Shouting Signals: Stand Your Ground EP

Shouting Signals Promo 2

    The Stand Your Ground EP from British post-hardcore band Shouting Signals is one of the more accomplished and fresh sounding releases to come out of the genre in recent times The debut five track feast is a blaze of fiery melodics, sturdy rhythms, and passionate vocals brought with honed craft and thoughtful enterprise, with only the fact it has not quite a distinct enough voice yet to rip the band wide apart from other genre related contenders as the only slight dent in its impressive armour.

The Essex quintet of vocalist Bertie Scott, guitarists Rikk Malice and Scott Baker, bassist Tom Clare, and Jay Wilding on drums, has been on a steady rise since forming in 2011. Constantly working on their sound, unrelentingly honing it and their craft, the band has inspired a growing loyal fanbase through their energetic live performances which has seen them gigging with a hunger around the south east and London. The band has been compared to the likes of You Me at Six, Architects, and 30 Seconds To Mars, and their first release certainly does nothing to dispel those potent references. Stand Your Ground is their first strike in to the larger national awareness, a release which easily reflects the time and effort which the band put into it to make sure every surface, note, and emotion it offers was of their finest imagination and skill.

Opener Never Run Away tells you all you need to know about the band, rich melodic guitars sounds with a sonic fire and Shouting Signals - Stand Your Ground EP Coverthumping rhythms taking mere seconds to persuade and entertain the ear with an urgent energy and feisty passion. Carrying a jangle to their touch and acute textures to their voice the guitars of Malice and Baker flame and snake around the senses with inventive imagination to secure strong attention, whilst the bass and rhythmic enticements of Clare and Wilding respectively cage and drive it with not exactly unbridled aggression but with a firm intent. The vocals of Scott though stand with their own rich stance, his tones and delivery openly impressive and a big factor which along with their instinctive ability to create invigorating sounds to see the band in a clear spotlight of their own in the future.

The following Breathe In, Breathe Out and One Forty continue the strong and engaging start, the first unveiling brazen melodic enticement and again, what is to be a constant across the release, fire to its passionate appetite to excite and provoke the listener in their emotions. The guitars and vocals dominate with quality and power with the rhythm section pulling it all together with excellent ability but production wise it would have been nice to have the bass especially finding a stronger clarity and presence in the mix. The second of the pair opens with its sinews rippling within bulging riffs and crisp punchy drum beats alongside more shards of guitar sonics, which niggle and agitate the ear enjoyably, and the now expected great vocals of Scott. Though neither song matches up to the strength of their predecessor, both further the brewing magnetised hunger for their creative encounters.

All My Answers is an excellent slice of acidic and inciting melodic rock with a strong whisper of Lost Prophets to its impacting presence, the choppy riffs and suggestive bass groan showing the depth of the invention within songwriting and how to wring every idea of its purest essences. The best track on the EP, it hustles and bustles the ear with a raucous breath and seemingly untamed energy all keenly sculpted by the skilled talents of the band.

Closing song The Penitence is another major highlight of the release, a song which shifts its stance constantly with a fluid and strikingly impressive mastery. With the bass finding its deepest growl and allowed to share it with more openness and great vocal harmonies employed alongside the rich expression of Scott, the track is a powerful and thrilling end to an equally enjoyable release.

Shouting Signals is a band to watch very closely and, as the Stand Your Ground EP proves, enjoy along every inch of their certain rise.


RingMaster 30/03/2013

Copyright RingMaster: MyFreeCopyright

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

Get Off My Shoes: Lets Not Rush Out And Tell The World EP

Get Off My Shoes Online Promo Picture

    With their name having already triggered a chuckling interest alone, there was keen eagerness to see if Belgium alternative rock band Get Off My Shoes could follow up with equally impacting sounds upon their debut EP Lets Not Rush Out And Tell The World. The answer emerged as yes though not without the sense that the band has much more within them and the really impressive elements within the release suggesting that this was also a missed opportunity to really thrust their name forward with startling impact despite its strong and pleasing showing. There is nothing not to like about the band, their creative sound, and the very enjoyable EP, but though it does not always quite leap out of the speakers the potential of the band is undeniable.

Hailing from Antwerp, Get Off My Shoes was founded in 2010 by chief songwriter and singer Jonas Meukens. Joined by guitarist Stijn Debontridder, bassist Glenn Van Criekingen, drummer Ziggy Van Wallendael, and Jasper Willemen on synths, the quintet from initially spending time honing their sound and songs soon made a strong presence for themselves on the live circuit with over a hundred European shows in the past couple of years, gigs which included supporting the likes of The Subways, The Get Up Kids, Joyce Manor, and Apologies I Have None, to name a few. With influences such as Bloc Party, Tokyo Police Club, Weezer, Two Door Cinema Club, and Foals impacting on their similarly flavoured melodic enterprise, the band and their Thanks But No Thanks Records first strike into the world are certainly drenched in a promise and captivating invention which only suggests a bright future for the band.

The opening title track is a short expressive instrumental which colours the imagination with aural suggestion to invite further GET OFF MY SHOES EP COVERinvestigation whilst only hinting of the musical exploits to come. The following Dead Of Night instantly engages with jangly guitars and crisp rhythms soon joined by an electro breath which sizzles upon the surface of the energetic yet restrained blaze of sound. As the song slips fully into its stride its command of feet and attention is complete as the guitars further tempt the senses and the vocals of Meukens bring their plain expression but accomplished texture to proceedings. It is a strong if in hindsight an unremarkable start in the lie of the EP but one which easily ensures a hunger to hear more.

The simple electro start of I Was Told A Lie Once with emotive vocals in tow does not exactly ignite excitement but again comes with a lure into the heart of the song which is hard to refuse. As it expands with guitar and energy the song comes alive with thrilling power, the vocals finding a rich passion to match the intermittent fury of melodic and energetic urgency. It is a big highlight of the release matched by next up Ghosts & Villains. Highly infectious and anthemic in its stance, the song is a magnetic stroll of incendiary guitar coaxing and inflammatory melodies which is just plain irresistible and one of the primes reasons why you sense a strong horizon for the band.

We’re Going Down But We Don’t Care and Autumn complete the EP, the first an enthralling track with plenty of ideas going on within its well-crafted body of inviting rhythms and further heated melodic temptation. As the EP moves through its contents the vocals seem to get more expressive and impressive to add real feeling to this particular song though on the other side there is a feeling the band could have made more of the synth and its emotive presence, something sure to evolve as the band also move forward one suspects. It is a strong song but fails to light the same fires bred by previous tracks but another which leaves good thoughts about the five-piece. The final song is another triumph though, its gentile ambience and compassionate melodic caresses scripted with finesses and emotion to translate just as potently within feelings and thoughts of the listener. Easily as impressive as Ghosts & Villains in its very individual way, it is not hard to see why the band has earned such a strong following and why we are joining them.

As mentioned in many ways Lets Not Rush Out And Tell The World does not find the depth of riches it suggests enough times to really fire up a constant passion but easily does more than enough to excite and leave a strong satisfaction as well as inspiring the hunger to hear a lot more form the band.


RingMaster 30/03/2013

Copyright RingMaster: MyFreeCopyright

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

Mother Susurrus:Maahaavaa


Maahaavaa is an album which either seduces or wears you down, depending from which angle you look at it, but it also is a release which captivates from start to finish evoking flames of emotion and thoughts with skill and stirring enterprise. Infusing meditative drone and sludge metal with psychedelic fire to simplify things it is a mesmeric, almost hallucinatory treat for the senses.

The album comes from Finnish quintet Mother Susurrus, a band which formed in 2008 and stirred the curiosity with plenty of acclaim attached with their self-titled EP in 2010. Hailing from Tampere, the five-piece has equally impressed with their live performances, their heavy and enveloping sonic web of sound picking up recruits to its powerful endeavour with constant ease. Released via Ektro Records, Maahaavaa is a hypnotic torrent of blistering atmospheres and weighty rhythms all honed into an at times dirge like state with beauty and inciting grandeur soaking its persistent presence. Recorded and mixed using analog equipment, the album is a sensual and equally intrusive tempest of passion, colour, and synapse eroding might.

The first feast of sound comes with Superposition, a track which introduces itself with restraint though a brewing ambience is constantly nudging the singular guitar tease and gently coaxing percussion. Licks of melodic fire break out from time to time but it is a slow temptation notched up a gear with the excellent vocals. As the bass adds its throaty resonance and the grinding riffs reveal their menacing side, the track threatens to explode but manages to hold itself in check. It is an insidious trick though as all the time its deceptive drone and mesmeric heat is working below the surface to negate any resistance to its almost corrosive breath and merciless seduction. A blistered expression appears in the vocals and intensity so that by midway the air has a sinister and riling caress to its erosion which exhausts and thrills the senses by the conclusion of the ten minute piece.

The following Scopolamine steps on from the impressive start, its initial engagement with the ear like its predecessor, slow and pacific with a middle-eastern whisper to its smouldering inciting voice. Talking of vocals, again those of LK shine and grace the heart of the track with infectious charm and powerful harmonic resonance to match the rising sonic intensity. Think The Doors meets Joy Division and you get an idea of the sensational embrace and riled touch the song offers with glorious craft and feeling. Again the track is a journey in time and experience which like the first and the closing piece maybe stretches its presence slightly too far though that is as much about just finding something to raise a niggle over as something truly negative.

Third track Anagnorisis, which features virtuoso jouhikko (a traditional Finnish 2 or 3 stringed bowed lyre) player Pekko Käppi, has a shamanic breath to its sultry and compelling company which muses upon thoughts to inspire further personal ones within the listener whilst opening up the spirits of emotions to swirl around and join the cogitative dance of the song. Its tempest of energy and edging on bedlamic creativity passes over to the best track of the album, Ylösnousemus. With a haunting and continually pressing droning niggle, the song twists and manipulates the senses with a cacophony of understated yet commanding noise which chatters with a constant hunger at the ear and emotions. It is a deliciously testing and invigorating exploration which brings dark beauty and greedy discord into a cantankerous but inspiring maelstrom of demanding and equalling respectful sonic dialogue.

Completed by the fifteen minute sonic scowl Uniemä, a track which has aural spite and venom in abundance, Maahaavaa is a wonderful piece of dark progressive alchemy, an album where cosmic suns and abyss borne malevolence find a mutual home for a psychedelic feast of experimental and doom tainted magnificence. Mother Susurrus is the work of the devil and their album the first step in turning us their lustful playthings.


RingMaster 30/03/2013

Copyright RingMaster: MyFreeCopyright

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