Discharger / The Uprisers Split EP

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If you ask us there really are not enough split releases around these days, not enough bands/labels really exploiting their potential in spreading the word and sounds of emerging and established but maybe still to be discovered bands. Rebel Sound Music has stepped up to the plate though with the outstanding link up of Dutch Oi! punks Discharger and US punk ‘n’ rollers The Uprisers. Consisting of four diverse contagions, the 7” single is an irresistible riot of uncompromising rock ‘n’ roll, one gleefully leaving an exhausted and impossibly contented glow over ears and passions.

Hailing from Amersfoort, Discharger has never been slow in unleashing anthemic and compelling encounters to ignite punk appetites starting with debut album Born Immortal in 2004. Our Hate Is Justified two years later and the following The Sword of Our Ancestors in 2008 reinforced the band as a truly provocative proposition whilst the 2012 album Desecrated Ground recruited another wealth of engaged attention and fans, with the band re-embracing their Oi! background they started with than the more metal rooted influences which marked its predecessor. The quartet with their new songs stay rooted firmly in their punk roots on the single though that is not to say that the band has neglected any of its adventurous intent in sound.

Everytime We Drink opens on a relaxed chord and melodic coaxing before lifting its sinews and knees to burst into a muscular stomp, enthralling grooves lacing the aggressive urgency of the band. Seemingly already a firm favourite with fans and newcomers to the band since its appearance on YouTube a few weeks back, the track roars and recruits with open anthemic revelry around a thumping rhythmic punctuation. A fiery rampage with more contagion in its walls than many bands breed in a whole album, the track ignites an instant greed in ears and appetite for the following No Place For Our Kind. Opening on an acoustic invitation, the song erupts into a rampant confrontation with infectiousness again dripping from every note and digging hook. The great gruff vocals and almost brawling stride of the song has a thick texture which is part metallic and part rockabilly, the combination reminding of Danish motorbillys, The Grumpynators at times. It is a thoroughly incendiary and riveting anthem, quite irresistible and quite brilliant.

Discharger gives a high benchmark for New Hampshire’s The Uprisers to match, but it is no challenge as they rival their companions in Printsound and contagion. Emerging from the ashes of The Radicts, the band sees the reunion of Todd Radict and Rodger Shosa of The Bruisers, the pair having played together in punk band Five Balls of Power in the eighties. The band opens up their contribution to the release with a reworking of an old song of The Radicts. Led by the captivating vocals of Britney Noyes which have more than an essence of Poly Styrene meets Wendy Wu to them, Everybody’s Got A Reason takes a mere breath in time to draw a firmly attentive reaction with its opening thump of beats and classic rock flavoured guitar tempting. Keeping to a controlled stride with strikes of rhythms and guitar around catchy hooks, the song makes a tasty infectious appetiser for the band’s main course, the outstanding Ghetto Blaster. A brand new song from the band, it captures thoughts and emotions right away with its old school/modern punk bait, the track within seconds reminding of bands such as Penetration, 4 Nin Blondes, and Juliette And The Licks. Riffs and rhythms surge through the ears as devilishly as the vocals; every stride leaving a coating of anthemic toxicity which builds into a virulent seduction speared by sonic endeavour and melodically crafted hooks for the strongest bait. The song is punk rock at its purest insatiable best and takes tops honours amongst four quite magnificent beasts.

Whether the bands are intriguingly new to you or you just want punk rock in its strongest guises then the split between Discharger and The Uprisers is essential listening and owning.

The Discharger/ Uprisers split 7” is available now through Rebel Sound Music now coming in 200 Black vinyl, 200 Red vinyl, and 100 White vinyl options.

https://www.facebook.com/dischargerholland

https://www.facebook.com/theuprisersnh

http://www.rebelsoundrecords.com/

9/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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Concrete – Subculture Street Troopers

concrete

Hailing out of Austin, Texas, caustic punks Concrete unleashed one of the prize joints of Oi! punk last year with their debut release, the 12″ EP We Are All Reapers Here. Its acclaimed provocation is now backed by the release of the 7” single Subculture Street Troopers via Rebellion Records and Rebel Sound Records. Consisting of two confrontational contagious brawls to get your teeth deeply into, the single reinforces the emergence of a new roar and force in modern punk with more than a healthy seeding in old school voracity.

     Subculture Street Trooper is pure aural addictiveness from its opening anthemic whine of guitar onwards, riffs and bass adding their rich bait alongside the crisp drum pokes.  It is one of those instantly virulent songs which enslave imagination, passions, and memory with impossible ease, a potency only increased by the gruff vocal growls and united band chants around them. The song swaggers and strolls with a consummate persuasion before lighting a fire and exploding into a voracious charge of abrasive riffs and barbed hooks.  Bringing an essence of Angelic Upstarts to its grazing enticement, the track closes as it started with the rapacious stroll and an insatiably contagious grip Concrete-singleon the heart.

Second song Born To Never Lose does not have the same dramatic and intensive temptation as its companion but still bruises with a primal expulsion of hardcore aligned punk rock which allows no escape from its raw incitement. The production on the song is a little cloudy but it does little to prevent the thorough enslavement of the listener, in fact it only enhances the raw and uncompromising onslaught which embraces led by the great equally aggressive and unpolished vocals.

If their previous EP escaped your attention, Subculture Street Troopers is the perfect way to discover Concrete, a band with a sound which lives up to its name and a storm punk rock will be hearing a lot more of.

Subculture Street Trooper is available through Rebel Sound and Rebellion Records now on 100 Black Vinyl, 100 Gold Vinyl, and 100 Transparent Red Vinyl with heavy gold splatter.

https://www.facebook.com/CONCRETENATION

http://rebelsoundrecords.com

http://www.rebellionrecords.nl/

8.5/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Imbroglio – The Struggle in Pursuit

imbroglio band photo 14

There is an overpowering beauty in something which is intensively tormented and destructively passionate, equally a compelling attraction in the most vicious inner struggles of man and their corrosive shadows, and that beauteous temptation does not come any more irresistible than the new album from US metallers Imbroglio. Returning from an obviously potent hiatus, the band has unleashed the ravenous The Struggle in Pursuit, a breath-taking slab of creative savagery which will leave newcomers to the band reeling and bring existing fans their most richly absorbing and imaginatively consuming presence yet.

It was a surprise when the Ohio band announced it was going on a hiatus on the eve of the release of their previous acclaimed full-length Declared Self Hatred. It was something which was desperately needed as band founder and  guitarist /vocalist D.J. Gilbert revealed in an interview with Exclaim!, where he stated “I no longer felt a fire burning inside because with Declared Self Hatred I felt like I finally wrote my final piece, my suicide note. I knew I was on my way to the easy way out. I literally expelled every ounce of hate for myself on that record. So it was either put it on an indefinite hiatus for a while or just allows myself to self-destruct.

Initially with the intent of starting a new band when ready to return to creating music, Gilbert was persuaded by new band member Bret Newland (drums/vocals) that the project had to stay as Imbroglio; that whatever Gilbert wrote and performed it would sound like the band anyway. Original band member Josh Deeter (bass/vocals) returned to complete the line-up with the trio setting about making returning EP which they recorded with Bobby Leonard. Featuring the contribution of keys and synths on a couple of tracks by Devon Robillard, who had played bass in the band at the time of the Sleep Deprivation album, The Struggle in Pursuit takes little time in smothering the senses and imagination in aural causticity and lyrical ravages incited by the struggle in the pursuit of happiness in today’s social climate. The songs rage and stand defiant against the wrongs and obstacles in life but with a triumphant and provocative stance promoting a broad and personal freedom.

The inventive tempest of grind, sludge, and doom metal from the band is veined by their most exhilarating and rigorous experimental TSIP_Album_Coverexploration to date; exhaustive and captivating invention immediately paraded on opener Full Speed. As its title implies, the song races through ears from its first breath, rhythms thundering down upon the senses and riffs immediately abrasing and flailing everything before them. Vocals need little coaxing to sear the air with vitriolic suasion as the bass darkens the imposing and strenuous maelstrom further. It is a disorientating treat, sonic spirals of invention and searing toxicity enflaming the imagination and an already drooling appetite for song and release. The track continues to lurch over and rip through the senses with sabre flung sonic twists of sound and a rhythmic predation which intimidates and commands full submission to its inciting call simultaneously.

The outstanding start is matched by the thick intensity and equally rapacious antagonism of Approaching, the track soaked in a passionate rabidity and driven by an anthemic enticement within a maelstrom of noise and intrigue. The track roars and rages as it engages and recruits the passions, every second a ferocious protagonist and every twist a mouthwatering intrusion of cutting sonic endeavour and enterprise. There is little time to concentrate on a single moment, the voracious attack and invention of songs a turbulence which needs numerous exploits to  explore fully which this and the following Gravity are perfect thrilling examples of. The third song of the release barracks and engages thoughts and emotions from its first touch, riffs and rhythms tenderising the senses as the guitar spurts potent sonic toxicity throughout the provocative landscape. It is a riveting furnace of emotion and sound which reaches a new height when solemn darkly toned clean vocals duet with the coarse squalls of voice and sound beneath them.  It is a tremendous sprawling and suffocating embrace of harsh and invigorating endeavour leaving the body a broadly smiling wasted mess.

Day Break gives no time for a breather or respite as it leaps straight at the listener, drums puncturing every inch of the psyche into which the guitars and vocal lay their vicious irresistible bait whilst the bass looks on with a dark hearted yet seductive lure. There is a hardcore violence to the track also which only accentuates its almost visceral predation leaving emotions smouldering and senses bruised. Its primal insistence makes way for Desolation, another track where the title reveals all before any sniff of the suffocating ambience and emotional suffering can soak the ears. It is a glorious cloud of despair and intent; one speared and split apart by unpredictable sonic imagination and skilled melody inspired shafts of scorched light. A towering conclusion to a quite brilliant encounter, the return of Imbroglio has given metal a new proposition to wax lyrical over, The Struggle in Pursuit deserving all the acclaim destined to come its way.

The Struggle in Pursuit is out via The Path Less Traveled Records now!

10/10

RingMaster Review 16/04/2014

Copyright RingMaster: MyFreeCopyright

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Narcs – Coast To Coast/Souvenir

NARCS Blur Faces

UK alternative rock band Narcs give one last reminder of the potency of their eagerly received debut album Two Birds, One Stone Later of last year with the release of a new double A-sided single. Consisting of the tracks Coast To Coast and Souvenir, it reinforces the strong emergence of a band which is brewing up a rather healthy buzz around itself. Completed by three live cuts from a live session at Leeds College of Music, the release shows all the potential which has marked the band out and made their album a thoroughly engaging proposition.

Hailing from Leeds, Narcs makes an immediately tasty provocation with their adventurously feisty yet relatively undemanding sound, Coast To Coast proving the point with its coaxing entrance and rasping melodic endeavour. It opens with a welcoming rhythmic incitement soon joined by fuzz kissed flames of guitar and expressive vocals. There is a slight stoner lilt to the sonic enterprise within the track but merely a choice spice as the song settles into a heads down rampant stroll before raising its elegant creative weaves again around the never deviating lure of the drums. It is not a forceful song, nor one which explodes within the ears, but it is a constant persuasion which seduces without restraint, especially when the group vocalise together before the more intensive if still reined in climax of the song.

It is a strong temptation of a song which you cannot escape making an Arctic Monkeys comparison to but as shown by the excellent NARCS Coast To Coast Clue RecordsSouvenir, the best track on the pair with ease, there is much more at play within the band. A distant scrub of guitar is soon boldly enticing the senses as a more psychotic breath wraps the song, the predatory bass and manically flirting backing vocals courting just as much attention. The song is a totally different beast in sound and intent to the first, the bass alone a leading protagonist whereas it was held in check in the first track. Yes that comparison offered by its predecessor has a place in this song but more so there is a richer essence of the demised Welsh band My Red Cell, the track snarling and brewing up a maelstrom of invention and psyched causticity to ignite imagination and passions in song and listener.  The track is quite glorious and with its companion has all the reasons why Narcs is highly thought of.

As mentioned the single comes with a trip of live session cuts, the raw sonic schizophrenic might of Sandchild impressing potently though matched as powerfully by the dramatic Collisions, and the long meandering captivation of Tall Grass; all three showing that Narcs is a band to be engaged live at least once.

Though Souvenir outshines Coast To Coast with ease, the pair of songs confirm Narcs as one of the exciting emerging propositions within British rock whilst breeding eager anticipation for their future endeavours.

Coast To Coast/Souvenir is available now through Clue Records

http://narcsband.com/

http://cluerecords.bandcamp.com/album/coast-to-coast

8/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Cave of Swimmers – Self Titled

 

CoS

Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

 

 

Stoneburner – Life Drawing

Stoneburner

A compelling destructive seduction, Life Drawing the new album from US metallers Stoneburner, casts no doubts on the suggestion that the Portland quartet is one of the most exciting prospects in aural consumption out there.  Creating a scintillating weave of doom and sludge metal with atmospheric ingenuity and melodically sculpted temptation, the band escorts and very often drags a willing imagination across intensive and fiercely enveloping landscapes under tempestuously climactic sonic skies. The album enthrals and intimidates, inciting heavily emotive reactions to its own intimately emotional yet broadly applicable investigations of the “struggle to be a decent person in a world that keeps doing its best to cause you not to be.”

Formed in 2008 by drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried At Sea), who had played together in many incarnations previously, and guitarist Elijah Boland, Stoneburner unleashed their first forage of the senses with the demo V.​L.​A. the following year. The band was soon making an impacting presence and noise within the Oregon underground scene, a proposition taken to greater attention and strength by the release of debut album Sickness Will Pass in 2012 as well as over the years the band’s acclaimed live performances which have seen them play with the likes of Yob, Sleep, EYEHATEGOD, Neurosis, Buzzov-en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves At Sea, Lord Dying, Drop Dead, Whitehorse, Wind Hand, Bastard Noise and many more. Completed by bassist Damon Kelly (also Heathen Shrine and the son of Scott Kelly of Neurosis/ Shrinebuilder fame), Stoneburner now uncages their latest infestation of the senses and psyche, an encounter which leaves the listener simultaneously suffocated and invigorated.

Opening track Some Can smothers ears and senses from its first breath, a sonic breeze pulling in a thick and thuggishly textured collapse of NR088_STONEBURNER_frontcover_hi-res (1)antagonistic rhythms and prowling lumbering riffery. The track continues to slowly ravage air and recipient until the entrance of the vocals sparks a spurt of adrenaline and urgency to the persistently uncomfortable and demanding intent of the song. A masterful groove swings its bait openly and irresistibly across the dark bulk of the track whilst McKinnon offers slaps which simply send the body reeling and the appetite into greedier hunger. It is a dramatic and absorbing start where everything from the rapacious rhythms and carnivorous bass tone to the flesh scorching sonic designs of the guitars and the exhaustive vocals of Kelly, or possibly McKinnon with both providing  raw delivery across the release, outstanding alone and viciously majestic united.

The noir cloaked almost sinister and wholly magnetic initial coaxing of the following Caged Bird instantly has thoughts and attention gripped tighter. It is an imposingly provocative lure with the darkest irresistible shades of temptation, its destination a broad hint which you cannot anticipate with the piece at times offering the garage punk realms of say The Cramps as a possibility or the ravenous scenery of a Mastodon as an option to give just two examples. Where it does lead is into a corrosive tempest of sonic abrasion and virulent hostility wrapped in a doom drenched maelstrom of spite and malevolence. As its predecessor, the track finds a spark which injects an eager rabidity and raucous energy into the heart of the pestilential stalking and further on a bewitching melodic elegance as the song evolves and twists within its tortured stance.

The beautiful Drift brings a mellow respite next, the short acoustic guitar sculpted instrumental a safe peace before the savage tsunami of An Apology To A Friend In Need falls upon the ears. The track merges a melodic acidity and venomous intensity into a thunderously eventful and unpredictable adventure, rhythms and bass courting the uncompromising vocals for a merciless predation whilst the guitars seduce and carve up senses and imagination with a skill and ingenious ideation that is impossible not to be fully consumed and submissive for. The song is a beauty and the beast endeavour which is already in control of the passions before its turbulent mid-point.

Both the atmospherically enthralling Pale New Eyes and the Giver Of Birth immerse the listener into soundscapes which leave no room for outside interference. The first exploring a progressive essence to its scenic exploration before walking into a mouthwatering storm of sonic violation and rhythmic punishment, an oppressive brutality which only serves to ignite the imagination and exploit further. It is a riveting canvas of guitar invention and vocal ravishment around a frame of barbarous rhythms which ensures the short instrumental beauty of its successor with a haunting ambience is a psyche soothing godsend.

The next up Done is quite mesmeric and sensational, taking best song honours with ease despite the triumphs around it. Opening on a cinematic and again sinister entanglement for the imagination, it develops an eager stroll which continues to invite dark visions of a more filmic nature before striding through an intensive sludge fuelled narrative and infectiously incendiary drama in sound before the abrasing vocals add their strangled syllables and malice coated words. It is a brilliant tease and masterful persuasion and the perfect way to enter the immensely dangerous sonic world of Stone burner for newcomers.

You Are The Worst provides a colossal towering adventure to lose yourself within, every soar and fall within its antagonistic passage voraciously damaging and unrelentingly absorbing to almost match the plateau of the previous track. It turns into the most savage and bruising incitement on the album and in many ways the most satisfying before the closing epic persuasion of The Phoenix unveils its hypnotic journey. As good as eighteen minutes in length, the song emerges from a tightly enveloping almost claustrophobic birth within deep atmospheric waters. The song floats towards a crystalline light, heading up to a beckoning surface of escape and hope, its warmth realised by sultry guitar craft and caressing melodies. Initially intangible, malevolent intensity is also worming its way into the hues of the adventure, niggling away until erupting and soaking every twist and turn to become an inescapable cloud. It is a glorious technically impressive and narratively thrilling journey which never relaxes as the battle between light and dark rages within its imposing confines until the very end.

Life Drawing is a must for all with a keen appetite for masterful sludge and doom premises and those with a hunger for aggressive progressive explorations. It is not an easy listen at times but one of the most rewarding likely to be heard this year.

Life Drawing is available through Neurot Recordings now!

https://www.facebook.com/Stoneburner.PDX

9/10

RingMaster 15/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Idol Dead reveal their ‘Dark Little Hearts’, on 5th May‏

The Idol Dead Online Promo shot

 

UK ROCKERS THE IDOL DEAD RE-RELEASE STUNNING NEW ALBUM!

 

Leeds rock crew ‘The Idol Dead’ spit out a heady amalgamation of infectious Rock ‘n’ Roll and spiky punk which tips its hat to the likes of Guns ‘n’ Roses, Foo Fighters and The Wildhearts. Pinning sledge hammer riffs against gargantuan choruses backed by thunderous drumming, The Idol Dead are poised to bring their sound to the masses in the shape of their blistering new album ‘Dark Little Hearts’, which is rebooted on 5th May, through the band’s own RAAA! Records label.

Born out of a mutual love for blistering riffs, The Idol Dead sport a varied collection of influences stemming from Rachael Stamp, Foo Fighters and Sex Pistols, to David Bowie and Queen. It’s no wonder that, given their eclectic tastes, the 5 piece offer something different – their own brand of big booted rock n roll!

Formed in 2008 and consisting of Polly Phluid (Vocals), Nish Gonsalkorale (Drums,) KC Duggan (Guitar), Tim Jeffs (Guitar) and Dan Sugden (Bass), the five-some soon became the best of friends. After honing their live set, the quintet began to play throughout the UK and swiftly earned a hearty reputation for delivering explosive live performances. The band have gone on to share stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog and Spear of Destiny, to name just a few.

The Idol Dead also have a strong DIY ethos which led them to form their own label, Raaa! Records. The label spawned the release of their debut album ‘Die on my Feet or Live on my Knees’, which was totally self-funded. However, the band decided to utilise the pledge platform for their sophomore album ‘Dark Little Hearts’, and within six weeks, they had what they needed in order to complete the album. Needless to say, The Idol Dead were simply blown away by the dedication and support of their fans.

Now with ‘Dark Little Hearts’ recorded and prepped for a national release, the sky is the limit. The band’s album certainly delivers on all fronts. From the urgency and cut throat riffery of ‘Blue Skies’, to the buoyant vigour of ‘Hey Girl’ and the radio friendly melodic brilliance of ‘I’m Drowning’, the five piece have everything in line and are set to battle it out for their place as one of the new breed of Brit Rock bands set to break in the UK!

 

Check out The Idol Dead live: 21st March – Sitwell Tavern, Derby; 30th April – The Duchess, York; 3rd & 4th May – Noize Level Critical, The Maze, Nottingham; 9th May – 360 Club, The Library, Leeds; 24th & 25th May – TBFM 5th Birthday Bash, The Snooty Fox, Wakefield; 31st May – The Riverside, Selby.

The Idol Dead Cover Artwork

www.facebook.com/theidoldead

KING GOAT uncages new EP on Monday 28th April‏

King Goat Online Promo Picture

NEW EP UNVEILED AND TOURING TO BE ANNOUNCED BY KING GOAT!

 

Brighton noise chiefs release their sophomore self-titled EP on Monday 28th April and plan a widespread assault on the UK!

Crafting together the more engaging key elements of psychedelic and doom, along with carefully measured Eastern influences, ‘King Goat’ hammer out gargantuan grooves, producing a sound that is hypnotic, dynamic, progressive and ultimately alluring.

Hailing from Brighton, King Goat were born at the start of 2012 and swiftly released their debut EP ‘Atom’, which garnered praise from many stems of the underground. Soon after its release, the band changed frontmen and the newly rejuvenated quintet quickly solidified, commencing work on their next EP. A plethora of shows followed as the band laid siege on London and throughout the South coast. With a growing reputation for delivering memorable performances packed with earnest energy and genuine presence, it’s no wonder that the Brighton bruisers soon amassed an army of followers.

Towards the end of 2013, the band hit the studio to work on their new self-titled EP, and they’ve absolutely nailed the songs to the wall. Culminating in an epic journey, the record features three killer tracks that masterfully claim their own identities and plot their very own courses. The EP starts off with the psychedelic-doom infused texturing of ‘The Final Decline’, which sways and flows from hypnotic eastern-influenced early passages to a climatic conclusion complete with weighty riffage and impressive vocal work. ‘Cult Obscene’ is next up and it’s a gut-punching musical stampede stocked with changing patterns and intricate structures. ‘Melian’s Trance’ closes the record as it unleashes a barrage of cutting riffs that ever so slightly nod in the direction of Sabbath; aided by pounding drums and punchy bass, the track is a stunning piece of doom metal, and clearly highlights the five-some’s songwriting craft. Now armed with an explosive EP, the band plan to hit every sweatbox throughout the UK. Dates are imminent, so stay tuned to their Facebook page for more.

BAND MEMBERS: Trim (Vocals); Petros (Lead Guitar); Reza (Bass); Joe (Rhythm Guitar); Jon (Drums).

FOR FANS OF: Bison B.C.; Black Sabbath; Mastodon.

King Goat Cover Artwork

www.facebook.com/kinggoatbri

 

 

 

 

 

TWO-BIT SISTER unleash ‘The Jackal’, on 21st April‏

 
Two Bit Sister Online Promo shot
ASPIRING ALT-DUO TWO-BIT SISTER RELEASE EXPLOSIVE DEBUT RECORD NEXT WEEK!
 
Compressing a wide assortment of influences stemming from the energy and buoyancy of Weezer and Nirvana, through to the texturing of Jack White and Queens Of The Stoneage, Two-Bit Sister are certainly a fresh and animated take on alternative rock. With a tight and solid rhythm section, driving guitars, and soaring vocals, Two-Bit Sister set loose their own brand of infectious rock-pop nationwide this Spring.
Hailing from Margate, Kent, Leon Peskett (Guitar and lead vocals) and Connor Bluemel (Drums and backing vocals) formed ‘Two-Bit Sister’ in 2013 after dissolving their previous bands. Knowing each other from their school days and having jammed together for the past few years, the pair soon clicked and amassed a strong string of songs. The alt-rockers then began to play a flurry of shows throughout the summer of 2013, ahead of recording their debut EP.
Soon after, the industrious duo cut ‘The Jackal’, which proves to be an inspiring debut that potently flaunts the band’s live sound and vigour. The EP’s namesake starts proceedings, and it’s a highly infectious affair complete with a stunning up-tempo hook. From the get-go, it’s clear that the two-some have a natural knack for addictive melody. Next up, ‘Turbulence’ shifts gears, nodding towards the angular rock of ‘QOSTA’ and ‘Nirvana’, while ‘Wanna Know’ is a brilliant slab of pure contagious pop-rock. ‘Times’ rounds up the record with engaging dynamics and a driven refrain that will cement itself in your head for days. Look out for the duo as they prepare to hit venues throughout the UK in support of their EP.
Two Bit Sister Cover Artwork

 

I Divide – Last One Standing

IDpressshot

Expect the healthy buzz around UK melodic rock band I Divide to take on a stronger accelerated urgency as the band unleash their debut album Last One Standing. Containing eleven impassioned anthems crafted upon poetic melodies and stirring emotionally driven energy, the album lights up ears and imagination with consummate and accomplished ease. Whether the band is providing anything new to digest can be debated, comparisons to the likes of You Me At Six, Mallory Knox, and Deaf Havana very apt, but they create a thoroughly compelling and imaginative persuasion which cannot be denied or for the most resisted. It is an album destined to thrust the band into an intensive spotlight and recruit a fervour soaked increase in fans.

Out of Exeter and formed in 2011, the band first drew attention with their nine track release What’s Worth More that same year before pushing it wider by winning of the Red Bull Bedroom Jam in 2012. This led to numerous festival appearances at the likes of Download, Slam Dunk, and Hevy soon followed by a second Download appearance and playing the Reading and Leeds Festivals. It has been an impressive emergence helped further by touring with Funeral for a Friend and their own successful headline run. The release of the single Follow Me last year helped raise a strong anticipation for the band’s album, hopes and expectations now rewarded with a masterful collection of songs and imaginative enterprise.

The aforementioned single opens up the album; the emotive vocal cries of Tom Kavanagh, ably backed by those of guitarist Josh Wreford, LOS Packshotmoving in from a distance whilst keys caress the ears around them. It is a tempered but potent coaxing which soon launches its full energy through broad rhythmic punches from Dave Mooney and the increasing tempting sonic suasion of Wreford and Henry Selley. There is little time taken by Follow Me in hooking its contagious bait into the imagination, the dark bass of tones from Kristen Hughes more reserved in their presence but an equally dramatic colour to the impressive track. As is proven by all the songs, you need to settle and really dive into the track to fully unveil all of its mature and skilful essences with the surface gloss and attractive craft only half the story.

The following Tell Me Something has a similar feel and initial premise to its predecessor and if there is any nagging thing about the album it is the closeness some tracks are to each other in sound and structure, though again a closer detailed look reveals much more. The song wraps the ears in a finely textured and smoothly flowing breeze but against that there is a great snarl to the riffs and rhythmic intent which pleasingly complements and challenges the clean blaze of vocals and sonic endeavour. Once more the infectiousness of the track commands whilst the emotive expression of the vocals and guitar designs fully engage before making way for the new single from the album, I’m Not Leaving. Opening with a ballad kissed vocal and classical like keys, the song slowly bewitches the senses until bursting with a great chorus. There is something very familiar to the virulently catchy moment, whether from having heard the song previously and not realising, its closeness to other songs, or just evidence that the band is yet to find a unique voice for itself, but it is a magnetically captivating tempting which makes the whole song.

The sturdier Monster in Me shows the variety to the band’s invention , its sinews and towering rhythmic confrontation a welcome twist in the album though with the smooth and impressive vocal delivery, the track was going nowhere else than into another thoroughly pleasing melodic rock enticement. Arguably the first really open song of inventive adventure in its songwriting it is a major highlight on the album instantly matched by the rampant Cold at the Bottom, the song another to slowly unwind its body from an emotional slow caress before charging with purpose and colourful enticement across the passions. Again there is a richer adventurous invention to the song, marked by the swift and scorching solo which only pushes the album deeper into appreciation and the rather keen appetite sparked by the album.

Living in a Hurricane keeps heat and attraction from the album high, even if it slips back into that very agreeable but more familiar stance of songs before 27 Down, featuring the excellent tones of Rebecca Need-Menear from Anavae, explores another distractive variation. In many ways it is the vocal union which seals the honours but the song is a superbly crafted and creatively presented tempting from start to finish egging a hungry licking of the lips before both  Run Away and Say It Isn’t So take over and provide a feisty emotive anthem and mellow croon respectively.

The album comes to a close with firstly the bouncy energy and eagerness of Let Go, a track which brings another virulent lure to seduce feet and passions with, and lastly the excellent Look at Me Now. The final track is thick in drama, bass and guitars uncaging shadows for the melancholic tones of Kavanagh to lay his potent narrative. Tension builds across the song, rhythms adding their haunted drive before the song rather than exploding as expected relaxes into a stable continuation of that initial portentous enveloping. The climax of the song does increase in intensity and dramatic atmospheres, its closing hand almost early Cure like. It is a tremendous end to the release which almost alone shows the depths the band can still explore and its rich potential.

Last One Standing is an album you feel you already know and have heard before but it cannot stop itself and the band being one highly enjoyable and impressive proposition… and something to firmly recommend.

Last One Standing is out now via Destroy Everything Records

http://www.idivideband.com

8.5/10

RingMaster 14/04/2014

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