Immigrants – Self Titled EP

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Drawing on the inspiration of bands like Faith No More, Queens Of The Stone Age, Nirvana, Soundgarden, and Barkmarket, UK alternative rockers Immigrants are ready to take a sound already whipping up enthused live reactions, to a wider audience with the release of their self-titled debut. It is not a boundary setter or a new template to ignite the imagination of contagious rock ‘n’ roll, but with ease the EP is a seriously enjoyable and adventurous introduction. Four songs which revel in their familiarity whilst presenting fresh and distinct characters, the release is a striking and rigorously pleasing encounter from a band soaked in potential.

The London based trio of vocalist/guitarist Andrew Cunningham, bassist Michael Sellar, and drummer Daniel Clifford as mentioned has found eager and greedy support of their music live as they extensively hit the London music scene since forming last year. With the band and songs fuelled by “a common anger directed against broad scale social issues such as inequality, war and oppression,” Immigrants’ music is a hard hitting and explosive force upon ears and thoughts as evidenced in their EP, and thoroughly enthralling in its ability to emotionally incite and infectiously seduce.

The EP needs little time to make an impressive persuasion of ears and thoughts, especially with tracks like Masquerade within it. From a sonic breath, a grumbling bassline and scything swipes of guitar swiftly awakens a keen appetite whilst crisp rhythms firmly punctuate the brewing bait. Rather than increasing its lure, the song then switches its attack and relaxes into a just as appetising stroll ready for the entrance of Cunningham’s expressive tones of. Sellar’s bass takes the opportunity at this point to start creatively tantalising and flirting with willing ears to increase the appealing lure of the song, a temptation which only blazes brighter with eruptions of roaring riffs and heavy beats leading into a highly infectious chorus. There is an unpredictable adventure to the song and impassioned energy in its music and vocals which captivates even further, resulting in an enthralling encounter which plays like a mix of I Plead Irony and Mojo Fury.

The track alone ensures the band is worthy of greater investigation but backed forcibly by Damage and its more pop punk revelry. With the tempered snarl of Hagfish and the melodic tenacity of Nirvana flavouring its easily engaging romp and energetic vivacity, the song is like an old friend with a new adventure. It is a great foot-stomper and again contagious gateway into the feverish enterprise of the band and its bullish sound.

The harder toned presence of Don’t Back Down shows another strong side to release and invention of the band, its formidable rhythmic enticing and moody bassline an imposing presence taking thoughts into emotive scenery of melodic reflection and intensive intimidation. There is still a virulent contagiousness to the slower stroll, an engrossing beckoning to its prowling weight and passion of the song. Though not as immediate and lingering as others on the release, it is arguably the most inventive and thickly woven proposition, and no less pleasing.

The gentle caressing melodic canter of Hole In My Heart completes the quartet of offerings, its mix of bluesy sonic endeavour and fiery emotively sculpted vocals and melodies, another rich tapestry to immerse in and keenly devour. Again there is a familiar essence to the song though less definable this time but it only adds to the drama and enjoyment of a rather fine song.

Immigrants’ EP makes a powerful opening bid to awaken attention and passion towards their presence. It suggests this is a band still evolving and finding its unique sound but that it will be an inevitable discovery with even greater results than found on this rather exciting first encounter.

The Immigrants EP is available now, for more details check out https://www.facebook.com/pages/Immigrants/563489277015507

RingMaster 20/10/2014

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Tigerpunch – Fight Of Your Life

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Colliding metal voracity with the ferocity of heavy rock and then binding it with salacious grooves, UK rockers Tigerpunch show themselves to be an attention seeking and immensely satisfying proposition through their debut release. Made up of five slabs of rock ‘n’ roll afraid to stomp and fling their attributes around with mischievous abandon, the Fight Of Your Life EP is an instant enjoyment, though at first it is more a “nice, but…” encounter than a “wow” moment. Over time though as open craft and invention shines through the surface alongside lyrical devilment, the release emerges as a potent and addictive romp which may not be a classic but certainly is an encounter drawing attention back time and time again.

Wolverhampton’s Tigerpunch was brought to life by brothers Rich Reynolds (guitar/ vocals) and Jay Wolfwood (bass), its name grabbed from the movie Kung Fu Panda and inspirations from the likes of The Foo Fighters, Audioslave, Rage Against the Machine, and Nirvana. The line-up, after a search, was completed by drummer Russell Latham and swiftly the trio set about audiences to earn a rich reputation for their live performances, shows which has seen them play with I Am Giant amongst many. Fight Of Your Life is their first swipe at national attention and such the formidable revelry and fiery energy within it, the EP is a sure fire focus stealing introduction to the raucous treats of the band.

The release erupts into thunderous life with My Pet, Hate, and a wall of heavy handed beats and caustic riffs entwined with an immediately spicy groove. The vocals of Reynolds are just as swift with their entrance and devilish character, tigerpuncha mischief fuelled tone soaking every syllable as guitars flirt with ears behind them. The song proceeds to thrust its rhythmic hips and bruising tenacity through ears whilst grooves and a flavoursome solo add to the riveting colour of the song. Is it, much as the EP, offering anything dramatically original, no not really, but does it emerge as a contagious and rather irresistible rampage, you bet.

The following Blonde, as its predecessor, is bred from heavy metal and groove rock seeds, and is soon brushing ears with raw and vivacious flames of sonic enterprise and rhythmic confrontation. Riffs abrase and guitar endeavour sizzles throughout the song, whilst the drums beat a submission from the senses as everything becomes entwined in addictive and richly hued grooves. The track has little difficulty in capturing imagination and neck muscles before making way for the more intensive but no less infectious examination of I Am Alive. Whereas the first pair of songs shows their melodic and heavy metal breeding, the third track moves into a grungier area. Employing essences found in Alice In Chains and Gruntruck, the song prowls around ears with acidic colouring to its melodies and grooved temptation. It is another side to the sound and intent of the band, seemingly a more serious and predacious edge coming into play, though inescapable hooks and those ever gripping grooves are just as prevalent in the tempestuous presence of the excellent song.

A sultry air immediately soaks the senses as a broody funk laced bassline hits ears with the entrance of next up Takedown The Bull. It is an instantly riveting start which soon evolves into a Rage Against The Machine stroll with a Pantera like southern grooving to its scenery. The track smoulders and shimmers rigorously within its unrelenting slow heavy crawl, brewing up a tasty boiling of sonic intrigue and melodic causticity. Once more it is hard to claim there is much new on display but for pleasure and accomplished enterprise the song lights the passions.

The EP is closed by Serve The Freakshow, a track opening on a vicious rally of rhythms before casting its own heavy grooving and rhythmic antagonism. It is brewed from the same vat of endeavour as the previous song but equally employs the more classic ingredients found in the opening pair of tracks. It is the weakest song on Fight For Your Life but still another thoroughly enjoyable and easy to engage with brawl to bring the release to a flavoursome close.

Fight For Your Life holds little in the way of surprises but everything about it and the adventure that is Tigerpunch, eventually leaves you wanting more. For the first jab from the band, this is one potent and highly likeable dust-up.

The self-released Fight Of Your Life EP is available from 20th October through all digital stores.

http://tigerpunchofficial.com/

RingMaster 20/10/2014

Copyright RingMaster: MyFreeCopyright

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WITCHRIDER move ‘Unmountable Stairs’, out 3rd Nov via Fuzzorama Records‏

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WITCHRIDER DEBUT ALBUM AND EUROPEAN TOUR ANNOUNCED!

Fast rising Euro stone rocksters ‘Witchrider’ release ‘Unmountable Stairs’ on Monday 3rd November through Fuzzorama Records/Code7/PHD, and tour throughout Europe with Truckfighters.

When listening to Witchrider, you cannot help but be drawn in by their magnetism. They have a haunting beauty that proves to engulf and ignite. As frontman Daniel Dorninger says, “the thing about making music is there are no boundaries. It’s like a spirit of emotions that eventually passes through your body…you never know what you’re gonna’ end up with”.

Formed in 2012 and hailing from Graz, Austria, Portsmouth, Witchrider sport a mutual love for the quirky riffage of heavyweights QOTSA and Eagles Of Death Metal, as well as affection for the dark elements of Soundgarden. Siphoning fuel from these powerhouses, Witchrider offer a genuinely refreshing take on their own brand of stripped down, fuzzed up alternative rock.

Living and breathing their music is crucial to the four-piece, and as such, they are constantly writing and honing their craft. “Being able to work on music all the time is essential for all of us. That’s why we record most of our stuff at home if we can. There’s even a freakin’ drum kit next to my bed!” states drummer Michael Hirschmugl.

Although the songs work with each other as a collective piece of work, Witchrider’s music is diverse and has an array of influences. “I always found musical style not really that important. What counts the most is whether you can identify yourself with the music or not. I know I can and I am happy about every person who can as well. I think that’s what makes music ‘cool'”, says Hans-Peter.

As well as basking in the writing process, the band are supremely dedicated to playing live and fans will have ample opportunity to see the quintet as they hit the road this autumn supporting label mates ‘Truckfighters’. For a complete list of all European shows, check out http://www.facebook.com/witchriderband

In early 2014, Witchrider signed to Truckfighter’s Fuzzorama Records and they now release their new album ‘Unmountable Stairs’ on Monday 3rd November. With eleven killer cuts of low-strung scuzzy alt-rock, the record contorts and burrows itself deep into your skull. Look out for new single ‘I’m Outta Breath’, and don’t miss the band on tour throughout October and November.

http://www.witchrider.com http://www.facebook.com/witchriderband

https://twitter.com/Witchriderband

WITCHRIDER LIVE (as main support to Truckfighters):Nov 10 – Brudenell LEEDS;
Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW;
Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov
15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.

DIE NO MORE unleash their ‘Elected Evil’, on 3rd November via Rocksector Records‏

Die No More Online Promo Shot
ASCENDING BRIT METAL CREW DIE NO MORE RELEASE DEBUT ALBUM

UK metallers ‘DIE NO MORE’ have just signed to Rocksector Records and they unleash their debut album ‘Elected Evil’ worldwide on Monday 3rd November, through all good stores.

Bursting out of Penrith, Cumbria, UK newcomers Die No More merge together a formidable sound which lifts from the Bay Area Thrash metal scene and fuses elements of such intensity they call to mind legendary British bands such as Iron Maiden, Judas Priest and Saxon. Born in 2011 and consisting of four friends who had, and still have, the same passion for creating modern metal that also acknowledges classic influences, Die No More’s sound is heavy, yet melodic, and it grabs a hold of you with its jack hammer guitar riffs and frenetic solos. While reminiscent of the greats, they bring a fresh and hugely enjoyable slab of Thrash Metal to a young audience.

The band’s rise has been progressive and certainly productive. Last September they unleashed their debut EP ‘Blueprint’ which secured wide praise throughout the metal underground. The record also gained the attention of Rocksector Records who swiftly signed the band to their roster. The quartet continued to successfully hit the live circuit before heading back into Axis Studios to work again with revered producer Matt Elllis (Black Spiders, Absolva and Massive Wagons) for their soon to be released debut album ‘Elected Evil’. Yet again, the band have pulled it out of the bag. The album is rammed with eight beefy metal cuts, from their new single ‘Dark World’, which hammers at your eardrums with true grit and conviction, to the dynamic and driving ‘Absentia’. ‘One In The Chamber’ further showcases the foursome’s craft and guile. Now with European dates and a UK tour confirmed to support the album, the band are destined to break the UK metal scene.

- DIE NO MORE RELEASE ‘ELECTED EVIL’ WORLDWIDE ON MONDAY 3rd NOVEMBER
THROUGH ROCKSECTOR RECORDS / CODE 7 MUSIC AND ALL DIGITAL STORES -

www.facebook.com/DieNoMore

Late Cambrian – Golden Time

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Our introduction to US indie rock band Late Cambrian came with their Social Season EP and became a lustful attraction through second album Peach, a release offering a thrilling dance of vibrant personality with matching sounds and imagination. It was an encounter of at times stunning brilliance within a constantly refreshing and warm temptation which stirred up the passions within seconds of contact. Now the band returns with its successor Golden Time, a release bred from the same eclectic invention and making a potent first impression, but working with a slower more sultry seduction and smouldering pop vivacity reaches the same captivating heights. The album reveals another leap in songwriting and sound maturity without relinquishing the bands almost mischievous use of hooks and melodic grooves. It takes its time to reveal all its depths but Golden Time emerges as another irresistible proposition from the Brooklyn quartet.

Late Cambrian has continued to make impressive marks from debut album The Last Concert released in 2011, onwards. Their Social Season EP of the following year raised the bar and bred one of their most successful and greedily devoured songs to date, Ryan Gosling. It was with Peach though that John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass, backing vocals), and Olive ‘O’ Hui (vocals, synth) sparked a much stronger and global spotlight. Now with the addition of drummer Alex to its line-up, the band offers a new tantalising treat with Golden Time. The band has often been compared to Wheatus, who Late Cambrian are touring the UK and Europe with as this review is posted, but the new album shows a unique and distinctive bloom to its summery sound and presence, which flourishes in that maturity spoken off earlier.

The PledgeMusic funded release opens with an immediately enthralling and virulently infectious Throwing Shade. As soon as guitar stabs, with a tone quite distinctive to the band, crosses ears there is a warm glow in emotions and imagination bred from past experiences with Late Cambrian’s invention. There is the quirky manner and enterprise which fuelled the last album on immediate show but also a melodic elegance and relish which provides new scenery to indulge in. The welcoming and harmonically bracing vocals of Wlaysewski backed by Moudatsos and O, embrace like an old friend but again with a new hue to their enterprise and stature. It is a thrilling entrance which the song reinforces across its length with a transfixing wash of radiant keys and punchy rhythms, but it is the Steely Dan like caress, vocally and musically, which steals the deal.

The following title track is no less compelling and invigorating. Electronic pulses lead to a coaxing guitar twang, which in turn moves into a bold stride of crisp rhythms across rich and magnetic melodies. The song’s title fits the sound Golden Time album Artworkwithin it perfectly, the duet of vocals between Wlaysewski and O as seductive and bright as the feisty pop melodies dancing around them. Again there is a contagion to the song which is inescapable for ears and an energy enslaving feet but it is its melodic swing that ignites another hungry urge in an already keen appetite.

Illamasqua swiftly installs its insatiable persuasion next, rhythms and vocals the prime lure initially, before the song slips into a tenacious stride of jabbing beats and lively yet sultry keys. As with many songs on the album, there is an instant familiar breath and touch to it which by the close you realise is simply from the band having their own distinct sound and presence. Also noticeable is that the song hints it has a fire to expel but instead remains in its enjoyable smouldering. This happens a few times across Golden Times and though at times you wonder how things would go if the band had ignited that extra mystery spark, the album flourishes in its inventively controlled and imaginative calm.

Both Game Show and Now keep the creative and appealing flames in ears and emotions sizzling. The first is a gentle canter of a song with potent and varied vocals against eclectic melodies and unpredictable endeavour, all flirting around a deliciously throaty bassline, whilst the second flows with a slow seducing of mellow yet vivacious vocals within a web of sharp hooks aligned to wispy blues kissed melodies. Though neither quite grips the heights of certainly the opening pair of tracks, both shine with a blaze of charm and bold imagination before making way for the thrilling romp of Objects May Appear. Big riffs and beats dance with ears straight away, their tango irresistible and only enhanced with the joining of similarly jaunty vocals from the band in turn. There is no escape for body, voice, and emotions to the album’s anthemic lure, the track a beguiling and fascinating stomp taking best song honours.

DYBIL with its crystaline melodies alongside riveting vocals and harmonies, provides a powerful romance for ears and senses to immerse in and passions to grow for whilst the following acoustic hug of the emotive Montauk simply whisks the imagination off on a seductive waltz to leave satisfaction brimming. Both reveal more of the evolution in, and growth of, enterprise and songwriting within the band before Shiny Cars brings the album to a healthy close. The outstanding final song has a thick and heavy resonance absent from much of what came before which again only offers another enjoyable shade to the album, whilst it’s gentler but lively vocals and melodic adventure only declares that this is a band coming of age.

There is no go for the jugular stand-out on Golden Time, no jaw dropper like Ryan Gosling or Wolf, but every track has a body and heart which outshines plenty of Late Cambrian’s impressive catalogue and combine for the band’s finest moment yet. For beautifully sculpted and dramatically radiant rock pop it is hard to think of many better offerings this year than Golden Times.

Golden Time will be available in November, for more details and remaining dates on their tour with Wheatus and  MC Frontalot go to http://www.latecambrian.com/

https://www.facebook.com/LateCambrian

RingMaster 17/10/2014

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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Censored – 2014 Demo

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Everything about the sound of UK metallers Censored is heavy; from avalanche like rhythms and thunderously toned vocals to juggernaut riffs and guttural basslines, their music resonates through ears and bone as forcibly as it does the psyche. Squeezing their insatiable sound into four slabs of heavy metal, the band recently released their debut release, the 2014 Demo. It shows that the band plays metal unafraid to infuse healthy doses of hard and punk rock with just as potent mixes of thrash and stoner rock, into its sizeable provocation. The release is raw, uncompromising, and thoroughly enjoyable.

Formed in 1997 by vocalist Big Al and guitarist Paul C (better known as just PC and also founder of Beguiled and Dream Asylum), the Cumbria band, going on the quality of the songs alone on the demo, we assume had a healthy success. There is little background we can find for the band to be honest but we do know at some point Censored called it a day or went on a hiatus only to be resurrected in 2012 by the pair. Joined this time around by bassist Webby, formerly of Mindcrime and Transgression, and drummer Smurf, the band looks like staying around which on the evidence of their Demo is definitely a good thing.

First track, All In My Name instantly tells you all you need to know about the band. From the first touch of a wiry groove followed swiftly by imposing beats and swipes of cantankerous riffs , the band is pressurising and imposing on ears, their heavy presence inescapable from the off. It is a slow build leaving no room for respite which after a delicious wash of corrosive bass intensity, explodes into a feisty stride of thumping rhythms and caustic riffery. The instantly magnetic lure is increased in potency by the rich tones of Big Al and the increasingly dangerously seductive bass growl breathing down the song’s spine. The track continues to stride purposefully, every swipe from Smurf and abrasive torrent of riffing cast by PC inviting hostility, but veined with a just as appealing melodic acidity. Completed by the excellent vocal devilry of Big Al it is a mighty start and introduction to release and band.

It is just a teaser though as swiftly Carbine Thunder sets a greater incitement to greedily devour. With melodically howling guitar aligning with dark voiced bass bait and rhythmic jabbing, the song makes an intimidating and enthralling start. That potency is soon spread across a controlled but challenging in the face roar of sound and vocals, each element reined in with inventive prowess but dripping passion and energy. Prowling around senses and thoughts, the song is a masterful provocation which is as much belligerently punk as it is voraciously metal, whilst a blues rock spicing only adds to the infectious hue and pleasingly unpredictable nature of the encounter.

   N.F.V. comes next, riding in on a swaggering groove through a muffled sonic breeze. From there a melodic bordering on folkish revelry plays with the imagination, before it all merges for a constantly evolving landscape of thrash bred urgency and slower but sizzling emotive ideation. At times the track leaps at the passions and in other moments wanders off from personal tastes, meaning it lacks the spark and strength to match its predecessors but still leaves a fully satisfying proposition to mull over and pick the rich bones from, like the punk endeavour which fuels the bass.

From that slight slip the EP re-ignites with closing track Demon Bones, a blaze of anthemic ingenuity and raw aggression which from its opening rolling thunder of beats and grizzled riffery enslaves ears and passions. Another addiction breeding enticing from Webby sets up fresh hunger in the appetite before the swing of Big Al’s vocals and those of PC’s grooves, invigorates further the wonderfully turbulent and sonically fiery storm twisting heavy metal into a new shade of pleasure.

Censored unleashes metal which nails its balls proudly to the table and roars with as much passion and mischievous enterprise as it can muster. It is raw and rough around the gills but the band’s first demo is an exciting hint of things to come.

https://www.facebook.com/themightycensored

RingMaster 17/10/12014

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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Target: Renegades – [Press Start]

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Heavy, imposing, and rigorously compelling, [Press Start] the debut album from UK rockers Target: Renegades, may not be a ground-breaking offering but it is a release demanding attention and inspiring perpetual returns to its muscular arms. Everything about it snarls and confronts, but with rugged charm and passionate intensity which turns familiarity into a raw asset, the album is a potent and riveting declaration of the accomplished craft and rich potential within its creators.

Hailing from the North-West of England, Target: Renegades has been earning strong attention and acclaim with their ferocious hard rock bred sound, 2012 seeing them voted by music fans as the Unsigned Revolutions Award winners. Alongside the release of their debut release, the Corruption For Beginners EP and the band’s stature as an impressive live proposition, which has seen them play with the likes of The Vibrators and I Am Giant, it has been a powerful emergence which [Press Start] only reinforces and pushes to another level. Produced by Daniel Lovett-Horn of another of the UK’s best formidable underground talents, Promethium, [Press Start] hits hard and with ferocious relish from the start , showing the quartet of vocalist Adam Hulse, guitarist Daniel Fide, and bassist Jack Hamnett, alongside drummer Steven Erskine who has since left to be replaced by Matt, as a thoroughly masterful and thrilling incitement.

The album opens with Once Was Strength and an initial web of sonic enticement from the guitars. It is an imagination awakening start which intrigues without setting a fire, though the addition of a dark throated bassline and crisp percussion certainly enlivens the lure. A great roughly touching groove soon ignites infectiousness in the song, egged on by the great abrasing and potent tones of Hulse, whilst a heavy swagger is soon in charge as the encounter increases its impressive persuasion. Rhythms badger ears with the same composed relish as elsewhere throughout and though it lacks a final spark to explode into an outright storm, the track is an exciting and captivating opening to the album.

The following I’m Not Emotional is more of the same but with an openly distinct character. Contagious and clad in intimidating sinews, the track strides with imposing antagonism and creative tenacity to push the release up another step 1011910_473542209405259_773939138_nright away. Vocally Hulse again impresses whilst rhythms dangle addictive bait before ears, it all glazed with a sonic mist and causticity woven skilfully by Fide. The bass of Hamnett almost stalks everything around it, again its heavy grizzle of a tone magnetic within the sonic smog. The track is riveting and makes a raw tempest to which the following melodic beauty of emotive Wounded offers a superb contrast and companion. Showing more of the vocal depth of Hulse and creative potency of the band, the song plays, as its predecessor in many ways, like a mix of nineties band Skyscraper and Pearl Jam. It is a tantalising and bewitching mix of power balladry and raging passion, which with the last song sets the pinnacle of the album.

Oro provides a swift and muscular kick spawned from scarring riffs and menace drenched rhythms whilst vocally Hulse whips up an anthemic dirt ball of confrontation and antagonism. It is a great addictive track continuing the lofty plateau of the album, and a riot you can only imagine whipping up live audiences in an eager frenzy. Its hostile stomp makes way for the similarly intensive but more restrained Vulture, another song employing recognisable essences but turning them into a flavoursome spice within the band’s own honest and accomplished recipe. Once more a grungy infusion makes its potency known to add further flavour, though ultimately the enjoyable encounter does not manage to rival certainly the trio of excellent triumphs before it, nor the insatiable rampage of These Eyes Judge which follows. Storming ears with fiery riffs and rapier like beats the track roars and charges with merciless intent across its length, merging this rabidity with more restrained moments which lack the spirit and fire of the rest of the nevertheless gripping encounter but certainly does its potency no harm at all.

Its imaginative and stirring finale leaves an enthralling enticement which is immediately taken up by Say Goodnight and its opening dark roaming bass shadows and spicy sonic weave of guitar. The final track of the album stalks ears and thoughts with its persistent heavy footed and evocatively intensive presence, providing an atmospheric landscape unafraid to visit elegant and melodic embraces which in turn explore rawer and more impassioned blazes of adventure and sonic bluster. It is a glorious end to the alum, its most adventurous and sublimely provocative offering leaving the listener basking in the potential it alone offers for the band.

[Press Start] is a striking and exciting debut from a band you can only see growing stronger and more boldly inventive as they evolve and explore. Target: Renegades is the name to watch out for, one as it is easy to assume we will be hearing plenty more of ahead.

[Press Start] is available now digitally and on CD @ https://itunes.apple.com/gb/album/press-start/id890500862 and http://www.targetrenegades.bigcartel.com/product/press-start-album-cd respectively

http://www.targetrenegades.co.uk

RingMaster 17/10/2104

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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