Religion Of Tomorrow – In Theory

religion of tomorrow

From good impressions on the first couple of listens, In Theory the debut album of UK alternative rock band Religion Of Tomorrow emerges as a rather impressive and absorbing confrontation which is hard not to develop a healthy appetite for. Created with craft and accomplishment the release does need a little bit of work attention wise to unveil some of the more potent differences between songs but it rewards with a growing depth of shadows and melodic skill which leaves satisfaction full and contented.

Formed in Whitehaven, Cumbria in 2011, Religion Of Tomorrow went through like so many bands line-up changes before the settled line-up of vocalist Karl Christian, guitarist Jordan Charters, and bassist Richard Gill began to intensely develop their sound into a finely sculpted encounter with a lyrical companion which leaves the stark reality of today and the future under scrutiny. Already having gained a strong reputation for their live presence, Religion Of Tomorrow unleashed their first album earlier in the year to not surprisingly warm and eager responses.

The Fleeting Hope Music released In Theory steps from a chilling ambience with sinew crafted riffs and firm rhythms closing in on the ear before the vocals of Christian and melodic flames of guitar wrap their narratives around thoughts on opener The World. There is a reserved groove which lines the surface of the song to act as a potent lure whilst alongside its intensive breath and attitude ensures the track leaves vibrant impressions without lighting fires. The same applies to next up Feed the Lies, another track with skilfully sculpted textures and magnetic charm, especially from the vocals which step up from its predecessor with a pleasing varied delivery, and the more intensive and muscular guitar colour which would find a place in any Avenged Sevenfold track.

    Half Sick of Shadows instantly ignites a hunger with its ravenous prowl of rapacious riffing and bass predation. It is an excellent temptation which steps ahead of anything found on the album to that point, the vocals and sonic hues equally as incendiary upon the darker compelling canvas. A drop into an emotive aside with melancholic strings opens up thoughts and imagination further whilst showing the invention of the band and their songwriting, though the return to the more pushy and demanding side of the track is welcomed back with eager arms. It is an outstanding venture which gives Glass a hard task to emulate straight after, which it valiantly attempts without a matching success, it’s too familiar offering and flatter vocal delivery leaving it bravely in the shadows.

From this point In Theory begins another rise in quality and persuasion, the excellent Better Off Dead with its military two step rhythmic albumenticement leading the way into the impressive heart of the release starting with Barren Skies. The bass prods initially before being joined by the guitars as well as tempting percussion and steel clad beats. Within moments the song is venturing into fresh avenues upon the album, an intriguing mystique wrapping around the great vocals of Christian before the song erupts into blazes of guitar enterprise and veering on pop rock tantalisation. At times hypnotic and in others seemingly ready to brawl with the world, the song is an exceptional provocation leaving a lingering pleasure though that is soon submerged within the might of the next pair Pretty Little Pictures and Uninvited. The first of the two stalks the ear with a teasing sonic temptation and vocal suggestiveness backed up by drums and bass, though they seem content to stay in the background for most of the track just cementing the stature of what is before them. It is not a song to leap at the passions like its predecessor but one which earns its acclaim through subtle and understated suasion, a slow burner much like the album. Its successor is an impacting strike on self-pity and jealousy which could apply to all from music to ambition. It is another which grows and brews up a real appetite for its body over time, from a strong first engagement it stands as one more highlight of the album.

The likes of Soldier and the thrilling Silent Scream add additional emotive imagination to the experience, both evocative aural sculptures inspiring mind and emotions whilst the closing stimulation, The End provides a memorable rousing finale for thoughts and passions. It closes up an album which is a great mix of intoxicating potency and equally rich promise.  A little too much ebbing and flowing in the originality department prevents the album reaching its full potential but nevertheless Religion Of Tomorrow has presented one appealing impressive introduction which will see them under future close scrutiny.


RingMaster 09/09/2013

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Dead White and Blue – Mary Jane

dead white & blue

    Mary Jane the debut album from Dead White and Blue has in many ways been twelve years in the making though that is not quite the true story. The band/album is the invention of Arizona vocalist/guitarist Russell Workman, a musician who had previously played in various bands around Phoenix, artists who had supported the likes of Iron Maiden, Dio, and Korn. Laying down his self-penned tracks for the album at the Tim Rastas Studio in Tempe in 2001 everything was going to plan until Workman was arrested and sentenced to 6 years in prison for a minor drug charge. The experience brought his thoughts and determination into keen focus. In 2012, after trawling through vaults and closets for the raw master tapes of his unreleased album, Workman was ready to bring it fully to life, setting to work overdubbing and updating certain sections of songs, re-mixing and finally mastering his long overdue release. Bringing in long term friends bassist Mykel Sane (John Waite, Saigon Saloon, Faster Pussycat), guitarist Harry McCaleb, and drummer Rich Contadino to make a full line-up, Dead White and Blue emerged hungry to ravage the senses and the world of dirty unbridled rock ‘n’ roll.

Consisting of eleven raucous, riotous, and rapacious confrontations bringing the essences of bands such as Murderdolls, Motley Crue, 320071_366849386766732_1802976537_nand Sex Pistols into their own voracious adventure and spite, the album is not unearthing new ground but considering the songs were written and created well over a decade ago you feel at the time of its birth the it was ahead of the game at the time. As the lead off track and first single from the album Take launches caustically at the ear attention and senses are immediately awoken with a seed of good appetite also finding its bearings as the vocals of Workman and the great fiery riffs make their presence firmly known. Expecting the track to explode into a fury of energy it wrong foots with a lumbering almost doom lit twist before unleashing the full intensity of the track with rhythms and guitars offering a compelling abrasion and the bass prowling it all with saliva dripping malice. The song continues to bring an ever evolving unpredictable venture, a seamless flow of ideas and direction which makes captivation and hunger an easy response.

From the strong and riveting start the album continues to impress, the title track coming next to roughly dance with the senses whilst littering its antagonism with infectiousness and easily accessible pop rock hooks. Its successor Dragonhead steps up after equipped with a punk belligerence merged into a glam rock nearing wantonness. Though neither matches the opener they more than leave a satisfaction which is lingering and ripe for more.

The likes of the snarling California, a track with sultry climes designed by the excellent sonic flames of the guitars, and the magnetically jagged Hot Wheels add gripping highlights to the release but it is as Suitcase Punk steps up that the album really lights up thoughts and senses once more to new levels. Bursting from a sonic spiral riffs and rhythms charge rabidly through the ear whilst around them punk bred intensity coaxes adrenaline into rabidity. With Dead Kennedys like contagion and a Fuckshovel styled delivery, the track is a virulently addictive confrontation, its grooves and hooks magnetic lures alongside simply irresistible riffs. Easily the best track amongst it is fair to say nothing but well-crafted and enthralling brawls, the song leaves on a high which the following Soul Thief runs with to great effect and pleasure. A rawer destructive intensity sprawls over the vocals and their at times vacuous production, whilst guitars and bass create an intensive squall of sound and predation sparking another wave of insatiable devouring.

Completed by the pleasing Let The Dead and the outstanding and incendiary Burning In Hell, a track which sears the flesh of the ear whilst scorching the senses, Mary Jane is a thoroughly enjoyable and thrilling release. Though its pinnacles do leave some of the other songs in shade at times, not one departs without having taken the listener on an energy driven creative ride of undoubted pleasure. Dead White and Blue is a band to keep an eye on; here’s hoping it is not another twelve years before another treat.


RingMaster 09/09/2013

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Slumlord Radio – Tokyo Roadhouse Sonic Sex Castle


Just as likely to steal the final thrusts of your sexual exploits as they are your passions, US band Slumlord Radio show with their Tokyo Roadhouse Sonic Sex Castle EP that they know how to create magnetic brawls of dirty rock ‘n’ roll and abrasive provocation, songs which serve up a diet of irrepressible and thrilling sonic fire which exploit and taunt the senses and psyche. The five track release is a greedy and unruly confrontation but one that hunger was bred for. Raw and unafraid to rile up its listener just as gleefully as it pleasures them, the release is a raucous treat offering salacious pleasure and unmistakable promise.

Based in Grand Rapids/Flint, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, came together in 2010. Their scuzzed up, filth caked form of rock ‘n’ roll soon had attention locally as the band merged garage rock with sludge like essences whilst other whispers like hardcore, metal, and hard rock made their contribution, a sound best described as unbridled punk ‘n’ roll. It is an encounter which arguably is employing existing sounds and invention but turns it with their invidious alchemy into a distinct devilry of their own. The new release follows the well-received The Cats Pajamas EP and shows the band is moving very much in the right direction to earn themselves a potent place in current garage rock circles. Released via Silver Maple Kills Records earlier this year, it has already awakened a great many to the band, which is no surprise as the release stirs up the senses to give satisfaction a full meal.

Fort Knox opens things up with tall attention seeking fire spawned hooks soon accompanied by greedy riffs, probing rhythms, and squalling vocals. The slightly insidious nature of those early rising sonic flames is a delicious niggling temptation throughout the song and never meanders from their spicy temptation whilst around them the song flexes sinews and rapacious energy to engage the rest of the senses and thoughts. At times there is a mix of Kyuss and My Red Cell launching its suggestiveness within thoughts whilst a breath of Mudhoney is not far away either. It is an excellent start with Call Me Chief soon by its side, the song another caustic haze of punk intensity and garage rock fuzzy veined by a throaty bass croon which smells as predacious as it sounds. Its mix of slow stomps and frenetic bursts is pure contagion, the smouldering tease of the ear and outright sonic turbulence a riveting and pleasing union which leaves the appetite drooling for more.

Up next Old Zilwaukee walks in with a mesmeric shimmering to its air and hoarse breath to its core, vocally and in the scarring riffing once the track is in full stride. The gait switches from reflective musing to expressive tempest across the track and though it arguably takes longer to seize the emotions compared to its predecessors, the wilfully creative confrontation emerges just as vital and impressive, the guitar solo especially inflammatory.

As Second Hand Tank takes its time to scorch the ear there is a Psychedelic Furs lilt to the caress, especially vocally and through the bass suggestion, though once into its almost corrosive blues kissed sonic storm suasion you are more in the MC5 and Social Distortion territory. Without quite sparking the heights and success of the previous tracks, it still leaves you appreciating and enjoying the grunginess and carefree attitude of its charm.

The title track brings things to a roguish conclusion with infectious enterprise and variation. The most inventive of the tracks on Tokyo Roadhouse Sonic Sex Castle but again not as irresistible as the opening triplet of bruises, it nevertheless has a pull which has feet and voice playing their part in the fun.

Slumlord Radio is a band still finding its unique sound and stance one suspects but if the release is a portent of things to come; they will be a force we will be hearing plenty of. For promising emerging garage rock with a layer of dirt you just hanker for, Slumlord Radio is well worth taking a listen to.


RingMaster 09/09/2013


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VALFADER Release The ‘Whispers of Chaos’ EP, out Monday 21st October‏

Valfader Online Promo shot


South West riff slingers ‘Valfader’ are set to release their debut EP ‘Whispers Of Chaos’ on Monday 21st October through all digital stores.
Valfader’s core sound is built around colossal riffs and heavy doom, merged with melodic passages that showcase the band’s array of countless influences. Never ones to conform to any generic, stereotyped, pre-set sound, every song that the band create fuses their love of stoner rock, doom, post metal and psychedelic. The band have a unique and bold output and count old guard luminaries Black Sabbath, as well as modern greats such as Opeth and Isis as inspiration. The trio have harnessed these influences, and through keen experimentation, they’ve sculptured their own pathway and clear manifesto.
Born in Bath, Valfader consist of the monolithic guitar work of Dean Gaylard, who’s heavy riffs and fretwork flurries help form the band’s signature sound; Dean’s vocals are a prominent feature of Valfader with his nimble ability to switch from heart-wrenching harmonies to guttural screams. Matt Jones handles the bass, and suitably compliments his peers’ performance with layered textures and moody fragments that assist in negotiating space for the apocalyptic percussion of Gareth Jones, whose unrelenting and punishing drumming has enough force to level a city block. Gareth also offers his gravel tongue to the mix, creating added depth and atmospherics.
Valfader now stride forward with the national release of their debut EP ‘Whispers of Chaos’, which fully displays the threesome’s spectrum of talent. It weighs in at nearly forty minutes, and with no track under eight minutes long, this record is a rewarding and grand expedition. From the off, the EP’s name sake ‘Whispers Of Chaos’ impressively sets the tone with its concoction of moody guitar interplay and driving beats, framed by thoughtful dynamics and a delectable flood of alluring riffs. Next up is the stoner groove and sweeping power of ‘Green Sleeps’, which tips its cap to Ozzy and Co, successfully rattling your eardrums for eons. ‘DMT’ continues in rich form as it pulls you on an epic voyage with engrossing atmospherics and colossal riffage, before ‘Sacred Spiral’, with its amalgamation of haunting beauty, blistering guitar work and gruff vocal lines, brings the EP to a stunning climax, completing a journey that is utterly absorbing and compelling.
VALFADER  Cover Artwork

DIRTY THRILLS ‘Growing Young’ EP, out 7th October‏

Dirty Thrills Online Promo Shot


Faintly tipping their caps to past rock masters, Dirty Thrills have skewed their sounds into something fresh, original and youthful. Calling upon the fervour of Led Zeppelin, underpinned by the biting groove of Queens Of The Stoneage and paired with the song-writing wizardry of Jack White, Dirty Thrills release ‘Growing Young’ through all national stores on Monday 7th October.
Born in late 2012 by four brothers in arms, the quartet instantly bonded, all sharing a mutual passion for edgy rock ‘n’ roll. Their connection rings loud and clear at every Dirty Thrills live show where you’ll witness the powerfully vibrant vocal talents of Louis James, coupled with killer guitar riffs from Jack Fawdry, all aided and abetted by the solid, low-end rhythmic backbone of Jamie Hopkins and Stevo Corrigan. Together, they unleash a colossal sound that pitches ballsy rock ‘n’ roll with modern blues rock.

The four piece are now set to unleash their debut EP ‘Growing Young’. The record is loaded up on bluesy swagger and eternal rock n’ roll stardust, from the scuzzy blues vigour of ‘Shivers’ to the enticing ‘Growing Young’, which melds Zeppelin-esque riffage with a towering vocal performance by Louis James. The moody and brooding ‘Drunk Words’ is next up and showcases the quartet’s deft ability to hold back on the tempo and amp up on the groove, before the up-tempo riffery of ‘You’re in Trouble Now’ calls time on an impressive debut record. Dirty Thrills will now hit the road with touring lined up for the autumn. The boys have also begun work on their debut album which is slated for release later this year. Hit the band’s Facebook for updates and show announcements.
Dirty Thrills Cover Artwork