Zoo Harmonics – Business In The Front…Party In The Back

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Creating a flavoursome and captivating fusion of alternative and punk rock with a power pop vivacity, Israeli rockers Zoo Harmonics may not set the passions blazing but certainly with new album Business In The Front…Party In The Back, they leave a very healthy and hungry for more appetite in its wake. There are no major surprises within the sound and body of the release but equally there is plenty which is refreshingly inventive and individual to the Tel Aviv quartet to make them a compelling work in progress.

Written and recorded across 2012 with producer John Goodmanson (Blond Redhead, The Blood Brothers), Business In The Front…Party In The Back contains eleven tracks which roar and mischievously tease with accomplished invention and slightly warped imagination. It instantly and continually backs up the reputation the band has forged since forming through their live presence at home and across the UK and Europe. The band’s sound has been referenced to the likes of Bayside, Brandtson, No Use For A Name, and Lagwagon, something the album does confirm though we would suggest they are more akin to Russian punks/rockers Biting Elbows with a devilish squeeze of System Of A Down for good measure.

The album swiftly slams into ears and attention with Stemweder Open Air, the opener rife with scythes of acidic riffs across thumping rhythms ridden by the strong vocals of Dror Goldstein. It is potent and infectious bait which subsequently relaxes without losing its urgency and lure into a melodic shuffle with country twanged banjo. It is a mild twist though in the relentless stomp and energy of the song, the guitars of Goldstein and Ron Minis expelling catchy riffs and hooks whilst the bass of Tal Levi provides a great throaty tempting and enterprise. It is a song which dares feet and emotions to remain unaffected by its irrepressible contagion, something neither is able to do of course.

The great start is matched by Henry & Claire, another catchy web of spiky hooks aligned to anthemic rhythmic enticement from drummer Priel Horesh. Equally there is a melodic mellowness and warmth which has its say within the 10264299_512940428834136_3915992718798314287_ntrack’s otherwise riveting agitation of sound and ideation, everything combining for a second thrilling and potent anthem to put the pressure on the next up Awake At Night to emulate. Though it lacks the spark of the first pair, the song still strolls with an unrelentingly catchy and inviting countenance to capture ears and imagination before the slightly rawer presence of Ipek makes its play for attention. It is a strong and pleasing track but offering little to set it apart from the pack, unlike its predecessors. Nevertheless it is a thoroughly enjoyable tempting to feet and appetite just as its successor Bring Me Back, a pop punk canter with quickly accessible charm and energy cast in a less intensive presence which as the previous song, keeps the album’s party feistily alive.

The opening of Butterfly does not quite convince, guitar and vocal alone attempting to lure in the listener but once the band explodes with a blaze of sinew driven beats and fiery riffs, the track is a fiercely enticing proposition wrapped in the rich individual and group vocals of the band. It twists and flirts with intriguing ideation and open enterprise to make an enthralling and impressing imaginative offering, a triumph straight away matched by the excellent Club Sin(atra), a song with a loud whisper of Red Hot Chili Peppers, certainly to its entrance, and a feel of Smashmouth to its emerging creative tango.

On My Own launches its engrossing drama and ingenuity with immediate agitated relish. Its entrance charges into the passions with an urgent addictiveness lying somewhere between My Chemical Romance and Fall Out Boy, before weaving and flirting with a stunning mesh of ideas and gripping adventure right up to its final note. The best track on the album, it leaves a lofty benchmark for the rest of the album to match and the band to emulate in their journey ahead.

All Amazing Songs takes the touch task to follow the peak in its stride and straight away forges its own heights, bass and vocals from an opening bright flame of sound, prowling with emotive tension and drama over thoughts and passions. It is a bewitching track with aggression and elegance all boiled up into another unpredictable and anthemic tempest. As the earlier mentioned Biting Elbows, Zoo Harmonics have the knack and ability to write and sculpt truly magnetically unpredictable and inventive songs just not on the same consistent level. What they can do with unrelenting skill is create attractive and infectious propositions as shown by their album and the final pair of songs. He Wishes He Knew is a radiant and melodically seductive croon which holds full reign over ears and emotions from start to finish whilst closer Romania is simply an addictive stomp regaling in the exploits of touring the source of its title.

Both make a varied and highly enjoyable finale to an album which from start to finish leaves a heavily satisfied pleasure in its wake and at times reaches heights which suggests that Zoo Harmonics has the skills and ingenuity to become a big inspiring player in global punk. As suggested surprises may be rare on Business In The Front…Party In The Back but fun and thrills are bulging assets of the album.

Business In The Front…Party In The Back is available via Pet Harmony Records now @ http://zooharmonics.com/?audio=business-in-the-front-party-in-the-back

http://zooharmonics.com/

RingMaster 14/10/2014

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Ste McCabe – Brains of Britain

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Punk rock for body, imagination, and the passions to relish and parade their wanton sides, the vivacious sound of singer-songwriter Ste McCabe has been a constant source of acerbic lyrical prowess and salacious musical enterprise since his emergence. His virulently contagious and biting political pop songs have provoked and thrilled across three absorbing and acclaimed albums, and his unrelenting hunger to gig, but with his new full- length Brains of Britain, McCabe has brewed up a new pinnacle in his creatively mischievous and lyrically striking assault on thoughts and emotions. It is a glorious stomp of punk, art-pop, and electronic devilry, an incitement which never gives the senses and imagination time to lay dormant.

With the vocal magnetism and melodic flair of Pete Shelley, the inventive agitation and social snarl of Mark E Smith, and the infection spewing invention of Pete Wylie, McCabe brews up a presence and sound which is individual yet carries a familiarity to gloriously feast upon. There is an inescapable charm and raw honesty to his confrontations, an almost anthemic call which finds even greater irresistibility and strength within the Maneki-Neko Music released Brains of Britain.

It is fair to say as that as soon as the big bulging electro pulse of opener Fool hits ears a lustful twinge shot through thoughts and emotions, its resonating call pungent bait reminding of Blancmange. It is a forceful and vibrant lure which is lifted further by the distinctive tones of McCabe, his expressive toning as always an easy liking to the Buzzcocks frontman. The initial electro beats soon break into a thumping stride beneath the vocals whilst synths spread a melodic breath and glaze over the brewing abrasion of punk guitars, it all creating an irresistible blaze of electro punk loaded with lyrical causticity.

The thrilling start is continued by Cockroach, a darkly shadowed, post punk spiced slab of provocative expression which features Billy Bragg who superbly alternates his equally distinctive presence and lyrical antagonism with that of McCabe. It is a song which crawls over senses and psyche, bass a lingering toxicity upon which light but scarring riffs and the outstanding vocal mix flourish. There is no avoiding the fallout of the exceptional song, its heavy radiance and gripping drama a lingering spark in thoughts and passions from the very first infestation.

Mantos ’99 moves in next with dark electro flirtation aligned to slight but potent scythes of guitar. It is another song with a minimally dressed landscape and intensive attraction, though it just misses the heights of its predecessors, even a2655639157_2with the increasing confrontation of its manner and energy. Again a post punk tempting ingrains the electronic wind of the song for a fulfilling helping of sonic bewitching around vocal devilry but it is soon left in the shadows of The Family Values Song. Imagine Swell Maps in league with Buzzcocks for a far too brief and exhausting but most of all scintillating blast, and you get sense of this riotous treat.

The pair of Chinless Wonders and Don’t We Have Nice Hair spark ears and imagination on new thrilling escapades next, the first a flight across an exotic climate of synth melodies and an evocative narrative painted by vocal variation, both aspects around a spine of heavy pulsation. Glistening before and creeping over the senses it is a magnetic prowl and seduction setting up an already greedy appetite for the second of the two. The track is a punk growl coated in a post punk chill of melodic melancholia. Barely two minutes long but flying by within a blink of the eye, the track croons and infects like a delicious mix of Television Personalities and Magazine with an OMD emotional discharge.

The spiky I’ll Do It sets up its contagion next, again a short burst of electro punk irreverence immediately irresistible to feet and emotions but no more so than the gripping PiL like sonic tempest of Go Polski Boy! Thrusting that caustic sonic radiance into a voracious electro and ravenous trance bred stomping, the track flexes and pulsates with creative gluttony and glorious insatiability. It sets another plateau for the album but itself is surpassed by the brilliant Them There Different People, the most potent art punk song you could wish to be seduced by. With a more than passing whisper of The Vibrators to it and the rawer agitation of 999, the track stomps and swaggers with an almost primal persuasion, leaving ears through to the heart enslaved.

The album finishes with the equally epidemic temptation of What Are You Worth, a track which has control of body and soul from its first predatory bass hook and electro niggling. Also expelling a moment of corrosive energy and sonic causticity, the song is a repetitive and merciless baiting which leaves the release on a high and fingers eager to press start and set in motion the whole thrilling adventure again.

Brains of Britain is easily one of our favourite albums of 2014 but also one of its best. Venomous and naughty, challenging and irrepressibly addictive, Ste McCabe has cast punk alchemy in its most creative and inspirational form. If there is one album you get before the year closes its eyes, it is easy to recommend that it is this one.

Brains of Britain is available from October 20th via Maneki-Neko Music @ http://www.amazon.co.uk/Brains-Britain-Ste-McCabe/dp/B00MU9374A or http://stemccabe.bandcamp.com/album/brains-of-britain

http://www.ste-mccabe.co.uk/

RingMaster 13/10/2014

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New Model Army – Between Wine and Blood

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New Model Army has never been slow in impressing and stirring up thoughts and passions since forming back in 1980 with their uncompromising and inventive sound, lyrical confrontation, and inspiring stage presence but it is fair to say that the Bradford band hit a new pinnacle with last year’s Between Dog and Wolf album. It showed as if fans needed reminding, that the band has become more impressive and essential with age, the rigorously acclaimed release being rewarded with being the UK band’s fastest selling offering and charting top 30 in UK and Germany. Now the band unleash the similarly outstanding and eventful 2 CD encounter Between Wine and Blood. Made up of six brand new songs on one disc and eleven live cuts of tracks from the previous album on a second, it is an invigorating continuation of the riveting creative plateau set out upon Between Dog and Wolf.

Following the potent release of the last album, NMA set out on the Between Dog and Wolf Tour to equal praise and success. Part two of the tour was scheduled for the spring of 2014 but due to drummer Michael Dean being diagnosed with blood clots in his leg and advised not to play shows, the tour was postponed until this autumn. The break enabled the band to hit the studio and to record 6 brand new songs for the mini studio album accompanying the live CD. The songs are bred from and continue the weighty impressive presence of Between Dog and Wolf, pushing and exploring further its creatively imposing and thrilling emprise. The tracks make for a compelling and enthralling companion to the live portion of the release. Recorded from the first part of the aforementioned tour at venues in London, Nottingham, Cambridge, Cologne, and Amsterdam, the CD sublimely reinforces and the power and impressive stature of the last full-length and the band live, easily capturing the raw and emotive energy which marks their songs and stage presence. Combined the two sides of the proposition makes for one of this year’s most enjoyable and striking incitements from a band as mentioned earlier just get better and better.

The new tracks start off with According To You and needs little time to consume ears in a slow yet heavy and throaty embrace of bass and guitar. It swiftly slips into a pungent stroll of predacious riffs and sonic enticement from the guitars of Justin Sullivan and Marshall Gill, whilst vocally Sullivan imposes himself with the distinctively confrontational yet expressive calm which has always marked his delivery. The grouchy tone of Ceri Monger’s bass brings another breath of drama to the prowl of the track whilst its flowing chorus is unafraid to dabble in rock pop without defusing the intensity and weight of the impressive opener. It is a stirring encounter, but emerging in hindsight as just the tasty appetiser for greater things to come starting straight away with Angry Planet.

The second track has barely time to coax the imagination before raw riffs incite a rampant stroll of anthemic beats from Dean, which in turn are caressed by a gentle but vocal melody and the ever riveting lure of the bass. Exploratory electronic breezes from Dean White enhance the dramatic evocation cast by the song for a stunning challenge where lyrics and vocals work on thoughts as magnetically as rhythms enslave limbs and the inventive sonic weave steals the imagination. Sure to be a crowd favourite ahead, the song builds and boils into a climactic finale driven by the discontent and unrest theming its narrative, ultimately cementing itself as a show and album stopper.

Guessing is equally anthemic in its individual stomp, beats and riffs an irresistible incitement over which melodies and sonic designs twist with flirtatious hues as vocals and the increasingly impressive bass endeavour of Monger, nestle 46f67d33-e5e6-4afa-b8eb-68050a268a25perfectly between the song’s antagonistic rhythmic drive and seducing creative enticement. Another to chalk up as a classic NMA proposition, the song is rivalled by the bewitching Happy To Be Here. An emotive folk embrace wraps ears as a sultry melodic temptation and ambience provides a mesmeric colour to the vocal draw of Sullivan and a courting acoustic beauty. An energetic bounce to the track just as rapidly emerges but is never allowed fully off its leash, the band instead simply breeding it into an infectious swing driving the provocative and intimate adventure.

The new material is completed by firstly the stunning Devil’s Bargain, again a tribal seeded bait opening up the track as keys build a haunting yet engaging atmosphere. It is an instant trap in which feet are unable to stay motionless as the body subsequently succumbs to the baiting. Thoughts and emotions are not far behind in their submission either, keys and vocals leading the resourceful and radiant temptation. As all the songs, there is a potent unpredictability and intrigue to every twist and shift of ideation in the track but skilfully explored with seamless ingenuity and passion. The closing Sunrise, the band’s new single, is a punk folk treat if it can be tagged as anything, which simply oozes irresistible melodies and spellbinding harmonies across a sinew sculpted spine. To be honest it is not the standout song on the release but still an easy choice to lead people into the album.

The live side of Between Wine and Blood just as tightly and swiftly grips passions and appetite, from the fist pumping thrills of the opening Stormclouds through to the closing contagion of Horsemen, band and CD steal total interest in ears and attention. The opening track sets the tone, pulling the listener into the middle of the tempestuous glory of song and occasion, skin almost tingling as ears are immersed in the passion and energy of the night it was recorded.

With every track a roar of intensity and passion delivered with the craft and snarl which has always been NMA, there is no point in the album where you wish to be anywhere else but certainly tracks like March In September with its fiery provocation, the impossibly addictive and brilliant Did You Make It Safe?, and especially the voraciously transfixing I Need More Time take the biggest plaudits. They are rivalled by the excitingly hostile shuffle of Between Dog and Wolf, a classic track and imperious live version in anyone’s book. As said though every song is a transport right into the heat of their recording and the evidence that there cannot be many finer bands live than New Model Army right now.

Mixed by Joe Barresi (QOTSA, Soundgarden, Tool and Hole), Between Wine and Blood is a must for fans and all with a yearning for impassioned and powerfully inventive rock ‘n’ roll, whether from the studio or stage. NMA also have a voice which never shirks taking on the world’s injustices and social wrongs and that as shown by this outstanding release, is just as masterfully engrossing.

Between Wine and Blood is available now on the band’s own Attack Attack label in various packages @ http://shop.newmodelarmy.org/ and https://itunes.apple.com/gb/album/between-wine-and-blood/id907118636

Check out New Model Army’s current tour dates and more @ http://newmodelarmy.org/

RingMaster 02/10/2014

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The Boy From The Crowd – Revelator

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Throwing blues, garage rock, and punk into a flaws and all slab of raw rock ‘n’ roll, UK duo The Boy From The Crowd make an intriguing and ultimately gripping entrance with debut single Revelator. The single actually embraces more flavours than mentioned in the last sentence, but takes that core into a wild and compelling riot of noise and attitude.

Consisting of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, The Boy From The Crowd on the evidence of Revelator, is not a band concerned with offering polished enticements but one driven by the rugged essence of dirt encrusted rock ‘n’ roll and the antagonistic tenacity of punk rock. Yet there is a vein of enterprise within the song revealing a definite thought bred resourcefulness to their sonic brawl which only adds to the success of the track.revelator-single-cover

A lone guitar teases ears initially from within a raw and dusty sonic haze before the track erupts with thumping beats and a heavy bass coaxing bound in a sizzling wash of blues drenched guitar temptation. It is a raucous blaze of noise and intent but one with a rein to its assault which increases its potency and potential. Vocally Piana provides a delivery which ebbs and flows in success depending on which aspect you look at, but at the same time brings captivating character to the growing anthemic nature and appeal of the song.

With fire to the pleasing guitar enterprise and the rhythmic incitement of Ivy pounding emotions into keen submission, the track is an intriguing and wholly satisfying introduction to The Boy From The Crowd. Its raw charm wins over the imagination right away and with only the lack of the intimidating snarl it often hints at a niggle, Revelator is strong entrance from the band’s and potent teaser for their upcoming album.

The self-released Revelator is available as a free download now @ https://www.facebook.com/TheBoyFromTheCrowd/app_262920113912164

http://www.theboyfromthecrowd.com/

RingMaster 22/09/2014

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Bite The Shark – First Blood

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With a sound as snappy and hungry as their band name suggests, Bite The Shark have made one impressive and attention grabbing entrance with debut single First Blood. Consisting of three songs which roar and swagger with a muscular rock tenacity and punk ferocity, the release is an adrenaline charged juggernaut of rock ‘n’ roll. If you are looking for music unafraid to get dirty whilst spilling bodily fluids then letting Bite The Shark and its single clamp its jaws on you could be one of the wisest moves you make this year.

Hailing from Manchester, the UK band only formed in the early days of 2014 and has swiftly drawn a healthy attention and fan base their way. The recently released First Blood equally took no time in garnering acclaim and more, its success leading to an invitation to the trio of Rory O’Grady and brothers Adam and Edd Langmead, to record with Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) this September. Like the music within the single, it is fair to say that Bite The Shark is on a charge.

Gas & Air right away tells you all you need to know about its creators, rugged riffs immediately sizing up ears before welcoming imposing rhythms and spicy grooves. It is a striking entrance which is as bold in its presence as it is addictive Microsoft Word - bitesuarez.docxin its explosive enterprise. Elements of Turbonegro and Buckcherry whisper across the raucous adventure as well as spillages of old school punk rock, all resulting in a richly flavoursome and highly anthemic stomp. Hooks and increasingly infectious grooves continue to enslave ears and emotions whilst vocally the band provides a captivating call and brawl of passion drenched energy. The song seems to be the one the band’s fans has grasped to their hearts the most and it is easy to see why as it flirts and romps around the senses.

For us though it is Burn em to the ground (sometimes seemingly just called Burn) which ignites the biggest lust. The track is a beast of an encounter, its opening prowl of beats and bass grooving irresistible and only added to by the sonic squall from the almost belligerent invention of the guitar. Lyrically and musically the song has a snarl and attitude which finds its seeds in bands like The Clash and Stiff little Fingers, whilst its addictive grooves and rapier like swings of rhythms infuses a hard rock riot into its predation. Politically powered and lyrically accusing with a weight of sound and tenacity to back it up, the track is immense and the seal to believing Bite The Shark is definitely going places with the potential to make a lingering mark.

The single is completed by the acoustic track Ms. Ratshit, a song with a swing to it that is bordering on rockabilly and vocals which simply captivate. Based on One Flew Over The Cuckoo’s Nest, it is another contagious stomp to cast praise and ardour over.

Do expect to hear a lot about Bite the Shark ahead and if you are wise you will jump on board their ascent right away with First Blood.

First Blood is available now @ https://itunes.apple.com/gb/album/first-blood-single/id899365205

http://www.facebook.com/bitetheshark

9.5/10

RingMaster 27/08/2014

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Get Stoked – Washington Street EP

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Creating a proposition which simultaneously invites the listener to brawl and party with its feisty mix of pop punk and rawer hardcore aggressiveness, the Washington Street EP is one impressive entrance from US punks Get Stoked. It unleashes five tracks which show an imagination and want to invent something strikingly different yet comes with a familiarity which plays like a returning friend loaded up with devilish intent. It is a highly enjoyable romp which dares to be adventurous and is confident enough to employ those highly flavoursome and recognisable spices.

Hailing from Mount Pleasant, Michigan, Get Stoked consists of vocalist Cameron Wheeler, guitarists Ryan Turek and Zach Smith, bassist Ben Jensen, and drummer Jacob Cardona. Other than the quintet citing influences such as The Wonder Years, The Story So Far, Set Your Goals, A Day To Remember, and All Time Low upon their music, there is little more we can tell about the band other than they write and craft rather appetising slices of sinew sculpted pop punk.

Released via Imminence Records, Washington Street opens up with the instrumental Intro, a minute and a half of thumping rhythms provoking through infectious riffs and hooks courted by a dark toned bass temptation. It is not an ep_Cover_3explosive piece but one hinting at the potent offerings to come whilst treating feet and imagination to an energetic dance. Its successful beckoning is followed by the imposing presence of Actions Speak Louder Than Words. Starting with the strong tones of Wheeler over swipes of guitar and an increasingly intimidating run of beats, it is an engaging if unsurprising start even with the also appealing backing vocals of Turek building up the lure of the song. It is when the track suddenly twists into a livelier surge of antagonistic beats and scything strikes of guitar that it comes alive, slipping into a melodic flame of expectations feeding and ear refreshing pop punk revelry. From vocals to sonic incitement, heavy rhythms to abrasing riffery, the song is a thrilling stomp which allows its inventive unpredictability to run naked through the track. The song also shows why the band has been compared to some of their inspirations but just as strongly and pleasingly it lights the senses with older essences of Hagfish and Mucky Pup.

The following Hand In Your Demise takes little time in seizing the imagination and appetite, its opening roam of compelling rhythms and an evocative melodic tendril the forerunner to a blaze of sonic endeavour and melodic tenacity ridden by once again impressing vocals and flirtatious energy. The track is soon stamping its rhythmic feet with firm intent too whilst the guitars cast a web of emotive and infectious designs to which Wheeler wraps his pleasing delivery and lyrical narrative. Though not quite matching its predecessor, the track similarly just grows and excels vocally and musically the deeper into its body it goes to provide another exciting proposition.

Forward Progress lacks the spark of the last pair of songs but nevertheless parades a strong mix of ideation and sounds revealing more of the depth and expressive ability of the band whilst shaping another infectious and provocative encounter. It is soon left in the shadow of the closing title track though; a song from its opening crystalline melody embraces a string of styles and inventive exploration. A rugged cage of riffs and beats initially traps ears with a vocal drama from Wheeler captivating the imagination. The track then bursts into another pungent stride of pop punk clad in a hardcore predaciousness before slipping into something melodically comfortable and anthemically contagious. It is an enthralling slab of punk rock which alone provides enough evidence to suggest Get Stoked is a band with the potential to make major strides and create impressive marks on the punk scene.

That suggestion is more than backed up by the rest of the Washington Street EP, a release easy to recommend to those wanting something more substantial and braver in their pop punk.

The Washington Street EP is available now via Imminence Records @ http://imminencerecords.bandcamp.com/album/washington-street

https://www.facebook.com/GetStokedMI

9/10

RingMaster 20/08/2014

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KING CANUTE go on a ‘Drive’ from 1st September‏

King Canute Online Promo Shot

EXPLOSIVE DEBUT EP FROM KING CANUTE SET FOR LAUNCH FROM SEPTEMBER.

Irrepressible Brit Rock punkers ‘King Canute’ continue their tempestuous assault on the UK, unveiling their brand new EP ‘Drive’, out on 1st September and available through all good digital outlets.

King Canute were born in the backstreets of Essex and Guildford with Johnny “JC” Lett on bass & vocals and Chris Woollams on drums & vocals. Both members stamp their individual taste all over their craft; Johnny’s background is based in dissident punk music and Chris’s hard-hitting metal influences help to create a truly unique electronic-heavy rock sound.

Ever since 2013, the band have extensively played throughout the country wowing audiences in the process with their highly energetic and explosive live shows. Support shows with Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus, and many others, have further added to their cause and so too has the release of their debut EP “Cutting Teeth”, which featured Jamie Lenman from Reuben. The record was unleashed last year to huge acclaim and achieved substantial national radio play and magazine coverage, with Big Cheese Magazine declaring that the record is “…an infectious blend of bass driven rock anthems with sing-along hooky choruses” and Raw Ramp Magazine touting that the band have “heavy riffs that blade into your skull like an ice pick”.

The relentless rocksters hit the road again in the Spring of 2014 and once more attacked venues throughout the whole of the country. Word and momentum are now rapidly starting to spread about the dynamic duo, and rightly so. After a hefty live schedule, the two-some decided to go into the studio with esteemed producer Gavin Monaghan to lay down cuts for their next EP. Entitled ‘Drive’, the record perfectly encapsulates the band’s live sound and vigour. From the opening onslaught of ‘Cocaine Skank’, which brims and spits out kinetic energy to the buzzsaw groove of ‘Drive’ and the anthemic ‘Trash Talk’, the record is sure to set the band ahead of the pack. ‘Hellmates’ closes the EP with a pounding piece of upbeat rock that is perfectly offset by the duo’s cunning use of electronics.

With another UK Tour planned for the Autumn, and with an array of live appearances penned for wider plains, including India, along with their debut album scheduled for 2015, the sky is the limit of this inspired rock unit.

King Canute Cover Artwork

http://www.KingCanuteOfficial.com    http://www.Facebook.com/KingCanuteOfficial