Trucker Diablo – Songs of Iron

If The Devil Rhythm, the debut album from Northern Ireland rockers Trucker Diablo set your passions racing, than hold onto your gear sticks as the juggernaut has returned with second album Songs of Iron. Cut from the same template and loaded with the same high grade fuel of rock ‘n’ roll as its predecessor, the new fourteen track release burns another riveting expanse of intensive rubber on to the road The Devil Rhythm left ablaze for another irresistible contagious fury of rebellious rock.

Since forming in 2008, Trucker Diablo has been on an accelerated rise, the band consisting of four friends who united to unleash music they have a full passion for whilst employing experiences gained in the ranks of Joyrider and TILTED to full potency, making deep lingering marks by the day. It was not long after starting that the band was reaping acclaim and support with their live performances, the likes of Ricky Warwick, Ginger Wildheart, Joe Elliot, Damon Johnson, and Cormac Neeson endorsing their rising presence. Supporting and playing alongside bands such as Foo Fighters, Terrorvision, Anthrax, and Thin Lizzy in shows and festival as well as their own intensive touring has only reinforced their stature with The Devil Rhythm marking another impressive statement in their ascent last year.

Released through Ripple Music, Songs of Iron explodes from its very first second never letting up through to its final sizzling lick ofenergy. Red Light On opens up the brawl with heated riffs and concussive beats beckoning the ear around the snarling temptation offered with intimidating power by bassist Glenn Harrison. It is an immediate hook to the senses and lays an inviting canvas for the impressive vocals spread and shared between guitarists Tom Harte and Simon Haddock. Thumping rhythms and big boned riffs seize the air with strong craft and energy to taking the listener on a contagious and commanding ride, a charge which makes no demands but incites a full involvement with its muscular intent. With melodies and barbed hooks, not forgetting the scintillating solo, as striking as the rippling sinews framing them the song is a pleasing start soon surpassed by the excellent Year Of The Truck.

From the first note the song gnaws in the ear with savage rapacious hunger, the riffs iron clad and as intrusive as any Meshuggah or Mastodon could conjure and lying somewhere in between the two in voice, ensnaring the passions with intensive persuasion whilst the drums of Terry Crawford cage all with crisp and potent invention. It is again the bass growl of Harrison which seals the ardour in tight, one of the highlights of the last album just as riveting and viciously seductive this time around in nothing but impressive attributes offered by all members on  Songs of Iron. Virulently anthemic and catchy, the track launches an irresistible call on voice and limbs for a full involvement and contribution towards its gasoline burn up, though all the songs have that power in varying degrees.

The southern rock toned stance of passion and enterprise, The Rebel steps up next to leave further irresistible inducement working on the passions. Loud whispers of ZZ Top and Black Label Society add their rich vapours to the track and single from the release, a song which with ease accelerates the heart rate, and beyond safety levels one suspects such its epidemic call. It is a staggering start to the album which is continued now into the heart of the release through the likes of Drive, the outstanding Not So Superstar and its dirty brew of scorching rock ‘n’ roll, and the melodic hard rock honed The Streets Run Red, whilst others such as the muscle bruising Lie to Me and the emotive ballad Maybe You’re the One bring further variety and depth forward. Admittedly not all the tracks ignite the same heights of passion as others but there is never a moment where satisfaction is left half-filled or the stirring skill and invention of the band not openly there to be hailed.

Further especially enriching highlights come through the crushing Bulldozer, where again that bass rips the senses to tattered remnants of their former self aided by corrosively greedy riffs and rhythms whilst the anthem bearing chorus and group harmonies light a melodic fire to sear the wounds, When’s it Gonna Rain with its seriously chunky riffs and southern heat, and best track on the album Shame On You. The last of these three has a swagger which like it’s delicious grooves is an addiction of toxic suasion, its lure permanent and deeply entrenched in thought and heart by its end, the delicious addiction cast by devil spawn riffs and rabid rhythms wrapped in a sonic furnace.

Completed by the excellent I Want To Party With You, a song giving you exactly what it desires, Songs of Iron is an exceptional slab of rock ‘n’ roll, all songs mentioned and left for your discovery pure adrenaline raising pleasure. There is no boundary breaking going on here just riotous rampage within what is one of the most exhilarating albums this year so far, and that is more than good enough for us.

https://www.facebook.com/TRUCKERDIABLO

9/10

RingMaster 14/05/2013

Copyright RingMaster: MyFreeCopyright

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Milestone – Medicate The Night EP

When you get a release packed with irresistible contagion of sound and passion and still is bursting with stronger promise of much more to come from its conjurers, then you know you have a band worth watching very closely. Such is the case with Welsh band Milestone and their excellent new EP Medicate The Night. The release is an insatiable rampage ignited by what is in some ways a mixed collection of songs, though when they only range from senses igniting irrepressible encounters through to hunger driven essential rock n roll drenched in pure virulence and all lead an awakened appetite into greed, you know you have been hit by passion sparking excellence.

Formed in February 2012 after meeting in college, the Bridgend quartet of vocalist/guitarist Jack Howells, bassist Adam Pain, guitarist Kris Archer, and drummer Lewis Pilling, took varied influences such as The Black Keys, Jimi Hendrix, Bob Dylan, Foo Fighters, and Them Crooked Vultures into their own riff powered invention resulting in an alternative rock sound which growls at and commands the ear whilst seducing it further with a raw voice of blues laced craft. Since emerging as a band Milestone has shared stages with the likes of Exit International, The Dead Famous, Gavin Butler from The Blackout, and Neil Starr from Attack, Attack, continually picking up new fans as they pushed into the UK, and with the new EP and a planned national tour landing their presence into wider recognition, expect explosive results.

     Medicate The Night immediately lights up the ear with Dirty Knees, the bass of Pain standing within a scuzzy mist of guitar to spread an epidemic of a grooved riff upon the senses, its tone offering a mischievous invitation coated in an irresistible swagger. Stomping away with glee and enterprise the compelling lure is soon joined by the caustic riffs of Archer and Howells, their wonderfully abrasive yet wholly tempting sister groove recruiting any remaining doubts about the song. Settling into a steady stride as the vocals of Howells next lay another expressive persuasion upon the song, the crisp firm beats of Pilling frame it all with equally incendiary inducement. It is a heavy slice of pure rock n roll which makes no demands apart from subservience to its riff and groove sculpted call, something which is willingly offered within the first minute.

From the scintillating start the following tracks Shoot Me Down and Blame Me have a tall order to make as big an impression and though they slip below the pinnacle set it is not without a massive fight and impressive results. The first of the pair starts with concussive rhythms scything the air before the guitars add sonic flames which burn and imprint upon the senses like sparklers in a jet black sky, their touch lingering and white hot as the vocals begin their strong narrative. There is a busy fiery energy to the song which coats an emotive embrace within the high octane breath of riffs and rhythmic caging whilst the spinal groove is less defined than in the opener but a beckoning which persists with sure success. The second of the two is similarly gaited in its individual blues veined stance, a sinew clad stroll of infectious vocals and harmonies within another wealthy charge of superbly crafted ferocity rife with raw guitar invention and rhythmic punctuation. Both tracks continue the strong grip the band initiated with the opener yet equally suggest there is much more to come from the band as they lack the knock-out blow found on the other songs. Not that they are lacking any punch or leaving anything less than total pleasure and satisfaction behind.

The title track slams in next and rips best song honours from the hands of the other tracks whilst reinforcing the quality and might of the band. Sabre like swipes of crunchy guitar and metallic beats smack the ear to rile up its hunger before bass and riffs romp all over the senses with a snarling addiction causing groove which leaves primal captivation roaming over thoughts and emotions. Even when the song lies back on its predatory ensnaring for the vocals of Howells to embrace lyrics and ear, there is an intimidating edge to the warm coaxing which flames in varied intensity throughout the outstanding piece of invention. It is a stunning song which has everything needed to promote ardour from its classic rock n roll bruising.

The closing Bless Your Soul is a slower emotive endeavour showing another string to the carnivorous bow of the band’s songwriting, its part acoustic and mellow vocal evocation the base for potent impacting sturdier invention. It is a fine finale to an excellent release, the Medicate The Night EP making a declaration that Milestone is destined to make a strong mark on UK rock if not right now certainly in the future.

www.facebook.com/milestonerock

8.5/10

RingMaster 12/05/2013

Copyright RingMaster: MyFreeCopyright

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Black Tie Vendetta‏ – Length Of An Ocean

     

    Length Of An Ocean is an album which is as intriguing as it is pleasing, a release which without breaking down new musical doors still plays with and denies expectations with a collection of songs oozing diversity and imagination. Unleashed by Dallas rock band Black Tie Vendetta, the album shifts continually from heavy and thunderous to melodic and seductive, often combining the two for engaging and riotous experiences, and though it does not completely maintain the fiercest fire of a response to its offerings the flames do burn brightly with each magnetic track.

Consisting of vocalist Brandon Callies, guitarists Dustin Morrison and Dustin Baugh, bassist Joe Bandy, and Johnny Sillers on drums, Black Tie Vendetta has over the years forged a strong name and presence across their local scene and further afield. Latest release Length of an Ocean has energised that stature with its invigorating enterprise and sounds, and though it has still not quite found a place in the widest array of ears yet, listening to its deeply satisfying songs you can only feel the promise of the band is close to the fullest awareness, if not for this album for future creativity.

The album explodes into view with the bulging rhythms and rampaging energy of Armed And Ready. Immediately the song is carving up the senses with carnivorous riffs and firmly punching drums whilst the vocals of Callies ride the track with expression and potency. With the infectiousness of a Foo Fighters and the sinews of a Hell Yeah, the track ignites the passions with ease and sets the adrenaline firing for the rest of the album, its uncompromising yet familiar stance a virulent persuasion for release and band.

From the heavy rock charge of the opener the band switch to an alternative rock voice for the following Carries Me Away, though again the bass snarls and rhythms cage with the same intensity and power. The immense force of beats from Sillers and the growling resonance of Bandy’s bass offer intimidation and predatory hunger whilst the heavy duty riffs add their own formidable menace for a stirring and impacting encounter but alongside them the melodic coaxing of the vocals and guitar imagination tempers the onslaught with inviting and inventive caresses. The song continues the impressive start with ease, but things stall slightly with next up Under The Same Sky. The potently crafted song is a melodic ballad with the vocals of Callies emotive and passionate to warm the ear alongside equally impassioned sounds and there is no doubting the quality and appeal of the song, but it does break the charge of the album and feel a little out of place despite its fine voice.

Things are back in swing with the likes of Through A Whisper and In The Eyes, the first another melodic rock song with a core of heavy duty temptation and an aggressive prowl within the resourceful and melodic textures of the song. The additional female vocals bring a sirenesque charm to the warm atmosphere of its quietest moment to further stretch the vision and magnetic lure of the track. The second of the pair again fuses the rugged side of the band with its mesmeric melodic entrapment for a fury of a song with accomplished restraint and barbed hooks as loud as the contemptuous aural tones, the excellent result akin to a cross between Green Day and Sick Puppies.

Alongside the first track another two of the album’s greatest pinnacles come with the hypnotic The Burning Sea and the riotous Caught In A Crowd. The first is another emotive piece of ingenuity, the flaming ambience with a slightly destructive whisper a sweltering embrace to wrap the outstanding vocal display from not only Callies but the re-appearance of the female vocals. Whereas the earlier ballad felt lost amidst the other songs as does in some ways the following Keeps Me There, this stands tall, potent and vibrant, its addition an instinctive instigator to the evolving sound and flavour of the album. It is an excellent and lingering treat which along with many other songs gives rise to anticipation as to how great this band could be. Caught In A Crowd is a punk infused storm of caustic guitar strokes, greedy rhythms, and ferocious energy all led by the again impressive vocals alongside flames of melodic venom and vindictive insistence from the might guitars of Bough and Morrison. An anthem for the passions as well as the voice, the track is another thrilling slab of variety from album and band.

The release closes on the acoustic ballad The Raging Storm, another which is well devised and presented but for personal tastes an anti-climax after what came before. Length Of An Ocean is a very appetising and exciting album overall though and Black Tie Vendetta a band sure to enthral a great many given the chance.

https://www.facebook.com/pages/Black-Tie-Vendetta/151500488227846

8/10

RingMaster 13/04/2013

Copyright RingMaster: MyFreeCopyright

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Darktown Jubilee: The World, The Flesh & The Devil

©trevorpalin 2012

    The World, The Flesh & The Devil is one of those releases which refuse to die down after completing its musical persuasion before the ear. Though the debut album from UK indie band Darktown Jubilee does not particularly offer anything strikingly new or adventurous, its songs have the intriguing habit of popping up again in thoughts and memory long after departing the speakers. Whether a melody, hook, or particular rhythmic encounter from the album they sneak up on you and strongly invite a return to what is a rather decent release.

The Manchester based band consisting of David Boardman (songwriting, vocals, guitar), Stuart Day (bass), John Cosgrove (drums), Al Roberts (lead guitar), and Gary O’Brien (keyboards) formed in 2010 and have been on a sure ascent ever since. Their sound finds inspiration in the likes of Bruce Springsteen, The Doors, The Killers, and The Temper Trap, a wide flavouring which certainly spices up the robust and anthemic album. Produced by Boardman and long- time collaborator John Kettle, The World, The Flesh & The Devil involves the listener from first note to last with rampant rhythms and colossal hooks a continuing temptation alongside the flames of strong melodies. Released on their own Parade Recordings, the album as mentioned does not stride into uncharted territories at any point but certainly creates waves which offer the longer term seduction. It is also a release which takes time to makes its full persuasion, maybe only a few tracks immediately having an instant irresistible temptation, but it smoulders with each return to its presence convincing a little more.

The two singles from the album open up the release starting with the energetic Breakdown. The song is a feisty storm of guitar driven sound with a thumping heart and expressive breath vocally and musically. Guitars and bass stroke the ear initially whilst beats tumble across their gait, the rhythms increasing in force and frequency as Boardman begins the songs narrative with his impressive tones and delivery. There is an unmistakable Foo Fighters infectiousness and rampancy to the song coring the melodic teasing of keys and guitars and by its end the fiery encounter leaves one breathless and deeply satisfied.

The terrific start is matched by second single Stay, a less demanding but equally potent tempest of infectiousness. With a pulsating and mesmeric pulse from bass and synths, the track is a magnet to the senses and once in control sends layers of sultry keys, persuasive vocals, and stirring guitar strokes across the ear for the fullest creative suasion. Like the opener the anthemic depth of the song is towering but tempered by the emotive and shadowed lyrical presence. Both of the two songs find Darktown Jubilee at their best which could have left the album top heavy but the following tracks with varying success ensure the release is rounded and relatively consistent.

The likes of acoustic ballad The Great Escape and the big boned power ballad All I Want bring immediate diversity to the album after the adrenaline coursed start and though admittedly neither comes near to grasping the same impact as the first pair they are well crafted songs easily worthy of attention. Give Me a Sign, though a song which gains better appreciation with more companionship, slips below the already pleasing standard, though again here or at any point on the album you cannot criticise the songwriting or musicianship bringing the songs to life. It just does not ignite much more than appreciation due to its familiarity to plenty of other songs before and undoubtedly coming after it, something which cannot be said of Stop! Look Around. Starting on a sparkling cascade of sonic sprinkles the track bursts into a tall rampant gait with the occasional reserved restraint to create impressive crescendos of energy and sound. It is another catchy anthem puller which puts the album back on course.

The thrilling When You’re Wrong which starts as seemingly another emotive ballad before brewing and unleashing addiction fuelling rhythms and bighearted melodies without losing that initial intimate feeling and the intriguing Beautiful Night both continue the again enthralling lure of the album. The latter of the two is a weave of atmospheric grace and definite familiarity though without allowing a defined reason as to why emerge in thoughts, and a further refreshing variety to the album.

The remainder of the album settles into a strong if unremarkable stance though again songs like the Costelloesque Lost and  Something’s Gotta Give with depth and style ensure further strong pleasure.  The World, The Flesh & The Devil is an album which could be said does not ignite a fire in the belly or explode with dramatic moments but boy does it linger and return with ease whenever it wishes. If you are looking for accomplished and powerful big hearted tunes than Darktown Jubilee certainly fits the bill.

http://www.darktownjubilee.com

https://www.facebook.com/darktownjubilee

Given time…8/10

RingMaster 23/02/2013

Copyright RingMaster: MyFreeCopyright

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Popular Giants: Self Titled

    Whilst arguably not offering anything new in the grand scheme of things the self-titled album from Californian rockers Popular Giants is a quite irresistible riot of rock n roll. Fusing the best varied flavours of punk rock with garage rock and other distinctive flavours, the Los Angeles quartet burst out of the speakers with an energy and hunger which is impossible not to be persuaded and enamoured by. Consisting of thirteen raucous treats of rock music at its dirtiest best the album unleashes a vigorous fun in its boisterous company which you just cannot deny.

The band was formed in 2011 by guitarist/vocalist/songwriter Christopher Peacock with the intent of getting back to playing the old school punk he grew up upon. With the addition of guitarist/vocalist John Fortin, bassist Francis Cyan, and drummer Mike Criddell to the ranks, the sound of the band found its own natural evolution to the bruising, insatiable, and varied sounds which light up this impressive album from start to finish. The four members found an instant and shared vision on how songs and their music should find their most powerful and dynamic stature as well as on how they would sound to escape the ‘sterile’ digital prevalence of today. The band recorded their album using a Stevens two –inch analog tape machine from the seventies to produce the ‘fat steamroller sound of Popular Giants live’, and in fact the machine was the exact same one Pink Floyd used on The Wall.

As soon as the immediate contagion of Pretty Life sets in to start the album off, there is a sense of something exciting in the winds, the release soon proving that right with ease with every one of its infectious seconds. The opener lights up the ear with bulging rhythms and coaxing riffs whilst the vocals of Peacock top the riot with expression and passion. With essences of Foo Fighters and Living End to its irresistible anthem, the song flicks all the switches of satisfaction and full pleasure to begin one thrilling cruise down their sonic highway.

So Happy sends the infection up another level with its delicious teasing beckoning within a stormy energy, the song a punk/rock incitement recalling spices of Nirvana and Offspring in a new tasty recipe all Popular Giants. The following On The Road is just the same though for the Seattle trio loud whispers swap an Everclear loud hint for the ear from within another bounty of compelling riffs, teasing hooks, and ear rapping beats.

Song by song the passion and balls of the band fire up their imaginative party, the likes of We Want Your Soul with a Buzzcocks scented hook and pop punk harmonies, the garage rock/grunge coated Devil I Ain’t Done, and the barging old school punk bite It’s Not Your Fault, leaving a warm glow on the heart and a ripe greedy demand for much more. The third of the these songs barely musters 30 seconds in length but in its snapping snarl leaves a giant rapture, a song in all ways seventies punk bands would be proud of.

Amongst nothing but real highs across the whole release the loftiest pinnacles come in the second half of the album starting with the excellent Trepidation. With Fortin taking the lead vocally, the track bristles with the agitation and contagion of Bad Religion across its drive of provocative riffs and jabbing rhythms. It is an addiction forming song backed up with equal potency by the stunning I’m Not The One. With a heavier muscular intensity and force to its predatory stance, the track melds a rich mix of garage rock and punk with a Heartbreakers breath to its fiery voice. It is an instinctive squall for the passions to latch on to and be inspired by, a song which calls to the heart.

The cover of the Turbonegro track Get It On is a very decent encounter with a great punk rawness to its roar whilst its successor Antibody is a delicious attitude spitting poke with a New York Dolls swagger and Richard Hell snarl. It also has a ‘nasty’ Pistols groove which lights the deepest fires and a barrage of riffing that demands and receives willing attention.

With plenty more great tracks including another cover, this time of Unsatisfied by The Godfathers, this is an album which feeds all the wants of a punk rock album with accomplished excellence. Ok it is not going to break down new walls for you to play behind but it is hard to remember too many punk releases recently offering this much energy and fun to unite with.

https://www.facebook.com/PopularGiants

8/10

Ringmaster 02/02/2013

Copyright RingMaster: MyFreeCopyright

Feud: The Singles

Since having the pleasure of reviewing their first album Waterdog, rock band Feud has held a captivation for us ensuring a constant    engagement with their fine release and earlier EP, Out From The Inside. So there was great anticipation and excitement when the band approached with a release of three new singles to check out. Released together mere days ago, the songs retain all the essences and qualities which make the band one of the more thrilling in the UK right now but elevates them into a stronger punching storm of muscular and infectious sounds. If you thought Feud could capture the imagination and heart with the best of them before they have returned to show previous outings were mere teasings and that now they have the ammunition to succumb any rock n roll heart.

Originally founded by South African brothers Greg (vocals/guitar) and Guy (drums/vocals) Combrinck, the band truly became a forceful entity with the relocation of the men to the UK and the joining up with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals). As well as the aforementioned acclaim releases the High Wycombe based quarter has matched the likes of Cancer Bats, Young Guns, Jettblack and Days In December whilst sharing stages with them, getting stronger and more inventive with every moment of their four years of existence. The band has always brewed a feisty mix of rock with heavy grunge essences and the new songs are no different though all explore new and even more incendiary aspects of their sound and songwriting making for three original and stirring slabs of essential music.

Floater opens with a crystalline tangle of sharply noted guitar coaxing, the lure an immediate tingle which takes one back initially to the likes of Mighty Lemon Drops and House Of Love. The track though as expected was not going to tenderly stroke the ear for long and soon brings in thumping rhythms and a delicious velvety deep bass sound. There is still a controlled restraint to the track even with its elevated pace and intensity but eventually it cannot stop fiery crescendos of sound and chorus from breaking out. It is a staggering track which plays like an emotive riot within the heart and raging fire in the ear brought from a union of Nirvana, Foo Fighters, and Sick Puppies. From the pulsating bass and incisive drums through to the enthralling melodic flames of guitars and vocals, the track is immense and declares alone that Feud is back, bigger and, better than ever.

With instantly infectious drums laying a hypnotic cage for an unleashing of its adrenaline soaked energy, Medicine stomps through the ear for a meaty thrill of punk n roll. With rampant intent and a Green Day like soaking of the ear, the track chews and romps with classy sonic enterprise and bruising urgency for an irresistible punk rock classic. Though the American trio is unmistakable as a spice to the song, there are elements which would grace any Stone Sour or Gruntruck track but distinct only to Feud and impossible not to devour with greed. Again every member of the band brings a contagious breath to their skilled and imaginative contributions, which only goes to make for a song which leaves the heart raging in ardour.

The final single is the less intense Miles Away, though that is in its attack and not passion, the heart of the song as insatiable and unrelenting as the other pair of triumphs. From another strolling start of rhythms and guitar behind the expressive vocals, the song hits its stride to create a furnace of scorching sonic riffing and barbed hungry hooks. With its arguably less tenacious assault the song offers a diversity of sound to the other two which touches on the likes of Seether, Stone Temple Pilots, and Bush. It is another tasty bite which enflames the appetite for much more from the band which will evolve into no doubt impatience the longer the wait for more new impressive tempests of excellence is.

If this foursome has yet to spark up your passion than any if not all of these wonderful singles will leave you a breathless and exhilarated bundle of fully satisfied energy. Feud creates high energy quality rock music and as Floater, Medicine, and Miles away show, this is a band which just get better and better.

Get the singles @ http://www.feudmusic.com

RingMaster 19/11/2012

Copyright RingMaster: MyFreeCopyright

Evanstar: I Won’t Regret

   I Won’t Regret is the stunning debut release from UK alternative rock band Evanstar, a single which despite the band being together barely long enough to raise a whisper let alone the riot of compulsive sound within their first introduction, is a strikingly impressive and enthralling feast of creative pleasure.

Only formed in September of this year, the Leicester based quartet of vocalist and rhythms guitarist Stuart James, lead guitarist Gary Yeates, bassist Mikey Yeates, and drummer Dan Farnell, instantly captivate thoughts and musical appetite with their rich and vibrant sounds. It is music which evokes emotions and passion, the band showing a refined craft to their blending of passion driven and boisterous energies with emotive and tender melodic imagination. Their influences are cited as the likes of Young Guns, You Me At Six, Deaf Havana, Foo Fighters, Alter Bridge, Stone Sour and more, that eclectic mix certainly offering a flavour of the sound the band bring but it is merely an expanse of spices which  the quartet merge into their own unique recipe.

I Won’t Regret announces itself with a glowing electronic sun, its crystalline radiance soaking the ear from the warm dazzling keys. As it soaks the senses the guitars begin to shape the song with scythes of riffs and sonic caresses. The initial gentle touch evolves into a stirring incitement as the beats become a forceful confrontation and the bass of Mikey brings a snarl to proceedings. Into the thick of its intensity the impressive vocals of Gary are expressive as the strong and passionate lyrics find a voice to share their heart. The thumping rhythms of Dan hold the senses tightly with their hypnotic strength whilst the guitars fire up the heart with a passion which is as unmistakable and invigorating as the energy and lyrical core of the song. As the track unleashes more of its smouldering emotive grandeur the track offers a mix of the inciting invention of Manic Street Preachers and the melodic washes of My Passion with the intense emotive depth of Mind Museum. It is a masterful and fiery experience which leaves one glowing in satisfaction and pleasure.

The single is completed by Living Nightmares, a song which shows Evan star can be just as mightily aggressive and direct as they were masterful in weaving skilful and impressive melodic sensations in the first track. Not that the track is lacking in provocative and heightened colourful harmonies and enflaming melodies, the song as heated and explosive in instinctive emotive force as in its predecessor, but here the raw and charged intensity with enslaves the appetite is a muscular and impacting show of the diversity within the band. It may only be two songs but already you feel Evanstar has much yet inside to unleash and great heights to rise to from an opening base which is immense and irresistible.

With I Won’t Regret, Evanstar has brought one of the most stunning debuts and introductions to ignite 2012, and for us their next release cannot come quick enough.

https://www.facebook.com/evanstaruk

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Hitchcock Blonde: Five Pounds EP

When Avenge Vulture Attack announced a reincarnation as Hitchcock Blonde it has to be admitted a slight groan escaped from within, accompanied by an audible air of worry. Would the sound follow the same route as the move from what was a snapping combative name into a more, though admittedly it carries its own intrigue and shadows, noir yet glamorous one? Would the great punk pop sounds with their impressive snarl which had captured our enthusiasm previously turn into an elegant fluffier form of pop music was the question and fear. Their debut release the Five Pounds EP now provides the answers and dispels those fears. Yes the music has changed but into a new compelling force which, yes has arguably lost the raw punk edge which wonderfully marked their previous releases, but has evolved into something just as enthralling and exciting, to make the release itself one thrilling contagion.

From London, Hitchcock Blonde consists of guitarist Drew Wynen, bassist Joss Nightingale, and drummer Ben Davies, speared by the enticing and striking voice of Ella Grace. It is a combination of skilled inventive musicians and elements which has already led the band to strong acclaim, an energetic and growing fan base, and to playing some of the top venues around the UK this past year sharing stages with the likes of The Eighties Matchbox B-Line Disaster, My Red Cell, Wrongnote, and The Mars Patrol. Comparisons with bands such as Band of Skulls, the Foo Fighters, and Skunk Anansie have been placed upon the bands though the quartet inspire other more accurate thoughts in that area whilst creating their own distinct presence and breath with songs which captivate and lead senses and bodies into a riot of infectious escapades.

Recorded with Tobin Jones (Cold Specks, The Twilight Sad), Five Pounds opens with the immediately engaging Baby Knows Best. Its initial breeze is a gentle caress rising to a crescendo of striking riffs and vibrant energy. The song then settles into a warm slow stroll with the wonderful vocals of Grace leaving extra heat with her expressive and full tones. Though arguably that previously mentioned snarl has now gone the track as it explodes into dramatic sonic explosions still offers a certain attitude from their previous guise, a bite which obviously will never abandon the creativity and heart of band and music. The song moves through unexpected and delicious breaks in pace and direction, brief seamless movements which flow perfectly and only go to make the song magnetic and impressive.

The great start is left in the shade somewhat by the brilliant Buzzkill, a song which holds many disguises within its pulsating and magnetic enterprise. It is another gentle and warm beginning with the guitar of Wynen playing the ear and heart like a harp, his play tantalising the aural taste buds and thoughts whilst the bass of Nightingale prowls around the sounds with a devilish yet unintimidating gait. As the guitar plucks with singular and hypnotic elegance, Grace offers her vocal seduction to leave one transfixed. Once immersed within its irresistible arms the song then erupts into a bristling and inciting energy safe in the knowledge you are going nowhere. The mini ‘riots’ are another shift within a song of great imagination and outstanding craft. Along its delicious body the song integrates the same elements again whilst offering further stunning delight through slow sparkling melodic kisses until it all sparks up into a fiery climax which leaves one breathless. The best song on the release, it is an excellent invention of elegant craft, unchained imagination, and controlled aggression.

Cutglass is a less provocative track, its crystal whispers next to eager rhythms from Davies is a skilful union whilst again the vocal smouldering of Grace bewitches the passions. It does not quite light up the fires as the first pair of songs but leaves one completely absorbed and satisfied with its more reserved yet potent emotive charms. The track carries a charge too which ignites its climax, an energy and intent which ripples throughout Sexy Like You, a piece of pop rock which sways and taunts with attitude and sweltering melodic majesty with a blues whisper on its lips.

The release ends with the sizzling energy and charge of Let It Go and the irresistible teasing of Animal, an exceptional track where the band venture into the punkish qualities which marked their early days. Both take one on a ride of infection and enterprise, the first a slice of sparking muscular pop with a touch of Metric to it and the second a lightly bruising piece of brilliance which comes from the same blood pumping rock n roll found within the likes of The Objek and eighties band Au-Pairs.

The Five Pounds EP is exceptional, a real pleasure to leave the heart excited and desperate for more whilst destroying those initial groundless fears. Hitchcock Band will be a band to shape the future of UK indie Pop rock and we for one cannot wait.

http://www.hitchcockblondeband.com

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Merseyside anthemic rockers ‘GUARDIANS’ release self-titled mini album on 7th January 2013,

North West quartet ‘Guardians’prepare to release their highly impressive self-titled mini-album and brace themselves for a hectic 2013!

With a keen affection for the Foos and Jimmy Eat World, aided by a mutual admiration for the anthemic flair of 30 Seconds to Mars and the Lost Prophets, Guardians offer a striking sound that pitches high voltage rock with edgy melodic blasts. The quartet’s latest offering of their self titled mini-album “Guardians” is a fully fledged rock beast that warrants your attention.

Busting out of Wallasey in Merseyside, and formed during their school days in 2006, the Guardians’ incline has been brisk. From playing biker clubs at the age of 14 to bagging support slots with everyone from legendary rockers Status Quo, through to The Blackout, The Automatic, and Twenty Twenty, and headlining the HUB Festival, the band have certainly cut their teeth on the live circuit. Aided by securing national media exposure from Classic Rock Magazine (where the band were featured on the Cover CD), Kerrang!, and BBC Radio 2, the rising four piece are swiftly making new friends and forging new pathways. Armed with an impressive work ethic and songmanship in abundance, the future is radiantly bright for the burgeoning alt-rocksters.

The record takes flight in fine style with the angsty and supremely catchy ‘An Enemy Of My Enemy’ before the pull of ‘New World Order’ spits out a stomping chorus loaded with fist-pummelling shout-outs. Consistently rich and engaging, the album marches on in the same vein with ‘Follow Your Heart’, a track surely destined for widespread radio play with its monumental refrain and infectious vibe, ‘Make It Out Alive’ showcases the budding foursome’s apt ability to pen a tune that has ample dance-floor groove and a monster hook, and ‘Red Eyes’ closes the mini-album with a diverse slab of atmospheric alt-rock backed with hard-hitting riffage that would fit right into an early Biffy album. Impressive and contagious, Guardians are poised for national recognition.

 www.facebook.com/guardiansuk

TRACKLISTING: 1. Intro; 2. An Enemy Of My Enemy; 3. New World Order; 4. Follow Your Heart; 5. Make It Out Alive; 6. Interlude; 7. Red Eyes.

BAND MEMBERS: Brad Doné: lead guitarist & lead vocalist; Craig Henderson: rhythm guitar, vocals; Sean McMinn-Davies: bass guitar, vocals; Mike Priest: drums, vocals.

FOR FANS OF: 30 Seconds To Mars, Foo Fighters, Lost Prophets.

Lizzard: Out of Reach

Out of Reach from French rock band Lizzard is one of those releases which is not going to exactly set the world alight but ensures with accomplished ease that the time in its company is highly enjoyable and satisfying. It is a release which draws from many seeds and influences to create its own commanding and attentive sounds to fully engagement with. Often new interpretations of existing recipes with some fresh imaginative ingredients can be as pleasing as any new invention; Out of Reach is the certain proof.

Lizzard was formed in 2006 with the meeting of vocalist and guitarist Mathieu Ricou, drummer Katy Elwell, and bassist William Knox. Finding a common musical vision the trio set about creating their own unique and powerful rock sounds, and from their demo La Criée the following year the band began grabbing close attention and acclaim. Shows around France followed as the band released their mini album Venus in 2008, all the time strong responses, reviews, and fan reception building. The past couple of years saw Lizzard sharing stages and supporting the likes of Gojira, Punish Yourself, Loudblast, Enhancer and more, again furthering their stock and standing within rock circles.

Last year the band reunited with Rhys Fulber (Paradise Lost, Fear Factory, Front Line Assembly…), who they recorded Venus with, to record their debut album which sees its release through Klonosphere/Season of Mist. The result is a collection of songs which ripple with craft and impressive songwriting. They have a distinct individuality from others whilst pulling many essences from bands to tone their appealing presences. It is a fine line the band walk, bringing a sound which has its own breath whilst using open influences in its creation but they achieve it with success.

The album opens with the powerful and impressive Disintegrity. It is a song built on striking riffs and a seductive groove fuelled by beckoning melodic whispers. With its crunching bass tones and commanding rhythms, not to mention the fine expressive vocals of Ricou, the track more than echoes the crisp sounds of Sick Puppies. There is a definite similarity which is moved into a different element by the sharp guitar play and imaginative twists in direction. Sometimes they are subtle, mere aural winks but always noticeable.

The following track The Orbiter adds extra coarse energy to the air through the perpetually impressive bass sounds of Knox and the incendiary guitar craft of Ricou. Like many of the songs it is one you feel you already know though its passage is a continually new unveiling, the effect making the enjoyment all the more instant and compelling. As it plays mixes of bands such as Tool and Soundgarden come to mind to which you can easily add spicery from the likes of Foo Fighters and Nonpoint too.

As the likes of the title track, Loose Ends, and the excellent Fake World share their varied and impressive invention, the album continues to capture the imagination and enthusiasm. It does not take one into new inspiring realms but is as potent in igniting pleasure from a band that feels like a new but destined to be friend.

The two instrumentals Skyline and Backslide are more than decent, the first the lead into or at least atmosphere setter for Loose Ends, and the latter a fiery piece of sonic expression. Both do not exactly over whelm the ear but do not feel out of place within the context of the album.

Twisted Machine stands alongside the first two tracks as the biggest highlights on Out Of Reach. It is a pulsating and snarling piece of rock which is full of intrigue and inspiring energies to leave one absorbed by its imaginative and infectious adrenaline driven attack. Once more it reminds of Sick Puppies which is not a bad thing as the track shows.

Out of Reach is a great album which is full of passion, skill, and undemanding but riveting songs, what more could you want?

http://www.lizzard.fr/

Ring Master 19/10/2012

Copyright RingMaster: MyFreeCopyright