The Senton Bombs – Train Wreck

The Senton Bombs_RingMasterReview

The rise of British rockers, The Senton Bombs, has been the complete opposite to the title of their new single Train Wreck, yet like a runaway locomotive it has only picked up steam and intensity. Formed in 2004, the band swiftly made an impact but since the release of their album Chapter Zero in 2013, and even more so over recent times, the Blackpool hailing hard rockers have simply become one of the UK’s most thrilling incitements.

Their latest track comes from the recently released critically acclaimed album Mass Vendetta, the band’s most diverse and boldly adventurous offering yet. It is the latest landmark in their attention grabbing ascent, with third single Train Wreck, epitomising its raw energy and devilish fusion of rock ‘n’ roll with a broad array of styles from classic rock to punk, metal and country; all conjured with inventive imagination.

The Senton Bombs art_RingMasterReviewTrain Wreck hits the groove from its first breath, pulsating rhythms providing the hypnotic rails for spicy grooves and feisty riffs to roll along. Within seconds, body and spirit are as compelled to get involved as ears, the dusty tones of vocalist/bassist Joey Class leading the way as spirals of bluesy flaming infects grooves and flirtatious melodies cast by guitarists Damien Kage and Johnny Gibbons.

Throughout, drummer Scott Mason is the instigator to the rockabilly courting swing of the song, the incessancy of his rhythm and prowess pushing the song towards the rock ‘n’ roll of bands like The Pirates as a Turbonegro like blaze filling the rest of the track’s rousing persuasion.

Mass Vendetta is an album which embraces numerous songs which can push it and the band’s stature to new heights; Train Wreck is just one of the very best.

Train Wreck is available for free download right now via The Senton Bombs’ website @ http://sentonbombs.com/

https://www.facebook.com/thesentonbombs    https://twitter.com/thesentonbombs

Upcoming Live Dates:

02.07 MAD FERRET, PRESTON

09.07 LINCOLN IMP, SCUNTHORPE

14.07 GRAND CENTRAL, MANCHESTER

15.07 ROCK & BLUES BAR, BARNSLEY

17.07 VAN JAMBOREE FESTIVAL, PETERBOROUGH

30.07 WITCHWOOD, ASHTON-UNDER-LYNE

06.08 JOLLY BREWER, LINCOLN

12.08 IMPERIAL HOTEL, STANLEY

13.08 TRASH, BRADFORD

20.08 GRINGOS TEQUILLA BAR, NORWICH

09.09 BOOTLEG SOCIAL, BLACKPOOL

14.10 ALLEY CAT, LONDON

Read our review of Mass Vendetta @ https://ringmasterreviewintroduces.wordpress.com/2016/04/05/the-senton-bombs-mass-vendetta/

Pete RingMaster 26/05/2016

Copyright RingMaster: MyFreeCopyright

34 – Self Titled EP

34 Promo Pic  _RingMasterReview

Grouchier than a stoked up hornet nest and just as damaging, the sound of Kansas City hailing 34 leaves no hiding place for the senses and imagination on the band’s debut EP. The five-track self-titled offering is a rabid and ravenous fusion of hardcore, noise, and metal, all honed into an assault with a sonic sting just as merciless as its rhythmic and vocal bite, and both incidentally constantly veering towards irresistible.

Formed in 2015, 34 features current and former members of bands such as Sisters Of…, Eighteen Visions, At The Left Hand of God, David Hasselhoff On Acid, and Maps For Travelers. It has taken little time for the band to make a potent mark, their live ferocity acclaimed and devoured with shows alongside the likes of Black Breath, Motograder, 68, and Norma Jean adding to the quintet’s rising reputation. Now it is the EP preparing to stir things up further, a success hard to see failing with its impressive and seriously solid introduction to a wider landscape to the band.

The release leaves a lingering and memorable mark with its first two confrontations alone; the EP’s best tracks setting the tone and creative stature of the release with Alpha Blade starting things off. Fair to say we were hooked straight away by the dulled yet anthemic lure of drums which opens up the track. Their flat and compelling resonance easily has ears and appetite attentive, both further gripped as the wiry grooves and sonic animosity of the guitars winds around the senses before allowing the pulsating bassline of Erich Thomas and Jason Shrout’s increasingly addictive beats to lay their magnetic bait. With the throat raw snarls escaping vocalist Brett Carter taking their share of attention too, in no time the song shares a raw magnetism, showing itself a belligerent and aggressive beast with sinews sculpted in virulent noise and biting hooks. Like Unsane meets Pigs with the caustic catchiness of a Coilguns or Shevils, the tracks seduces as it corrodes the senses, every twist and turn within its unpredictable body enjoyably toxic.

34band_LOGO _RingMasterReviewThe following Stick Em Up is just as imposing and thrilling. It opens with chunky scarred riffs which need little time to persuade, their hint of repetitive temptation soon revealed to be one riveting texture in the grooved and rhythmic provocation of the track. As with the first though, things are soon evolving and shifting as melodically fiery and sonically scathing passages entwine with adventurously bruising endeavour within the track’s rock ‘n’ roll. The guitars of Phil Wolf and RL Brooks persistently nag and entice, stirring up the imagination and psyche as Carter vocally and lyrically savages with the backing of the similarly aggressive and potent tones of Brooks.

The final trio of tracks within the EP do not quite live up to the first pair, such their might, but with T.S.Y.T first, all only add to a thickly enjoyable and striking introduction to 34. The third track is as irritable and uncompromising as those before; bullying and arousing the senses with spiky grooves and predacious rhythms as vocals blaze while its successor, Flatliners, springs a Quicksand spicing across its scorched canvas and in its sonic causticity. The song is probably the most adventurous of the five, exploring different creative scenery which swiftly comes and goes, then returns with greater dexterity and imagination as new ear exciting twists become involved.

The EP closes with Machines, a furious tempest and web of emotional and sonic tempestuousness riding on the whiplash effect of Shrout’s and Thomas’ predatory rhythms. It is a forceful and fiercely satisfying end to a great first look at 34. It is easy to see and hear why the band has made such a potent impact already, and to expect, as their sound and imagination grow bolder, they are going to be a potent force in the driving of hardcore/noise ahead.

The 34 EP is released digitally and on limited edition clear red vinyl May 20th via Fountain City Records @ https://34kcmo.bandcamp.com/releases

https://www.facebook.com/34kcmo    https://www.instagram.com/34kcmo/

Pete RingMaster 20/05/2016

Copyright RingMaster: MyFreeCopyright

The silent roar of darkness; talking Evocation with Skin Drone

SD_RingMasterReview

Within the metal underground, it is fair to say that anticipation for the debut album from US band Skin Drone has been increasingly eager in many quarters. The web based project is the creative union of vocalist/multi-instrumentalist Erik Martin of Critical Dismemberment and multi-instrumentalist/producer Otto Kinzel from Chemical Distance and the founder of Bluntface Records. Next month sees the release of debut album Evocation; a proposition offering emotionally and lyrically dark tales as raw and caustic as they are seductive and elegantly evocative. The album pulls the listener into ravenous experimental landscapes of imposing shadows and emotional turmoil shaped by a fusion of extreme, industrial, and avant-garde metal with provocative ambiences, to simplify it all. It is powerful and invigorating, and the source of a hunger to dig deeper into its heart. So with big thanks to Erik and Otto, that is what we have done as we explore the world of Skin Drone…

Hi Guys and thank you for sharing your time with us.

Can you first tell us how you both met?

Erik: We met through Operation: Underground [a compilation album on Blutface Records]. Critical Dismemberment was on that release and Otto mixed/mastered the song for us. From there, we became good friends throughout the months and when Otto approached me about Skin Drone, there was no way to say no.

Otto: After Operation: Underground, which my label Bluntface Records released, I started working with Critical Dismemberment much more and they eventually joined the label. So by that point I had already been talking with both Erik and Chase Fincher (who did all the mixing & mastering on Evocation) for some time. I was always impressed by both of them and we all became really good friends. Erik and I have a lot in common so I think we naturally connected on a musical and personal level. When I asked Erik if he’d be able to help me out with vocals on some songs he jumped at the chance. That first song was what ended up becoming Witching Hour, and Erik hit a home run with it! I was so blown away by what he wrote and performed that I knew we had to pursue this more. Long story short, here we are. And it’s funny because even though Chase isn’t a “member” per say of Skin Drone, he played a huge role in the final product because he’s the one that brought the tracks to life when he mixed the album.

As you have already touched on, you are both heavily involved in other projects, solo and with others, and Otto you with running Bluntface Records too; so when did the seeds to the actual project of Skin Drone first arise?

Otto

Otto

Otto: I had been trying to get a variation of Skin Drone off the ground for probably a year or so prior to hooking up with Erik. And I had basically no luck whatsoever. So when I started working with Critical Dismemberment, and subsequently got to know Erik and Chase better I knew that there was special talent there. As I mentioned, Witching Hour was the first song we collaborated on together. I had a rough demo with just guitar and drums recorded when I sent it to Erik to try his hand at it. I never had a serious vocalist attached to this project and the whole thing was basically dormant in my efforts to get it off the ground. Erik came back with a very impressive performance and lyrics, and I was blown away. I specifically remember thinking “damn, if we can make this work, even with 1,000 miles between us, we might be onto something really special”. And the momentum kept building with each song afterwards as both of us got more comfortable working & writing with each other. The chemistry was very natural; I don’t remember ever really having to “force” anything in the creative process.

What was the initial spark and indeed the moment where you knew it was going to work?

Erik: For me it was hearing the final mix of Witching Hour when we first started. It just felt right and when we really started to venture out into the experimental with Shepherd Of The Damned, we ran with it and embraced the sound we were crafting, that for me cemented that we were a force to be reckoned with.

Otto: Shepherd of the Damned was the first song we did where there were multiple changes in the timing, and in the overall feeling of the song. The levels of dynamics in that were tricky to start but once we had the final version, I think we both knew we had stepped our game up a notch.

Did you set out with a particular intent and direction for Skin Drone or let things organically arise?

Otto: Everything that happened was organic. Sure, we tried to push in a particular direction. At first I think we just wanted to pursue the technical death metal type of sound. But funny enough, the more we “tried” to push for one specific style, the more things spun out of control and took on a life of their own. It was fairly early on that we realized that we needed to just “run with it” so to speak, and however the songs came out is how they came out. It’s hard to explain because so much of it was done by “feel”; but everything was organic.

As you mentioned you live hundreds of miles apart and more. So I am assuming a physical coming together for the project is near to impossible, so how does the writing and creating process work between you online?

Erik: Usually it starts off with a demo that we toss back and forth a few times until we have something that we feel out did what we accomplished with the last song. Some take longer than others but for the most part it is no different than writing in the same room; the only difference being that when we are communicating our ideas to each other, we have to be very clear as to what we are trying to achieve sonically. There is always the potential if we are having an off day that it could derail the entire song, but we always catch ourselves before that happens.

Is this a time consuming process in the creation of songs and do you work on them one at a time or work away on numerous tracks at the same time?

Otto: I’d say no more or less of a time consuming process that what a “regular” band goes through. Some songs naturally take longer than others to complete but as a whole we work at a very efficient pace. That’s because both Erik and I each do a lot of work on our own time to develop our parts and work thing out, before presenting them to the other person. And yes we’ll typically have a few songs continuously in the works. For me it helps because if I’m stuck on a certain song or just not having any luck then I can go work on something else, and still make progress without holding the whole project up.

Erik_RingMasterReview

Erik

You have just released your striking and enjoyably often disturbing debut album, Evocation. How long has it been in the making?

Erik: If memory serves me correctly, we wrote the first song in autumn of 2014 and finished the last one in the beginning of summer in 2015. It was then gone back over and mixed/mastered in the winter of 2015. We have the luxury of being able to take our time and not have to a label or pay for studio time, I feel like that lack of pressure really shows in the music.

Is it a project which has had to grow around other commitments or were you able to create it in a period of no other musical distractions?

Erik: For me, I had just finished my parts on the Critical D debut, so for 99% of this, I was musically not distracted.

Otto: I had no distractions musically. I always try to make sure I can give 100% focus and energy to the material when I’m in writing /recording mode.

Can you give some idea to its themes?

Erik: The themes are mostly centred in occultism, rituals, witchcraft, paganism and even some calling out thieves in organized religion. There are also certain personal elements hidden in plain sight, but we leave those to the listener to decide what is fiction and what is real life. It adds a level of mysticism that we build upon musically.

I was going to ask about that; as much as it trespasses the senses and psyche, there are just as evocative moments of melancholic beauty and intimate psychosis to songs. So to push for more insight, how much of their inspiration and exploration comes from the emotionally personal side and experiences of you two, lyrically and musically?

Erik: Lyrically during the writing process I was in a very dark place. Dealing with vices and very confused on what life even meant; that included the people in it. You could liken it to just doing what I had to do in order to keep breathing. All that translated to some of the darkest and angriest lyrics I had ever written. The best example of this is Salvation. That song is about a spirit that drives his killer insane and ultimately kills him and makes it all look like a ritualistic suicide. If you really pay attention to the lyrics, you start to see a very personal story of being consumed by something and the only way out is death it seems.  There are examples of this spread out through the entire album; it is all just up to everyone’s individual interpretation of the lyrics.

For us Evocation is the darkest most invasive nightmare, yet equally at times, a shadowed but understanding emotional affair between listener and song. How much was this deliberately sculpted and again how much an organic evolution?

Otto: From my perspective, watching how Erik was so methodical; in his approach to writing the lyrics and developing the themes, I would say it was deliberate. He did a wonderful job orchestrating how it all went together, like an architect. For the music and the basic song structures, all of that was organic and natural. But when it came time to add the lyrics and really focus in on shifting the songs into their “final” state, Erik was the guy commanding the ship. I know how personal and painful a lot of these lyrics are to him and I’m so impressed with his commitment to the art.

There is also a real cinematically ambient feel to some parts. This is a style in your composing which you might explore more, or already may have?

Erik: The cinematic effects (I hope) remain a staple of our sound. Already in writing some rough ideas for record two, those ambient parts will go along with the heavy parts and we will throw in some curveballs when it comes to the time changes and the melancholic parts of the music. I think we are hungrier to really explore the depths of what we can do sonically and evolve as a band.

Skin Drone - Evocation _RingMasterReviewAs we mentioned earlier, you both have other projects which between them I can say have given some of our favourite releases in recent times. When you get an idea for one, is there now an element of stepping back and looking to see if it might fit better with say Skin Drone or vice versa?

Erik: 100% of what I write in my solo project is open for us to try and make a Skin Drone song. You just never know when you put something together that you think will not work actually turns into something that makes the record. Sometimes stepping back from the craziness for a day or two can yield some badass results.

Otto: I had some random riffs and drum patterns kicking around here and there, that for one reason or another just never got used. It was fun to go back and rediscover some of that stuff. I record tons of music, almost every day. So I have a huge catalogue of material that runs the gamut from metal and industrial to dark ambient and more instrumental/score type of compositions. Most of this I just do to capture an idea so almost everything is unfinished and in a “demo” type of state. But I like being able to capture an idea and then have it saved, so someday later on if I find a place for it I can go back and see if it works.

There is no escaping the raw and bold kaleidoscope of styles within Evocation either. What are the artists or flavours which have most inspired your own inventions would you say?

Erik: For me it was a lot of Deconstruction era Devin Townsend Project. Another I was reminded just recently was the Declaration album from Bleeding Through; most notably the song Sister Charlatan. The heaviness along with orchestral parts was really my first taste of the two blended together and since then has always been something I’ve wanted to incorporate into music. Lastly, Landon Tewers who uses a lot of ambience and really dark imagery with his lyrics was a huge influence. He was my introduction onto whispering vocals and I absolutely loved it.

Otto: Pink Floyd, Frank Zappa, Mike Patton and almost all of his various bands, Ministry, KMFDM, Obscura, Gorguts, Nirvana, Kyuss…those are a just a few. If you give me long enough I can come up with a ton of stuff haha.

What comes next for Skin Drone and yourselves individually?

Erik: For Skin Drone, it’s riding the album cycle until there is no more gas in the tank and then some. After that we probably take a short break and get back into writing the next record with our foot mashed on the gas. With Critical D on hiatus, Skin Drone is my one and only focus.

Otto: Like Erik said, we’re going to promote the hell out of Evocation until there is literally nothing left to promote. We’re prepared to work as hard as we’ve ever had to work in our lives to get the music out there and make sure people hear it.

After that? I think we’ll take a short rest so we can recharge our creative batteries and then jump right back into writing the next album. We already have some rough ideas kicking around for themes.

Once again many thanks for chatting with us. Anything you would like to add?

Otto: Evocation drops June 14. Please pre-order your copy at http://skindrone.bandcamp.com/releases!

Check out our review of Evocation @ https://ringmasterreviewintroduces.wordpress.com/2016/05/10/skin-drone-evocation/

https://www.facebook.com/skindrone   https://twitter.com/SkinDrone   http://www.bluntfacerecords.com/

Pete Ringmaster

The RingMaster Review 19/05/2016

Copyright RingMaster: MyFreeCopyright

Maths and The Moon – Familiar Strange

MATM_RingMasterReview

This month sees the release of the eagerly awaited second album from UK alternative rock trio Maths and The Moon. It has been not too many weeks short of three years since their debut full-length, Night Train Daydream caught and captivated ears and imagination with its tapestry of droning seduction and fire drenched melodies spun with uncompromising invention. Familiar Strange is the natural and bold evolution of its predecessor’s sound and character; a generally calmer proposal with fascination and maturity flowing through every pore yet still creatively, an unpredictable and forcibly adventurous exploit.

Southampton bred and made up of vocalist/guitarist/principal songwriter Andy Fielder, drummer Luke Taplin, and bassist Matt Hirst, Maths and The Moon has persistently provided sounds and sonic explorations which have challenged as powerfully as they have enthralled. Formed around 2010, the band made its live debut supporting the legendary Can frontman Damo Suzuki, building on that thick interest sparking moment thereon in before sparking rich acclaim with Night Train Daydream in 2013. The album was an experimental fusion of psych rock and post punk with plenty more involved. Familiar Strange similarly embraces those hues but with an even richer array of equally dramatic flavours involved. It provides a sound and experience which is less spiky than on the first album, even more welcoming melodically and emotionally in many ways, yet still immerses the listener in landscapes as imaginatively scenic as they are emotionally invasive.

The trio has honed their sound and ideas into aural tales, where words and notes collude to cast individual glimpses into shadowed hearts and emotive reflections whilst, to use the words in the album’s press release, losing the listener “in the forest with nothing but shadows, memories and strangely familiar characters.” It all begins with recent single Futurist, a song instantly imposing on ears through the rumbling bass and some heftily swung beats as the guitar spreads an evocative jangle. That relatively forceful first touch soon mellows into a calmer incitement, the song prowling on its rhythms as the inviting tones of Fielder croon over the web of sonic enterprise and drama. The volatility which persistently courts the track does erupt in its chorus to fine effect, arousing ears and appetite further before the song swings through its merger of all aspects while smouldering harmonies and melodic flames colour the fiercely infectious encounter.

Familiar Strange _RingMasterReviewThere is a touch of Muse about the opener, but just a passing whiff before a Pixies-esque spicing emerges in the following Magic. Again it is a scent in an offering uniquely Maths and the Moon; a track which merges a charming sonic irritability with tenacious beats and the spiny lure of the bass. As with the first, the song is inescapably contagious, inciting body and ears with equal prowess and success whilst its fuzzy air and emotive drama seals the imagination’s involvement. Across its length, it blossoms an increasingly blistered surface to its melodies and voice, flirting with a Jesus and Mary Chain meets scorched shoegaze like glazing, while superbly continuing the impressive start to the album with a success quickly backed up by Amongst Trees and its shadow grasped balladry. It is a subdued and mesmeric persuasion where poetically suggestive guitar and voice hug ears as drums and bass build a pulsating frame around them. A thicker stroll of psych rock does emerge within the track, another enticement as catchy as it is soothing in the album, which in turn breeds a rolling rhythmic incitement which provides the hook for celestial harmonies and sultry melodies to hang around.

Howling is another with that alternative meets indie rock essence to its persuasion, the Maths and The Moon seemingly inspired again by the Frank Black kind of songwriting in the creation of their very own addictive tango on the ear. A sizzling slice of dark pop, the track hits the sweet spot dead centre, an accuracy matched by the outstanding In The Ellipse. The track is a ten minute instrumental providing a rhythmic canter with suggestive melodies and lively enterprise in its creative mane. The virulent ride has the scent of The Cure to it, their kind of emotive theatre laid in a tenaciously sculpted and offered gallop though an ever shifting and descriptive landscape.

From the warm and bright emprise of the last track, The Collector envelops ears with a haunting and intimately melancholic sigh. As with the previous ballad, the song is a minimalistic proposal coaxing ears and emotions, but luring full attention with an underlying infectiousness to compliment the maudlin shadows and the great repetitive coaxing around Fielder’s magnetic vocals.

In the band’s first album, Wire often came to mind but not with Familiar Strange, not until Boomerang anyway which weaves some colder steely hues reminiscent of the great band into its low key but snarling seduction of the senses. It is simply just another texture though, taken and twisted to suit and fit what, the album continues to prove, is their most distinctive and robustly compelling sound yet.

Familiar Strange is brought to a close by firstly the solemn acoustic balladry and heart of As The Crow Flies, though a song building a pyre of emotion and sound which burns with more intensity by its departure, and finally, the haze soaked psychedelic saunter and mesmerism of Psych-Seeing. Providing a riveting end to a thrilling encounter, the track glows and resonates across the senses like charmed smog with a melody spilling lighthouse at its heart.

It is fair to say that Night Train Daydream impressed and still does but Familiar Strange is Maths and The Moon on a whole other plateau offering their most exciting and accessible but still invigoratingly experimental proposal yet.

Familiar Strange is released May 20th @ http://mathsandthemoon.bandcamp.com/

https://www.facebook.com/mathsandthemoon/   https://twitter.com/MathsandtheMoon

Pete RingMaster 19/05/2016

Copyright RingMaster: MyFreeCopyright

Seven Stories High – Take The Long Road Home

Seven Stories High Promo Shot_RingMasterReview

Take The Long Road Home is the new mini album from British quintet Seven Stories High, an encounter which finds the band’s already ear pleasing pop punk with even bolder infectiousness and melodic enterprise to tempt national awareness. Take The Long Road Home hits the ground running and continues to offer variety and creative tenacity throughout. Admittedly it might often avoid the uniqueness which certain moments within it suggests is there within the band’s imagination, but from start to finish the Swansea hailing band successfully ensure enjoyment is at the top of the agenda.

Formed at the beginning of 2014 with inspirations said to include the likes of Blink 182 and Sum 41, Seven Stories High soon made their mark on their local and increasingly the national live scene. Line-up changes and inner positional shuffles have been part of the band’s earlier times, as too and since, the sharing of stages with bands such as Moose Blood, Decade, Altered Sky, Light You Up, and Kids Can’t Fly. They released their self-titled debut EP on the January of 2015 to potent responses which now Take The Long Road Home threatens to turn into a stronger national recognition of their emerging presence.

The release opens proper with CTRL, a rousing slice of raucous pop punk with thumping beats and wiry riffs around the potent tones of vocalist Rhys Hyett-Ferrier. There is a great rawness to the song too, bringing a touch of Millencolin to it at times but equally a rousing energy which especially equips  the group roars and the irresistibly catchy enterprise shared by the guitars of Matt Davies and Charlie Porter.

The potent start continues with the similarly tenacious and lively That’s No Moon, another which takes no time in firing up ears and appetite with its raucous pop punk dexterity. Framed and driven by the throbbing bassline of Kallum Brain and the swinging beats of Dave Bevan, the song soon reveals a sonic and emotive fire in its belly. Admittedly, as its predecessor, there is something very familiar to the encounter but more than made up for by the adventurous hooks and a vocal strength which simply captures the imagination from Hyett-Ferrier with resourceful backing from Davies and Brain.

Seven Stories High Cover Artwork_RingMasterReviewIt is that aspect of the band which most consistently impresses across the release, with no negative reflection on the potent songwriting and skilfully woven sounds, the vocals making a constantly striking impression repeated on the feisty canter of Working For Wednesdays and following it, the excellent Wait For It. The first of the two also bears some great scything spicy grooves to keep ears and appetite busy, if without quite living up to the first pair while its successor, which features Charlotte Gilpin from Dream State, explores a more alternative rock canvas for its melodic seducing of ears. It still has a punk essence in its spirited flame, though it could be called more post hardcore scented; one of many textures in the emotively fuelled drama of sound led by the powerful vocal union of Hyett-Ferrier and Gilpin.

It is a track which becomes increasingly potent with every listen as too the acoustic stroll of Skin Me Alive. It is an immediately alluring proposal which further blossoms in ears the more time given to it. Its melodic serenade simply leaves a lingering impression before making way for album closer Fool’s Paradise, a boisterous tapestry of melodic suggestiveness around rapacious rhythms and expressively strong vocals. There is little surprising about the highly accomplished song, but it leaves enjoyment full so, as the release, warrants only recommending.

Seven Stories High have taken another potent step with Take The Long Road Home, and indeed their sound and its growing maturity. The band might not yet be in touch will major uniqueness but the signs and potential is there in some cracking tunes. A fan of bands such as Kids in Glass Houses, A Day to Remember, and All Time Low then Seven Stories High will be up your street.

Take The Long Road Home is released May 20th through all stores and at https://sevenstorieshigh.bandcamp.com/album/take-the-long-road-home

https://www.facebook.com/sevenstorieshigh/   https://twitter.com/7storieshigh

Pete RingMaster 19/05/2016

Copyright RingMaster: MyFreeCopyright

The Slumdogs – Lost and Found

TS_RingMasterReview

Formed in the September of 2015, British alternative/indie rock band The Slumdogs is looking like making their first full year together a potently successful one. Hailing from Blackpool, the band has already spread its presence and eager fan base into the likes of Liverpool and Manchester; luring ears further afield too through their first tour of England, a thirteen adventure last December. It is fair to say that the quartet hit the floor running and have only intensified their nudge on broader awareness through shows and the recent release of debut single Lost and Found.

front-cover-single_RingMasterReviewReleased through Shropshire based label Hartfield Records, Lost and Found is a swift arousal of ears and imagination. From a gentle guitar caress it blossoms into a lively stroll shaped by spicy melodies, energetic rhythms, and eager vocals. There is no escaping an Arctic Monkeys meets The Libertines air to the track, a rich flavour but one woven into something as freshly Slumdogs as anything familiar. As the song continues to swing along taking appetite and hips with it, guitars cast a blend of emotive and flirtatious melodies around the grumble of the bass and a lure of tenacious beats, it all under the leadership of the excellent vocals.

Accompanying the highly enjoyable track is Slumdog, a self-titled encounter revealing an even thicker glimpse into the imagination and variety to be found in the band’s music. Sultrily hued melodies shimmer around the seductive dark temptation of the bass, their radiance a psych pop wrap to the shadowy lure of the rhythms. Swiftly enthralling ears, the song brings additional Doors like essences into its increasingly flirtatious pop ‘n’ roll, closing on a spirited climax as much surf rock and sixties garage rock as it is a bold new twist of modern indie rock.

The track is glorious, a thrilling extra to the magnetic prowess of Lost and Found, and together the duo provide an introduction to The Slumdogs which few are going to be able to ignore.

Lost and Found is out now via Hartfield Records @ http://www.hartfieldrecords.co.uk/product/slumdogs-lost-found/

https://www.facebook.com/theslumdogs   https://www.instagram.com/theslumdogs/   https://twitter.com/TheSlumdogs

Pete Ringmaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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