew encased melodic invention provides a tapestry which is a constant provocateur. The difference between the song and those it is sandwiched between is marginal, just personal tastes adding their commentary for the main, and it is fair to say that Better Than This only adds to the adventure and raw potency of the release, a success given another shot of thrilling quality by the closing On Our Own. The track is simply outstanding, the best of the EP revealing yet more of the skills and imaginative resourcefulness of the band. As pop as it is muscularly anthemic and as imposing as it is melodically and harmonically poetic, the track is the tour-de-force of the EP, easily the next single to awaken attention in newcomers.

Inherit The Stars was already talked of as one of the most promising bands to emerge in recent years on the UK scene but Beyond The Beacons more than suggests that the band has arrived, though still with further potential and depths to be tapped. A prospect hard to keep anticipation and expectations grounded for.

The Beyond The Beacons EP is available now as a name your price digital download @ http://inheritthestars.bandcamp.com/

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RingMaster 08/12/2014

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Casino Thieves – The Quiet Road Home

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Laying somewhere between a brawl and infectious seduction, The Quiet Road Home EP from Welsh rock band Casino Thieves is a rousing slab of raucous rock ‘n’ roll to tempt ears and a lingering appetite for more. The second release from the trio it is not an encounter which might blow you away, but with its potential filled invention and impassioned sound, it is a proposition to suggest that Casino Thieves have the goods and skills to become a potent part of shaping the British alternative rock scene ahead.

Emerging from the South Wales valley, Casino Thieves has grown through varied line-up changes as well as name, and honed a sound over time to lure attention with ease. Debut EP Russian Courage put down an alluring marker which The Quiet Road Home has not only run on with but turned into an even stronger and tenaciously persuasive incitement. Receiving its nationwide release December 8th, the five track encounter roars with inescapable energy and passion, exploring the promise of the already accomplished songwriting and sound of vocalist/guitarist Jeremy Dessent, drummer Adam Kerslake, and bassist Leon Jones. As suggested it might not have you shouting from the rooftops but The Quiet Road Home more than likely will have you getting the ladder ready to get to those heights for a future major triumph.

Casino Thieves start things off with the excellent Halogen Eyes, a song immediately rubbing up and lifting ears with a thick flush of riffs and thumping rhythms led by the potent tones of casino thieves coverDessent. It is not long before thoughts find a Hundred Reasons spicing to the already hook spilling encounter whilst the thicker more intensive tenacity of the song hints at a Reuben flavouring. It is soon a dramatically striding proposal, vocals full of expression and purpose whilst hooks and a great heavily voiced bassline contrast as they add choice temptation and shadows to the song respectively. From start to finish, the song is an adrenaline driven anthem leaving feet and senses breathless and appetite greedy.

The following Licence To Kill takes its foot off the gas just slightly, but still offers a dynamic and contagious protagonist to fully engage thoughts and emotions. A snarling bass sound and rumbling beats provide a rhythmic drama whilst guitar and vocals add rich sonic and expressive colour to the thoroughly engaging offering. It makes for a fiery yet controlled tempest of intensity, which croons and roars in equal measure, something which applies also to the next up Exit or Entrance. Opening with a tangy groove and another dark throated bassline, the song is soon flaming with the resourceful tones and stringed enterprise of Dessent, whilst both Kerslake and Jones create a gripping web of rhythmic enticing. It at times provides a mellow if spicy caress and in other moments borders on a rage of intensity and toxic charm, subsequently taking best songs honours on the release.

Crash stomps in next, hooks and sonic imagination a swift tempting within another great almost muggy energy. Vocals bring their appealing hues as the song, which without creating a truly original landscape, gives plenty for imagination’s teeth to tuck in to and emotions to find a lingering attachment to. It is hard to say that the track is distinct enough from others on the EP, or at times from what assumedly might be South Wales bred inspirations to the band, but it cannot defuse a lure and open invention which makes for a richly satisfying companion.

The Quiet Road Home closes with the melodic balladry of Beautiful Lenses, a sonic breeze of a song showing another aspect to the band’s songwriting and invention. It delves into dark corners and emotive exploration, providing a fascinating flight of sound and enterprise for a solidly enjoyable end to a fine release.

Casino Thieves are becoming no strangers to strong support and acclaim and will only be garnering more through The Quiet Road Home. The three-piece is on a noticeable ascending rise, something easy to understand with songs like those filling up the band’s impressive second release in their armoury.

The Quiet Road Home EP is available now through all digital outlets.

https://www.facebook.com/CasinoThieves

RingMaster 08/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Deer Johnson – Another Day

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Seductively melancholic yet inescapably bracing and at times anthemically uplifting, Another Day the new single from Swiss duo Deer Johnson is a magnetic captivation luring attention time and time again. Consisting of Philip Deer and Toby Johnson, two friends on the evidence of their new single capturing a fresh vibrancy and creative energy to acoustic music with their creative presence, Deer Johnson are about to take their sound around the UK in a series of headlining dates and shows supporting folksters Moulettes. The single is released to coincide with the tour and the perfect taster of shows and introduction to the band.

Another Day opens on a caress of guitar, a coaxing unveiling an immediately evocative melody with more than a shadowed quality of The Cure to it. Vocals swiftly join the emotive drama with an expressive tone as suggestive in hue as the colourful intimacy of the guitars now courting its emerging narrative. With subdued yet pungent beats and a wonderful dark bass tone to the encounter, the song croons and seduces with elegant mystery and emotional expression. With both guitars and voices entwining their distinctive but superbly blended flavoursome qualities, Another Day simply mesmerises as it sparks ears and imagination. All the time there is an underlying almost anthemic essence to the song too which in turn only has thoughts and emotions fully roused.

If Another Day is anything to go by, British audiences are in for a real treat this December as Deer Johnson hit the British roads, and the band itself destined to a very healthy reception.

Another Day is available now.

Deer Johnson Tour dates:

10th Dec                   Wolverhampton – Robin 2 (Supporting)

11th Dec                   Wakefield – Unity Hall (Supporting Moulettes)

12th Dec                   Liverpool – Lomax

13th Dec                   Bury – The Met (Supporting Moulettes)

14th Dec                   Sheffield – South Sea Live

https://www.facebook.com/deerjohnsonmusic

RingMaster 08/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/