Liquid Meat – In Meat We Trust

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Want a slab of rock ‘n’ roll just to lose yourself in and let inhibitions slip away with, then try out In Meat We Trust the new album from German rockers Liquid Meat. The thirteen track riot is from start to finish an honest and mischievous fusion of heavy rock, metal, and punk rock with extras, which simply leads passions astray and body into an unbridled stomp of instinctive devilry.

The creation of German born Rocker Freddie Mack, Liquid Meat was formed in Los Angeles in 2004 and was soon playing a horde of gigs around Hollywood. Two albums followed before in 2011, Mack returned to his hometown of Munich which meant a new line-up was needed. This led to the recruiting of drummer Manu Holmer and bassist Max Horch, and unsurprisingly soon after the trio was back into the swing of playing shows, drawing attention, acclaim, and notoriety musically all over again. Earlier this year the band began recording the Indiegogo crowd funded In Meat We Trust with legendary producer Reinhold Mack (Queen, ELO, Led Zeppelin, Rolling Stones, Black Sabbath, Deep Purple, etc.), the result one mouth-watering rock ‘n’ roll party which enjoyably wears its warts and influences like a badge.

The album opens with Liquid Meat Anthem, an uncomplicated bruising of choice riffs and crisp rhythms aligned to a great bass sound which probably grabs attention most of all on the track. The growling vocals of Mack instantly reveal the grin in his delivery and the song, whilst the backing calls of the rest of the band lays swift anthemic bait. It is hard to ignore the Motorhead like causticity and charm of the track as it provides one strong and inviting entrance into the album.

The following song right away shows the unpredictable and diverse flavouring to come across the release. They Lied sways in front of the ears with a sultry blues haze to its sonic enticement before prowling around the imagination with a IMWT Cover_1funk bred swagger which has the markings of Infectious Grooves. Equally there is a punk air to the blend which only increases the persuasion, especially when provides urgency through the chorus which brings another tasty spice, this time a Rage Against The Machine colour. It is an infectiously flavoursome track with twists of drama and an increasingly addictive groove. Its triumph is immediately matched by the outstanding Punch The Clock. Its opening intimidation of bass and predatory rhythms makes for an intense affair though that is soon lost to a big smile as the track starts flirting with what can be best described as Macho Man does Pantera. Mack does his best wrestler vocal impression as a groove certainly related to the one in Walk binds attention and appetite. It is insatiable in its luring and delicious in its devilment with Holmer providing her most magnetic rhythms yet alongside the throaty bounce of Horch’s bass.

The best song on the album is followed by the smouldering blues revelry of Double Standard Blues and then the punk joy of Black Out. The first also has a swagger which grips imagination as well as ears, whilst as with most songs lyrically it brings a devilish tone to climb on board with. Though not at the same heights of the first songs, it still provides a pleasing proposition which its successor soon over runs. Teasing and exciting ears with a riff stolen from The Ramones songbook, so much so that you just are waiting for the “Hey Ho! Let’s Go!” chant, the song is punk ‘n’ roll at its most contagious; hooks and beats as potent and greedily devoured as the driving riffs and bursts of caustic intensity. The track is another which makes claims on that best track title.

Both There Is No God and Guilty As Charged keep things strolling along nicely, the first with a dark blues whisper to its almost psychobilly kissed blues breath, which reminds of Joecephus and the George Jonestown Massacre, whilst the second puts a lighter shade of the first to a raw and incendiary classic metal canvas. Each song leaves a dose of keen pleasure behind whilst the next up Rock N Roll Will Never Die from a reserved but alluring opening melodic flame, breaks into a virulently catchy stomp of old school rock toxicity with a fevered rhythmic energy. There are no surprises with the song but a flood of hooks and inescapable trappings which leaves ears and emotions on a high as lofty as that forged by the groupie salaciousness of Up Against The Wall, never has rock ‘n’ roll romance been so aurally addictive.

The decent enough fiery rock sounds of classic/blues rocker Road House comes next before another pinnacle of the album arrives in the shape of Fuck That. The track is a return to a more punk led rampage, its jabbing rhythms and scything riffs again offering a slight rockabilly flirtation whilst the bass roams around like an adulterous predator. Revealing a parade of impossible addictive hooks and grooves blessed with a Dead Kennedys temperament, it is another glorious encounter which leaves the remaining pair of songs a task to match and leave the album on a high. That they do with consummate ease though, Smoke ‘Em a grizzled protest and confrontation of bruising raw rock ‘n’ roll and final song, The Devils Music is a noir cloaked stroll with sinister intent and psychobilly/blues intrigue. As all songs the tongue in cheek honesty is as infectious as the great sounds and adventure it rides in upon.

It is fair to say that In Meat We Trust is not going to be the greatest album you are going to hear but it will be one of the most fun and irresistible.

In Meat We Trust is available now @ www.liquidmeatlocker.com

8.5/10

RingMaster 25/07/2014

Copyright RingMaster: MyFreeCopyright

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Allusondrugs – Self Titled EP

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UK rockers Allusondrugs has been working away at the imagination and passions for the past couple of years, laying down a bait of three diverse and increasingly impressive singles which has led to a hungry anticipation for the prospect of something bigger from the West Yorkshire quintet. That sizeable offering comes in the enthralling shape of their self-titled EP; a six-track revelry for the passions and tease for the psyche. The band’s last single showed the increasing maturity and immersive expression of the band’s songwriting, now it is in full swing within the suggestive technicoloured seduction of the EP. At times it is tenderly mesmeric, in others psychedelically psychotic, and from start to finish it is a magnetic captivation to reinforce thoughts that Allusondrugs is about to ignite the British rock scene with their raw edged fusion of grunge and warmly warped psychedelic rock.

The band began in 2012, its members coming together out of the Leeds music scene. Taking influences from the likes of Nirvana, Deftones, My Bloody Valentine, and Sonic Youth into their unpredictable adventure of sound, the impressive entrance of debut single Plasters and the following twisted teasing of My Cat/Fruit of 2013 soon thrust the band into a certain underground spotlight whilst earning attention from mainstream ears. Earlier this year, third single Nervous woke up a wider expanse of attention with its masterful presence and call to the imagination. Released on Clue Records, as the singles, the new EP embraces all the essences of the individual delights that came before and casts them into a new inventive drama and virulent persuasion to unapologetically steal the passions.

With the core of the release recorded live over a week in Greenmount Studios, Leeds, the EP immediately flirts with ears and thoughts through the opening beats of I’m Your Man. It is an instantaneously coaxing sure to awaken a3102663430_10attention; a focus soon fed by sonic waves of acidic guitars and the excellent group harmonies we have already become accustomed to. The song is soon holding a bold stride as enticing melodies wrap their temptation around the rhythmic spine of the song whilst rawer rubs of riffing and the creative sonic web crafted by guitarists Drey Pavlovic and Damo Hughes dance with ears and a growing appetite for the rich invention of the song. The track though is a full seduction, the excellent vocals of Jason Moules supported by Hughes and the punch packing beats of drummer Connor Fisher-Atack alongside the rich darker tones of Jemal Malki’s bass equally as impressive and persuasive.

The band is constantly being, and understandably, being placed under comparisons to the likes of Nirvana and Soundgarden, two references easy to bring forth with the following Ted, What’s The Porn Like In Heaven?, but the opener is more Pixies-esque in its immersive and discord kissed ingenuity. It is a flavouring and spark to appear across the whole EP, though as said the second song is firmly spawned from a grunge haze. It roars from the first second, riffs climbing over ears with anthemic purpose whilst the bass of Malki simply roams with a predator’s heart into the imagination. The guitars continue to sling caustic notes and riffs with a freedom and raw intent that puts the listener right there in the studio whilst the vocals and rhythms stir up the sense with their own raucous lures. It is hard to avoid that Nirvana suggestion, especially from around the Bleach album, but there is always that undeniable uniqueness which turns it all into another invigorating original encounter.

The pinnacle of the release comes in Cherry Pie, a song which from the opening grumbling bassline sets ears and passions aflame. It is soon swiftly and provocatively striding with a determined directness as post punk like guitar stabs spear its intent. A brewing sonic potency grows around the irresistibly addictive hook of the song, its groove which would not be lost in a Joy Division intrusion bringing a hunger and resourcefulness which is as punk as it is noise rock. The song is glorious; a thrusting of rhythms and toxic invention, not forgetting that insatiable groove, which across its contagious trap has whispers of Public Image Ltd, Cardiacs, Queens Of The Stone Age, and the St Pierre Snake Invasion, yet still emerges as a distinct beast owned by Allusondrugs.

Nervous caress ears next, its swarming temptation draped in a melodic coaxing, instantly holding ears in a tight embrace to which jabbing beats set a firm punctuation. The grip relaxes soon after though as warm vocals and melodies soak the senses, their kiss aligned to the darker mood of the bass and a new vein of sonic invention. It is riveting, a mesmeric croon with the outstanding dual vocals adding a Walker Brothers like suasion within at times a tempestuously stirring emprise of evocative sound which again offers that Pixies like flavouring. An air of surf rock also adds its wash to the psychedelically fuelled beauty of the song, an elegance ignited further by the eruptions of grunge rapacity which reinforce the depth and insatiable persuasive alchemy of the song.

The release is completed by firstly the emotive climate of Sunset Yellow, a shimmering flight of melodies and haunting harmonies veined by melancholic basslines and slightly bent out of shape, distortion lent sonic ingenuity where again with that Frank Black and co leaning shows its face. It is a smoulder of sound and adventure which just gets more potent overtime, setting up emotions and intrigue perfectly for the final track Thingio. With almost grudging respect from its primal riffery and bass taunting from the first moments, the track stalks and preys on the senses, stroking them with a melodic seducing as the string manipulation of the band brings a raw rabidity to the imposing leer of the song. It is a stunning slice of musical entrapment, the entrancing vocals and weaving melodies a rein on the predacious heart of what is an exhilarating beast.

It is fair to say that we like so many were expecting big things from the band when news of the EP broke and we have not been disappointed, in fact such its might those hopes and expectations were almost an insult to its glory. Watch out UK, Allusondrugs are coming for your souls.

The Allusondrugs EP is available via Clue Records 21st July @ http://cluerecords.bandcamp.com/album/allusondrugs-ep on download and Ltd Ed CD as well as an Ltd Cassette via Pinky Swear Records.

https://www.facebook.com/Allusondrugs

9/10

RingMaster 20/07/2014

Allusondrugs Tour Dates:

JULY

25th July = Tramlines Festival, Sheffield (Millenium Galleries)

26th July = Lounge 41, Workington

27th July = Clarence Festival, Wakefield

AUGUST

1st August = The Puzzle Hall, Sowerby Bridge

2nd August = Temple of Boom, Leeds

7th August = Bar Bloc, Glasgow

14th August = Wharf Chambers, Leeds

SEPTEMBER

11th September = The 13th Note, Glasgow

12th September = Downstairs, Aberdeen

13th September = Pickett, Liverpool

14th September = Think Tank, Newcastle

15th September = Static Bar, Swansea

16th September = Red Rooms, Nottingham

17th September = The Garage (upstairs), London

18th September = Sticky Mikes, Brighton

19th September = The Crauford Arms, Milton Keynes

20th September = Huddlefest, Huddersfield

21st September = Boiler Room, Guildford

22nd September = Joiners, Southampton

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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Thom Bowden – Searching The Brittle Light

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From the release of his striking and impressive The Damage EP of 2012 there has been a healthy dose of acclaim placed around UK musician Thom Bowden and keen anticipation bred for his debut album. This week sees the unveiling of Searching The Brittle Light and those hopes are sure to be satisfied with the ten track encounter. It is not a release which impacts as potently and consistently as Bowden’s previous proposition but certainly it brings another wash of the rich potential within his songwriting and highly agreeable sound.

Surrey based, Bowden takes inspirations from the likes of The White Stripes, Nick Drake, Dresden Dolls, Fugazi, and Neil Young into his imagination catching enterprise. As mentioned The Damage EP brought strong attention and responses from fans and media alike, something you can only see the album repeating and increasing. A collection of songs written when Bowden was ‘at a low point in his life’, the album was recorded with and mixed by Steve Albini (Pixies, Nirvana, Manic Street Preachers) and mastered by Steve Rooke at Abbey Road. Inspired by some advice offered whilst the artists was in Chicago by Kim Deal, the album brings a raw honest intent and beauty to the ears. There is also a slightly more adventurous variation across the songs than on the last EP, a move you can only respect and embrace even with its slightly mixed success in comparison to the consistency of the previous release.

With guitarist Richard George and drummer Steve Matthews alongside Bowden, the album opens strongly with Click!, a song taking mere seconds to seduce ears and thoughts with its opening seduction of sultry blues kissed flames. a2137786508_2The slow swipes of guitar are soon joined by punchy beats and a darkly drawing bassline before the great expressively twanged and unpredictable voice of Bowden starts revealing the lyrical narrative. His voice and a rich essence of the music has a Frank Black like temptation which only adds to the smouldering enticement, an invitation which burns increasingly brighter as the song evolves and spreads its senses sizzling charms. The feisty stride of the track is an incessant call on the passions whilst the increasingly warped vocal delivery which by this point has a more My Red Cell essence, Bowden sounding similar to frontman Russell Toomey of the defunct Welsh band, only captivates with mischievous bait. It is a strong and gripping start to the album which without lighting fires sets up a keen appetite for its offering, a hunger soon spicily fed by the second song.

So So Long makes a controlled and infectious entrance, guitars and rhythms a simple but entrancing lure to which Bowden’s grazing tones lay angst spawned invention and caustic passion. The track never lifts its gait to anything more than a slow determined canter but with expulsions of sonic heat and expressive melodic energy, the song irresistibly wins over ears, again thoughts of the previously mentioned Welsh band coming to the fore. It is a masterful slice of sonic magnetism bringing a licking of lips. Its potent presence is followed by the ballad My Arms, the song a union of voice, guitar, and emotive textures which certainly stirs up thoughts and attention but brings an unexpected and underwhelming halt to the thrust of the album. Obviously a highly personal offering, it is hard and impossible to dismiss, or not enjoy, but the song is a wrongly positioned rein on the passions for personal preference.

The following Control brings the temperature and energy back with accomplished and thrilling enterprise. Rhythms roll invitingly through the ears as guitars swerve and let fly with melodic scythes of enticement and sonic tempting which reawakens a thirsty imagination. There is a definite eighties new wave feel to the track, another shade of familiarity which in different designs attractively flirts with most of certainly the rockier numbers on the release. As it continues to tease and impress, the glorious song casts a web of inventive guitar endeavour, melodic mischief, and sonic alchemy to treat and seduce the emotions; it all aided by an emerging Pixies sounding toxicity.

Next up How About It? slips into a gentler hug of emotive intimacy and melodic caressing around a spine of shadow involving rhythmic invention from drums and bass. It is a slowly burning temptation which takes longer than certainly the previous song to persuade but emerges as a deliciously riveting and evocative highlight of the release. Its broody success is followed by the forty five second instrumental , a piece which is just there before the outstanding With Pace unleashes its grunge spawned sinews and punkish desires. As its title suggests, the track romps with swift, heavily thumping feet and fiery riffs around which rapacious grooves and fuzz encased vocals flirt and rage respectively. There is no escaping a Nirvana comparison but as elsewhere it only spices up the brawling encounter. The album and Bowden seems to wear inspirations on their sleeve, definitely more than the EP, to predominantly bring stronger aural colours to embrace.

The raucous air and exhaustive pleasure of the triumph is swiftly tempered and brought back to the ground with the folk seeded reflection of The Water Is Cold, a decent and strikingly performed song but again an underwhelming shift in scenery and suasion. Its emerging emotional stringed flight and expressive vocal coaxing does light thoughts and feelings, but there is the thought that the track would be better served elsewhere in the order or set on a separate release to find the reaction it deserves.

The bluesy plaintive cry of In The Ground comes next to stir up a nest of satisfied thoughts and emotions with its persistent tendrils of sonic imposing and fiery enticement around another roar of vocal lament and expression. It is a track which you want more of before the final elegant balladry of Sweet And Tender brings the album to a musically and lyrically rueful close. Soaked in more folk seeded melancholy it is a captivating end to a fine if inconsistent album.

     Searching The Brittle Light is an impressive next step for Bowden but because of its intent and bravery in stretching its boundaries may be fails to match its predecessor. The songs are a clear step on in craft and maturity let alone invention but the album feels like two releases in one which defuses its impact whereas separating them into EPs of rock and ballad seeded tracks might have brought the showcase and clarity they deserve. Nevertheless Thom Bowden is an exciting talent which will be creating remarkable and keenly devoured statements ahead, we for one wait eagerly.

Searching The Brittle Light is available digitally, on vinyl, and CD now via Audio Candle Records and @ http://thombowden.bandcamp.com/

http://thombowden.com/

7.5/10

RingMaster 15/07/2014

Copyright RingMaster: MyFreeCopyright

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Circle of Reason and 48 Hours unite for New Breed Of British Rock UK Tour 2014

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    Two of the UK’s finest emerging rock bands join forces this July. Hitting venues across the south of England, pop fused hard rockers 48 Hours unite with alt/rock act Circle Of Reason for a number of live dates. Bringing together two exciting bands, The New Breed Of British Rock Tour shall reach a climax on the 26th July, with two separate shows in one day.Forming in 2012, Kent based trio 48 Hours feature Adam Jerome and Matt Savini (ex Colt 44) and Gary Broughton (ex After The Ordeal). Previously building their reputations through appearances at festivals such as Sonisphere & Hevy and supporting successful artists including The Blackout, Madina Lake, Cancer Bats and We Are The Ocean, 48 Hours bring vast experience to the live stage & studio. Following extensive touring since their inception, 48 Hours have gone from strength to strength in 2014 following the release of their debut album ‘Recovery’ which has garnered early taste-maker support from XFM Rock Show and Kerrang! Radio.Taking in this venture as Part 3 of their own Trilogy Tour, Southampton’s prog tinged alternative rock outfit Circle Of Reason have gained attention and support from the likes of Kerrang!TV & Big Cheese Magazine on the strength of two self-released EP’s. As an endlessly touring band, Circle Of Reason have reached many corners of the UK, appeared at major festivals and opened stages for the likes of InMe, Neck Deep, Marmozets and Feed The Rhino. Taken from their ‘These Hands And This Mind’ EP, their most recent video single ‘Themes Amongst Thieves’ is currently airing on rock channel Scuzz TV.

    48 Hours & Circle Of Reason are represented by Tim Crane Artist Management.

    UK Tour Dates

    18th July – Hellfire Club-Redhill

    22nd July – Poco Loco – Chatham

    23rd July – Bar 42 – Worthing

    24th July – Sanctuary Bar – Basingstoke

    26th July – Leos – Gravesend

    https://www.facebook.com/48hoursrock?fref=ts

    https://twitter.com/48hoursrock

    https://www.youtube.com/watch?v=40XFwkLTmV8

    https://www.facebook.com/circleofreason?fref=ts

    https://twitter.com/Circleofreason

    https://www.youtube.com/watch?v=KX82tM24wDE (Currently on Scuzz TV)

Tina V – Cut The Tent

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Known as the vocalist/guitarist with the excellent UK rock band This Wicked Tongue, a quartet who released one of the best singles of 2013 in Mick Hucknall’s Hair, Tina V has stepped forward with her debut album to show a captivating diversity to her presence, songwriting, and invention. Consisting of ten tracks which employ essences of rock, electro, folk, pop and much more, Cut The Tent is an album which persistently dances and rocks, seduces and stirs up the senses. Most of all it is a proposition which irresistibly ignites the imagination and passions, an encounter set to thrust the lady into the keenest of spotlights you suspect.

Tina V, the performing name of Christina Maynard, is the founding member of This Wicked Tongue which began in 2010, not long after she had started performing solo. At the start the band beefed up her existing compositions before evolving into its own material to increasing attention and success with fans and media around the globe. Now Tina gives her solo side a sizeable airing and it is hard not to be thoroughly impressed and excited for her first offering. Recorded with Dave Draper (Spunge, Dodgy, Kerbdog), Cut The Tent follows her You Don’t Know Me EP of 2011, a release which it seems like us a great many missed, something you cannot see happening with the new album. The years between her solo offerings has seen This Wicked Tongue release a trio of increasingly acclaimed EPs as well as that triumph of a single, with Tina also engaging in numerous collaborations within styles from dubstep to classic rock. It is easy to suggest though that her finest hour to date is with Cut The Tent.

As soon as opening track Going Home embraces ears there is the feeling of a returning friend, the tones and potent voice of Tina as memorable and impressive as with her band but also with an immediately new and fresh twist and pledgeadventure. The first track cups the ear in thudding dulled beats and the harmonic beauty of Tina’s voice initially for a gentle caressing which grows through just as seductive harmonies as an electro seeded energy slowly but openly raises its head. Tina is soon unveiling the full lyrical narrative whilst adding a hint of fire to the encounter, a heat soon expelled forcibly with a melodic rock thrust of purposeful riffs and swiping rhythms. In full swing the track strides like a mix of dance music and gothic heavy rock, essences of Lacuna Coil seeping into the magnetic incitement for a rich and compelling start to the release.

You kind of assume from the track that you have an early handle of the album but those ideas are swiftly left floundering as the deliciously mischievous Feel Less steps in next. An acoustic punkish wipe of guitar makes the first suasion on ears before being swamped by a glorious jangle of guitars within a maze of melodic enterprise. This masterful weave intensifies as the song reaches deeper in thoughts and passions with its inventive endeavour, hooks and melodies a constant tango of broadly grinning revelry. It is pop rock at it very best with a puppeteer ability to make feet and passions dance to its every whim.

The title track comes next, agitated beats skirting Tina’s emotive tones with fuzz lent guitar lures adding evocative hues to the emerging melody sculpted canvas of emotion and elegance. With keys and harmonies adding their colour to the evolving scenery, a landscape which seamlessly punches with sinew bred steps or glides with stringed beauty, the song is a flame of dramatic melodic rock. It adds yet another facet to the character of the album as does the brilliantly bewitching Don’t Cry. A piano croon matched by additional keys makes the first breath of temptation before effect surfaced vocals trip eagerly between their evocative lines. It is a strong draw but it is when the song kicks off its shoes for a shuffle of fascinating almost devilish invention that it explodes to a new mesmeric plateau. Again rock and pop merge for a lasting suasion but equally flirtations of classical, melodic, and RnB to name just three of the flavours, add their tonic to the feisty aural wine.

The diversity keeps coming as first Could Have Saved and then First Born unveil their musically poetic ventures. The first of the two is a noir coloured captivation with pungent keys casting shadows over the vocal and musical drama brewing beneath. As intensive and sultry as it is sinisterly mysterious yet insatiably beautiful, the song is another pinnacle of the release. Its successor holds onto the tempered gothic feel as it casts its own melodic and provocative flame of sound and enterprise. A tide of irresistible harmonies and melodies veined by slight but spicy minimalistic intrigue from keys, the song engulfs the senses in a tenacious climate of sound.

The emotive balladry of And I’m Trying brings a warm breath over the senses, its body and charm epically potent but lacking the spark which ignited earlier songs whilst Golden provides another punchy pop rock canter with just a hint of country seeding. It also fails to meet the high demands implanted by its predecessors but still engages feet and emotions in a catchy and hunger feeding romp, both tracks continuing to push the album deeper into a lustful appetite.

The electro fuelled, eighties synth rock sprayed Tomorrow Comes ignites body and emotions fully again, its fire hot pop romping impossible to resist, even though it flirts with the mainstream area of the genre more than liked. To be fair though with bold rhythms and those ever commanding vocals, submission is inevitable with the track leaving a thick dose of pleasure in its wake which the closing ballad I Watch The Sunrise brings a hypnotic sunset to. With keys and Tina’s voice transfixing, the song is a final hug for thoughts and emotions, and a masterful end to a thrilling release.

If you are expecting something similar to This Wicked Tongue then you will be given much to eagerly devour, but a whole lot more varied ingenuity and enthralling invention to bask in. Cut The Intent is a masterpiece of melodic and unexpected adventure, and Tina V a presence, in whichever side of her creativity she offers, we will be increasingly pleasured by you can only suspect.

Cut The Tent is released on July 21st with the first single from the album, And I’m Trying available now.

http://www.tinaveronica.com/

http://www.thiswickedtongue.com/

8.5/10

RingMaster 11/07/2014

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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Latimer House – Birdcage Walk

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The make-up of Latimer House is a diverse mix which makes their new single and its sound a bit of a surprise as our introduction to the band. Made up of guitarist Joe Cook from London and drummer/ percussionist Jiří Kominek from Toronto, who set the seeds for the band in 2010 when linking up and playing together, alongside bassist Michael Jetton from Virginia and Baku hailing keyboardist Anar Yusufov, the Prague based band have a sound as English as it comes. New single Birdcage Walk has an eccentric and quaint air which plays like a mix of Ian Dury meets Cockney Rebel with a rich spice of The Kinks and Tankus The Henge in its creative toxin. From the varied globe covering line-up it is an unexpected proposition but one which engages with an irrepressible charm.

Birdcage Walk is an edited version of a track from the recently released Latimer House album All The Rage. Following and along with first single This Is Pop, the new release makes a potent and intriguing temptation for their debut album, one easy to expect a whole new wave of appetite for the band’s sound to be woken up by. Consisting of a collection of tracks recorded in 2012 with engineer Derek Saxenmeyer, the February unveiled All The Rage brought an eager spotlight upon the band with others, one set to one increased by the new pop folk tempting of Birdcage Walk.

Guitars and rhythms immediately enchant ears as the song opens up its melodic caress. It is right away a gentle and endearing stroll which sways with enterprise and quaintly jangling suasion. The vocals of Cook go much towards bringing that British feel but musically there are elements of XTC with whispers of The Divine Comedy to the song which only add to the distinct caress. Cook’s voice has a dulled yet vibrant monotony which increases the charm offensive of the song whilst matching the earthier lyrical narrative, writing which itself brings a Squeeze like essence to the whole persuasion. With keys colouring the more singular stroll of the track and its shuffling dance, Birdcage Walk makes for a captivating encounter. It does not ignite a fire in the belly it is fair to say but as a summer breeze certainly hits the sweet spot.

The song is accompanied by Until Then, an openly rawer and dirtier stomp with blazes of horns and melodic tantalising which themselves have a rough edge and fiery touch. Within that appealing almost teasing scenery a jazzy air and indie rock intrigue plays with thoughts whilst the guitars cast a sonic flaming which brings its own distinctive hue to the spicily varied landscape. Longer to convince but eventually just as persuasive and enjoyable as its companion, it along with Birdcage Walk just infests the imagination and makes an exploration of All The Rage a must and attention on Latimer House ahead inevitable.

Birdcage Walk is out on Honk Records now digitally, CD, and on ltd Ed vinyl @ http://latimerhouse.bandcamp.com/track/birdcage-walk

http://latimerhouse.com/

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Inlaze – Shallow

Inlaze

Still fresh around the gills, having formed in the last weeks off 2013, UK rock band Inlaze lay down a rather compelling introduction with new single Shallow. A feisty stomp of alternative rock and grunge with a just as healthy dose of punk and fuzz revelry, the song is a virulently contagious and riotously addictive brawl of sound with a temptress like seduction at its core. Like a cross between Feud and early Foo Fighters with a veining of Reuben-esque aggression and sultry Allusondrugs temptation, the band’s sound flames voraciously around ears on the single, sparking a just as keen fire in the passions.

Hailing from Wakefield in West Yorkshire, Inlaze consists of vocalist/guitarist Cauley Pritchard, guitarist Ollie O’Brien, bassist Joe Tabz, and Tom Whiting on drums. March this year saw the release of their debut two-track release Waste​/​Fall, a pair of songs which explored a more shoegaze mesmerism upon the band’s firmer rock canvas of sound. Both songs made a potent attention coaxing declaration to spark intrigued interest but it is Shallow which really ignites a hungry appetite for itself and the band ahead.

Riffs and rhythms cascade down on ears within the song’s first breath, jangling over and jabbing the senses for a feisty opening. The bass of Tabz is an instant lure too, its throaty growl contagious bait over which the chords and a3560078570_2melodies of Pritchard and O’Brien cast their acidic yet richly appetising colour. Pritchard’s smooth and energetic vocals equally flourish over the commanding rhythmic spine with the whole riveting mix forming a virulent persuasion for feet and emotions to climb upon. The song also has a raw breath to not only its production but its scuzz spiced touch which only accentuates the infectiousness of its presence, especially within the incendiary finale, it a riot of call to arms vocals and voracious urgency.

Shallow suggests that Inlaze is a band we should all be paying attention to, and we for one are not going to deny its insistence as we wait impatiently for the band’s next foray into ears.

Shallow is available now as a buy now name your price release @ http://inlaze.bandcamp.com/track/shallow

https://www.facebook.com/Inlaze

8.5/10

RingMaster 02/07/2014

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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Halfling’s Leaf – Westover

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After the irresistible bait put down by their excellent previous EPs, UK band Halfling’s Leaf has returned with not only a confirmation of their creative bedlam but a declaration of its new maturity and expansive schizophrenic ingenuity. The Stockport quartet has honed their distinctive and diversely imaginative sonic lunacy into a more concentrated yet no less boldly inventive proposition whilst turning up the aggressive rapaciousness which flirted with their earlier releases. The evidence is open and loud within Westover, the band’s new compelling and deliciously magnetic EP. Over six tracks, Halfling’s Leaf romp and stomp with propositions as ever impossible to pin down or label but fuelled with an even stronger inventive tenacity which sweeps greedily through their wide web of progressive avant garde punk ‘n’ funk devilry.

Formed in 2011, the foursome of vocalist Matt Franklin, guitarist/vocalist Mayo, bassist/vocalist Chid Seisay, and drummer/vocalist Andy Preece, soon grabbed attention with the Ain’t No Candy EP and gripped it tighter through the following High Times. Both EPs set the band apart from the rest, with especially the second release a potent lure to the media and radio shows like our own podcasts. The Daniel Buxton/ Halfling’s Leaf produced Westover is a whole new proposition though, a release which takes the seeds of the past and blossoms them into a startling and riotously captivating maelstrom of adventure and enterprise to surely push the band into a greater spotlight with that slice of fortune all bands need and here definitely deserves. Six more songs to fuel the imagination and incite the passions, Westover is a blistering warped dance to give insanity another shot of adrenaline.

Opener Sket launches itself at ears in a cacophony of bedlamic sound and vocal mayhem, instantly awakening senses and attention before a3462398769_2settling into a muscular stride with roving rhythms and sturdy riffs. That premise is immediately twisted with a sultry funk swagger within the forceful beats whilst vocals are equally steamy and fiery to match the metal and hard rock essences teasing the mix. The track continues to swerve and writhe with unpredictable endeavour before discovering a chorus which is pure toxic virulence. Essences of Mr Bungle and Red Hot Chili Peppers spice up the indefinable temptation but only to ensure thoughts are further away from finding a valid description to the sound and triumphant moment. A jazz bred psyche kissed diversion ignites the imagination next, before the bass restores some kind of order with its throaty composure, yet it is just the spark for even more delicious bewitchment as the band transforms into a mix of Oingo Boingo and the Cardiacs for a simply bewildering and seductive devilry. The track is a brilliant start but just the beginning of something quite special.

The following Faces immediately has its devil sculpted hips twisting like a dervish; the first maniacally flirtatious moments courted by jagged riffs and vocal stabs within agitated beats. The song is soon slipping into something more comfortable, a noir lit smouldering glide of melodic shimmering and harmonic crooning which envelops and seduces the senses naughtily whilst in its background rhythms and insanity collude in a caustic tango of predacious tenacity. Like a bastard son of Melvins and The Fat Dukes Of Fuck, the moment seizes feet and passions like a maniacal puppeteer, leading body and heart into another raucous exploit to scare the bland and ignite the deranged.

Smiler reunites thoughts with hints of Rage Against The Machine, which marked the last release, and also a bluesy heat which sears the senses with an absorbing stoner-esque flame within a cage of rhythmic intrigue. The track is more straight forward than its predecessors, but still hold a thick air of unpredictable mischief and contagious tempting which again has feet and thoughts dancing to its tune. It shows yet another side and quality to the band, a sinew honed might which is a challenge for any heavy rock band but equipped with a psyche spawned invention to wrong foot and spark true originality.

An unhinged relish soaks the next up Stop the Clock, the track a busy frenetic web of At The Drive In like abrasion and Fall Of Troy sounding squalling charm but filtered into an incendiary furnace of Halfling’s Leaf uniqueness and rhythmic examination. The bass nags and snarls away across the smouldering fire of sound relentlessly to light up another lustful reaction but it is the loco lure of the guitar and vocals which leaves the spiciest irresistible suasion before the glorious aural stew makes way for the similarly feverish Fair Play. The band is back in full warped funk mode here but of course with flames of melodic voraciousness and disorientated rhythms shooting from the punk infested core. Again it is hard to avoid sending hints of RATM to thoughts but also impossible to disguise the unique experimental hysteria which skilfully entwines and excitingly perverts things with unhinged majesty.

The release is completed by the exotically delirious Party Piece, a squirming orgy of sonic salaciousness and rhythmic taunting ridden by uncontrollable invention and a vocal bustle. It is one final chaotic rampage which shows more scenic detours and alluring landscapes than a mystery tour. A riveting joy to end another wonderfully unsettling and mouthwatering masterpiece from Halfling’s Leaf, it confirms why Westover belongs to the devil as well as providing the frightening realisation that as staggering as it is this band can only get better meaning our souls are certainly lost to their alchemy.

Westover is available now @ http://halflingsleaf.bandcamp.com/album/westover

https://www.facebook.com/halflingsleaf

10/10

RingMaster 25/06/2014

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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Jake Evans – This is Life

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This is Life is one of those tracks which just triggers the sweet spot, treats it to a masterful seduction of stirring rock music which lingers and simply grows with time. It is perhaps no real surprise that the new single from UK singer/songwriter Jake Evans is so potent and exhilarating with its following of his acclaimed debut single Easy On My Soul, as well as impressive musical history, but there is something in its heart and presence which catches the breath and imagination far beyond expectations. It is a stunning encounter, thrilling and laying down a teaser of Evan’s forthcoming first album Day One which is irresistible.

Macclesfield based Evans first come to the fore with Rambo & Leroy, earning a reputation and spotlight which took him to the attention of Bernard Sumner and his band Bad Lieutenant after the second demise of New Order. As the band’s co-front-man, guitarist and songwriter, alongside Summer and New Order band mate Stephen Morris (also New Order) as well as Blur’s Alex James, Evans increased his reputation within the band’s success which led to invitations to support the likes of Paul Weller, New Order, Johnny Marr and Doves’ Jimi Goodwin once emerging as a solo artist in 2012. Easy On My Soul was drenched in eager acclaim upon its release slotting nicely in with highly praised appearances at Festival No 6 and the iconic Jodrell Bank music festival. This Is Life is the next adventure and certain to open up a new depth of ardour for his impressively evolving creative persuasion.

The song is a tide of virulent hooks coming in varied shapes and designs, the first an immediate temptation as This is Life opens. A sonic Jake Evans a2486262845_10sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.

Those essences of eighties and nineties bands bring a familiarity to the song which only increases its contagion and appeal but equally there is an originality and invention which as mentioned at the start, fondles and incites an instinctive rapture to the impressive encounter.

It is impossible not to breed a healthy anticipation for the impending Day One from This Is Life alone but placed alongside Easy On My Soul expectations and hopes reach skywards, though you sense they will be well fed and pleasured by Evans when the time comes.

This Is Life is available digitally June 16th @ https://itunes.apple.com/gb/album/this-is-life-single/id879180547

https://www.jakeevansmusic.com/

9/10

RingMaster 15/06/2014

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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I Am Duckeye – Commando Too

pic Michael Reynolds

pic Michael Reynolds

Those insatiable Australian riff stalkers I Am Duckeye have returned with second album Commando Too and if you thought they could not exploit and distort the classic cacophonous swipe any more than they did on debut album Husband, then stand corrected as the Melbourne quartet has bred and plucked a whole new tsunami of belligerent riffery and merciless revelry. Consisting of fourteen tongue pressing slabs of salacious devilment and unbridled wickedness, album two spreads the toxins birthed in its predecessor into new insatiably irreverent and seriously compelling brawls.

From the first day of their rampage in 2008 it is probably fair to say that the quartet of guitarists/vocalists and brothers Sam and Matt Haycroft (who also play in Sydonia, Afterwhite and Chico Flash respectively), bassist Jules (also in Dirty F), and drummer Sean (Sydonia), has had the good clean living people of Melbourne drenched in nightmares and the hellacious basking with broad grins. They are a band that once assaulted and thrilled by lustful hunger is inevitable, as with us after their inescapable Punching Dicks EP. It was a release which told us all about the mischief and intent of the band whilst Husband revealed beneath all the humour and sexual antics, I Am Duckeye takes their music seriously and with a plentiful of skill and imagination. The Duckeye riff mobile has been taking on steam to match its weight and with the release of Commando Too, it can only be a matter of when and not if the tea bagging reprobates infect and bring down the world.

The crowd-funded album opens with the towering ‘offspring’ of first album’s track The Riff, well certainly a closely bred cousin. Son of a a3551119337_2Riff reveals its intent lyrically and musically within its first breath, scraping guitars teasing ears as the vocals provide the source of the narrative in the bands as always one of a kind way. It is not long before rhythms are caving in on the senses whilst guitars turn up with searing flames and ferocity. The music growls like a woman giving birth, grizzling sonic endeavour adding to the heavyweight voracity driving on the track’s twisted rampage. It is a tremendous start given extra spice by the brief My Sharona like licks and swiftly matched by the just as ravenous endeavour of Grip It. Though distinctly different the song starts with the same intensity and scarring riffery of its predecessor but as it establishes itself soon unearths a hell of a demonic riff and throat which is plain rabid. Suddenly a juggernaut of rapacious urgency and spiteful dynamics, the confrontation tears down senses and ignites the imagination like a mix of Slayer meets Age of Menace meets Melvins, and is just brilliant.

Hi Viz comes next and though it has its moments just does not click overall. Steam punk expulsions and floating discord kissed harmonies drift into view first courted by a single guitar. It is an intriguing if not captivating start but one soon working once embraced by a torrent of scathing riffs and sonic antagonism. Sadly that is the best part of the song and only when it intermittently returns does, for personal pleasure, the song work. Nevertheless it makes a decent variation before the addictive punk- skat fest of Duckeye Boogie picks up ears and passions for a rhythmically hypnotic and sonically seductive romp. As always the band’s choice of words and lyrical adventure is irresistible but as with the last album it is the music which grabs the biggest plaudits, though combined everything is a destiny suiting fit.

The just as tremendous Windmills comes along next, again the band playing with their punk side (something their mother never warned them about). There is a sense of Dirt Box Disco to the feisty sinew driven punk ‘n’ roll incitement, where rhythms and especially riffs steal the honours once again though the infestation of hooks have their say also before the album takes another twist and venture into disco with Tuesday, I Go the Blues Way…only kidding. The song is a sweaty rather than sultry moan of the blues done Aussie style and as always with the band comes in an unpredictable soak of delicious taunting. Imagine Lemmy singing the blues after lessons from Sir Les Patterson and you get the drift to another great moment.

Things only get better and better as the album progresses, the noise rock mess of I Need Rehab just excellent and hilarious. Vocally distraught and musically deranged until its heavy rock needs escape, the track is just irresistible as is the following post/steam punk come electro orgy of What is Wrong with Me?, a brief self-reflection which is more pride than insecurities. Matching the pair in setting leakages in motion is Stool Bender, a fierce heavy stoner bred rocker of a mating with the ears which flirts, gnaws, and suffocates the senses, though not always in that order. Stalked by the bass and slapped around by the drums, passions are already aflame but sent feverish by the cruel causticity of the riffing and the ever engaging vocals. The track is another undeniable slab of evidence to the growing craft and intent of the songwriting of the band and their accomplished sounds, so much so that you just wonder if one day we will see a ‘serious’ rock/metal album coming from the guys.

This latest lofty plateau of the album continues with the stomping animosity of the blistering Meth is Death and the Black Tusk like avalanche Agonhymn, both adding rich fun, diversity, and might to the release before the angst drawn Headbutt. If persistence and sonic nagging is a sin than this band is going right where they want to with tracks like this their infernal anthem. It is a bestial and ruinous experience, a damnation of contagion.

The album finishes with firstly the exhausting blaze of Ayy Ayy, a savage and uncompromising fury which makes Mastodon look timid but a tempest which is just as gleeful mellowing in unexpected places with wistful harmonies and looks. From there the release closes on the sweltering climate and stoner sonic winery of Panchow, a final leviathan of proof in case you had any doubts left that this band can write exceptional metal/rock songs of varying spices. It is a smouldering stoner/psychedelic flame of acidic enterprise and evocative resonance which leaves a lingering fire for the imagination and passions to immerse in.

After Husband we were left wondering if I Am Duckeye could go much further in their invention and craft let alone devilment; well Commando Too is the evidence that not only can they but it is still blissfully early days…

Comando Too is available now @ http://iamduckeye.bandcamp.com/

http://iamduckeye.com

9.5/10

RingMaster 11/06/2014

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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