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

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King Canute – Drive EP

King Canute Online Promo Shot

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks King Canute Cover Artworkand short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

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DIGITS RELEASE NEW VIDEO FOLLOWS DEBUT EP

Digits Online Promo Shot

DIGITS New EP and video unleashed!

North East riff-tyrants Digits are set to release their debut EP ‘Acquiesce To Violence’ on 11th November. Sounding like the backwater cousins of Glassjaw, Hundred Reasons and Reuben, ‘Acquiesce To Violence’ has already racked up widespread praise from Rocksound, Powerplay and Big Cheese magazine.

The noiseniks have also just received their new video single ‘Golden’ and you can view it here – http://www.youtube.com/watch?v=oXeFHTVQYkQ

www.facebook.com/Digitsuk

Digits Cover Artwork

We Are Fiction – One For Sorrow

WAF_Promo It is not stretching things to say there has been a fair amount of anticipation for the debut album from UK melodic hardcore band We Are Fiction, an eager appetite spawned by the band’s singles and impressive live performances.  Consisting of eleven vibrant and skilfully crafted confrontations, One For Sorrow does not let hopes down even if maybe it does not ignite as many fires in the passions as expected. It certainly expands on all the promise laid down before, spawning even greater potency for future horizons whilst unleashing a few special moments for the now.

Since forming in 2007, the Peterborough quintet has undoubtedly earned that reputation as one of the most energetic and passionate live bands to emerge over recent years, their honest and impacting mix of post and melodic hardcore raging like a new yet familiar provocateur, something which also easily applies to their album. The Destroy Everything Records released riot has a presence and intent which does not exactly surprise, especially if aware of earlier releases, but comes with a fresh and compelling intent which never relinquishes its lure on the imagination and emotions. Some songs raise a greater reaction that others but all leave a satisfaction and enjoyment which makes the album a release well worth exploring.

The album simply explodes into action with opener Mansion House, guitars and drums filling the ears with vibrant and eager riffs and rhythms. With inviting flames of melodic invention offering their persuasion the song has the listener immediately engaged and ready for the fine vocals of Phil Barker backed by the harsher tones of guitarist Marc Kucharski  who bring further passion and enterprise to proceedings. There is nothing openly ground-breaking about the song but with a great blend of raw and seductive elements uniting for an energetic expressive storm the track is an imagination stroking entrance.

The following Bright Lights provides a mellower yet still feisty encounter which is infused by infectious anthemic qualities via riffs and vocals. Once again the guitars of Kucharski and Andi Scott Shaw create a weave of skilled and inventive temptation which veins the firm if restrained attack from drummer Tom Calton and bassist Ryan Chambers. The song keeps attention tightly in the band’s hands as does next up My Dreams Are Haunted, a melodically enchanting and evocative embrace. With all of its rawer and angry essences coming within the varied vocal attack the track is an intriguing venture which is unafraid to wear its heart on its sleeve and shuffle its gait up to keep things unpredictable. Like its predecessor the song fails to maintain the high level of the starting track but still strongly persuades with an intelligent and inventive sculpting to its body.

Both Old Wounds and Sail On make a potent persuasion without igniting fires, the first a blaze of generous melodies and sonic endeavour wrapped around a sinewy core; the rich songwriting of We Are Fiction again proven to be hard to fault at any point across One For Sorrow. Its successor brings a harsher angst fuelled essence into the melodic arms of the song for another inventive and attractive confrontation which is as passionate as it is impressively crafted. Neither track, like quite a few upon the album, linger in the memory or spark off a real fire inside and that is the main or only issue with the album. In its presence it impresses and does get stronger with each encounter, but away from its touch thoughts and emotions struggle to recall what was on offer more often than not. There are exceptions though as with the next up A Thousand Places to Sleep, the opening rhythmic contagion carved by Calton and Chambers simply irresistible and easily matched by the sonic tempting conjured by the guitars. A punk fury fuels the vocals and riffs whilst the drums are a persistent and inciting provocateur. Its virulent lure lessens a little with the cleaner vocals though, as if the aggression is making space though it soon returns to prowl and snarl impressively through the outstanding track. It is one of the major highlights of the release and one which does remain in the memory past its departure.

Building on this high Tilt finds a caustic and rapacious edge to sound and presence which takes top honours on the release. There is a delicious heavy rock weight to the song which merges perfectly with the hardcore thrust of the narrative and intensity, and with a scintillating adventure to the vocals employing rap and noise rock magnetism, the track easily stands above the rest, the unexpected and startling elements a seamless and inventively convincing triumph.

The Worst Of It, the latest single from the album is another exciting incitement, its pop punk/melodic hardcore blend contagious anthemic bait mixing a kind of Blink 182, Hundred Reasons, and Mallory Knox brew which makes a very efficient invitation for band and release.

The final trio of songs starting with the highly emotive Wladyslaw continue to please ears and imagination if paling against what just came before. A drama lit melodic and sonic craft scorches the air within the blues kissed song before the stocky charm and intensity of Earth Machine and the emotionally anthemic Forget About Me take over to conclude the album. Both tracks are impressively built and textured and it is hard to lay any faults before their offerings, except that again not a great deal hooks in the memory once they take their leave. Whether that is actually a major fault is debatable as listening to One For Sorrow only makes for one richly fulfilling hour or so.

We Are Fiction is a band yet to push boundaries but as evidenced by One For Sorrow also one who have a skill and instinctiveness to worry it and more importantly make a potently imaginative and satisfying companion within whom you still sense there is much more yet to come…

https://www.facebook.com/wearefiction

8/10

RingMaster 18/11/2013

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The RHODA MAY ‘Sessions’, out 6th January

Rhoda May Online Promo Shot
UK PROGRESSIVE NEWCOMERS RHODA MAY RELEASE STUNNING DEBUT EP!
 
Coming at you from Surrey (home to Hundred Reasons, Reuben, Vex Red, Foe and Godsized) hugely promising instrumental rock outfit ‘Rhoda May’ are primed to be the next band to nationally break. Pulling from everyone from Rush and Led Zeppelin, to Deftones and Tool, Rhoda May set loose ‘Sessions’ on Monday 6th January.
Although originally conceived during the middle part of 2012 by long time friends Will Pain (Guitar), Mark Sanger (Drums) and Andy Page (Bass), it wasn’t until this year that the band were officially spawned. Ignited by an impromptu knock on the rehearsal room door by a local venue promoter who happened to overhear the band rehearsing, the guys were instantly asked to support popular London rockers Senser. Duly obliging, the trio were swiftly spurred into action and Rhoda May were formed.
From their debut show with Senser, Rhoda May’s climb has been vastly encouraging and recent supports with Heights, Freeze The Atlantic and Three Trapped Tigers have further cemented the band’s fledging reputation. The enterprising three-some have also been working on a series of live videos with Emma Dalesman (Stagecoach, Tommy Reilly), which can be viewed here – www.rhodamay.com/video/ .
The videos were also recorded by producer Jason Wilson (We Are The Ocean, Reuben, Dinosaur Pile Up) who handled their first ‘347 sessions’; the band also recorded a later session titled ‘589 live session’. Both recordings were put down live and in their entirety. Due to the quality and the glowing early feedback for the live sessions, the band decided to release both recordings as a stand alone record. Aptly entitled ‘Sessions’, the EP is an immensely impressive collection of six absorbing cuts of modern rock. From the opening guitar scapes and twisting rhythms of ‘#3’, to the engaging post-rock bite of ‘#4”, on to the fuzzed-up melodic appeal of ‘#5’ and to the majestic groove-laden journey titled ‘#8’, the band illustrate their genuine creative craft, which displays true imagination and the nimble ability to take the listener on an engrossing musical voyage.
Rhoda May - Cover Artwork

faltered – Fortune Favours

Faltered Online Promo shot

Not for the first time it seems this year, we are offering a comparison for an emerging band to one of the UK’s finest aggressive rock bands Reuben. Sadly no more, though as so many we still have dreams of that to be reunited announcement, it seems the Surrey trio is inciting and influencing more and more new bands. Northern Wales alternative rock duo faltered is another appearing to reap those seeds for their own distinctive and adventurous idea. Consisting of brothers Daniel (guitars, vocals) and Conor Cahalane (drums, percussion, lead vocals), the band release their new mini-album Fortune Favours September 2nd, a collection of songs which challenge, tease, and at times disappoint, but all come with a depth of promise and imagination which leaves you recruited to and eager to watch their evolution and future creations.

Taking inspirations from the likes of Biffy Clyro, Muse, Hundred Reasons, Vex Red, Fightstar, of course Reuben and more, the pair from deciding to form a band took little time in moving forward by rehearsing, writing, and releasing their debut EP Victorian Post Mortem Photography last year. With its full of promise presence well received as also have been their live performances, a growing fan base was instigated as they began working on new songs which have emerged as Fortune Favours. It is a release which is guaranteed to grab attention, yes it has flaws, some loud in the ear, but there is never a moment that you want slip away quietly from its offering or lose focus.

Opening instrumental Leave It Out makes a potent entrance, crisp beats soon joined by a funk drenched dance of guitar and throaty Faltered-Cover Artworkbass before it is all intensified with a blaze of sinew driven energy and adventure. Courting the senses with its swagger the piece is a magnetic lure to the album and immediately shows the prowess and skill of faltered in creating imaginative and addictive sounds. It’s relatively gentle temptation is then pushed aside by the muscular Fortune Favours The Needy. Again drums lead in the charge with discord lit almost post punk like slashes of guitar and noise rock rapaciousness assaulting the ear. Instantly thoughts of Reuben make their call but the brothers then keep the listener off guard by slipping into a melodic alternative rock restraint which they swiftly shift between and entwine into a pleasing and intriguing emotive narrative. It makes for a strong and rewarding start to the album which has the appetite hungry for the next song.

Worth The Wait coaxes the ear with guitar before expelling a blaze of sonic and acidic might which again only reminds of the previously mention now demised band. With the guitars raising the temperature of the air and the rhythms caging song and thoughts in a provocative mesh, the track is an exciting and perpetually twisting persuasion expanding the already strong pleasure reaped so far.

The following Pulled Over emerges as an intensive emotive reflection which without reaching the heights of the previous songs inspires ear and imagination to embrace its temptation hungrily. Slow tender wraps of melodic caresses intermittently punctuated with hard strikes of rhythmic prodding and scything riffs make a full suasion which is lifted further when the song slips into a delicious reined in stomp which is ingenious and irresistible before subsequently unleashing another furnace of emotional and sonic intensity. Unfortunately for the track to temper its success there are moments where barely hinted at previously, the vocals go astray at times with their notes and quality. The continual changes and erupting fire of sound for the main prevents any real damage but it is a portent of things to come on the album.

     Please Don’t Take This The Wrong Way makes a dramatic and stunning entrance to emphasise the rich talent in songwriting and sound the band has. The almost eighties like, think ABC, guitars are met hand in hand buy a glorious sax croon which takes mere seconds to spark the passions before merging with towering riffs and rhythms. Settling into smouldering intent and melodic warmth with invention and refined enterprise, the song musically paints a colour rich evocation though the vocals again strain against their limits a little. Another good romp of a stroll breaks out to energise things for the fiery finale which simultaneously thrills and deflates appreciation.

Its successor If This Is A Joke Then I’m Not Laughing is another strong moment on the album; caustic guitar swipes and cantankerous riffs initially scorching the senses before a jazzy breath creates another eager vaunt. Once more you think Reuben though as ever faltered twist it into their potent style. The song is an abrasive treat which leaps around with numerous turns and unpredictability but still at times those vocals rub the ear the wrong way, which is openly a problem in the closing Thanks A Million. A soft rock bred track with pressuring intensity giving it depth from the start, the song musically is another accomplished draw on the ear but vocally…well let us just say that the guys seem in a constant quarrel with their notes and the listener’s satisfaction. It is a shame as the song has like the others, the charm and persuasion to light the passions especially with the wonderful addition of strings.

It is hard to resist suggesting the band looks at bringing in a dedicated vocalist and concentrating on the music, which already they are making very impressive waves with. Despite that it has to be said Fortune Favours makes for an enjoyable encounter with some moments of massive quality and incredible promise, so much so that keeping a close eye on faltered is a definite.

www.facebook.com/falteredmusic

www.twitter.com/falteredBandUK

7/10

RingMaster 01/09/2013

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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DIGITS ‘Acquiesce To Violence’ let loose on Monday 11th November‏

Digits Online Promo Shot
ALTERNATIVE ROCK CREW DIGITS RELEASE NEW EP THIS AUTUMN!
North East riff-tyrants Digits re-release their debut EP ‘Acquiesce To Violence’ and it’s a real belter. Sounding like the backwater cousins of Glassjaw, Hundred Reasons and Reuben, ‘Acquiesce To Violence’ is set loose on Monday 11th November and is available through all digital stores.
 
Taking stock after the demise of their former band, ‘Cut Glass Accent’, Chris Bradley (Vocals & Guitar) and Stu Latham (Bass) enlisted Craig Strawbridge on guitar and drummer Dan Cooper to form a new band; learning from their past mistakes, they aimed to deliver a compelling sound that would be absolutely progressive, experimental and accessible. At this point, Digits were formed.
Extensive gigging and writing soon followed, and by the end of 2012, Digits had completed their debut EP ‘Acquiesce to Violence’, which is slated for a November launch date and rammed full of sonic sledgehammer fists-in-the-air choruses and explosive rhythms that promise to melt your ears.
The EP instantly takes flight with ‘Acquiesce’ as it tips its cap to the low-slung groove of Deftones and the brawling rage of early Biffy Clyro. The recent single ‘Golden’ magnificently comes over you with balanced guitar scapes and soaring vocals before the up-tempo punk-flavored drive of ‘Visceral’ grabs you by the scruff of the neck. Lastly, ‘Violence’ closes the EP and balances melodic hooks with razor sharp riffs. Plug in and soak it up; these guys are set to rise!
Digits Cover Artwork