Johnny Wore Black – Gift of Desperation


Continuing a powerful emergence with UK melodic metal, Johnny Wore Black is poised to release new single Gift of Desperation, a song which cements the project as one exciting and creatively potent encounter leaving thoughts and imagination aflame and pleasure a fiery reward.

Johnny Wore Black is the creation of London songwriter/producer Johnny Jay, the former leading force of The Jay Harley Band. Across previous singles and tracks, Jay has built a formidable presence garnering strong acclaim which the new release only will add to one assumes. Renowned for his work with musical collaborators Jay linked up once again for Gift of Desperation with David Ellefson from Megadeth who contributed to previous releases Up In Flames and debut single All The Rage, a track released in conjunction with Help For Heroes to raise funds for Help for Heroes and Combat Stress. Co-written by Jay and Ellefson, the single out on October 15th is an enthralling teaser for forthcoming album Walking Underwater which is out early next year. It is also being released to accompany Ellefson’s biography, My Life With Deth, an eye-opening no punches pulled account of his journey from thrash metal legend to Lutheran minister.

The track is a provocative instigator of emotive and passionate reactions, its presence a vibrant mesmeric blend of intense shadows and gift-of-desperation-johnny-wore-black-cover-1600pxmetallic sinews around melodic flames which inspire adventure and contemplation in thought and emotive response. A pulsating dark lure opens up the song behind a singular guitar beckon, their tempting soon joined by a throaty bass call and an intimidating yet welcoming atmosphere. It is a relatively reserved introduction but one with plenty to provoke and suggest a tempest is brewing behind the excellent vocals of Jay and richly hued guitar play. Though the song never does explode into the hinting storm it never allows senses and thoughts to rest, continually engaging them with a riveting melodic tonic and rhythmic incitement which pulls the strongest hunger in their direction.

Themed by an exploration ‘of the harsh realities of finding a way out of the darkness’, the Grammy award winning producer David Bottrill mixed Gift of Desperation is a smouldering and irresistible bait to the artist and forthcoming album, another temptation which surely will see the first full length from Johnny Wore Black under the strongest anticipation.

The single is accompanied by a video also featuring David Ellefson which was filmed in London.


RingMaster 18/09/2013

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Jingo – Wake Up

jingo pic

Hot on the heels of Black Flowers, London based Jingo release their fifth single Wake Up, another song which stretches the expansive scope of their sound and songwriting. It is fair to say it is impossible to predict what will come next from the creative minds and skills of the band as up to this point every song has had a distinct character which ignites the passions and imagination like a sultry puppeteer. The new release is no exception and though it had a tall order to follow the brilliant Black Flowers it lays down its own unique blaze of smouldering beauty and potency to reinforce the stature and thrilling presence of the band.

Once again on the single the quartet of husband and wife Jack (vocals/guitar) and Katie Buckett (lead vocals/keys/guitar), Joseph Reeves (drums), and Sahil Batra (keys/bass/guitar/vocals), have bred a weave of melodic and expressive elegance which rest easily upon a feisty and sinewy energetic charge, the song an ever evolving and moving blaze of psychedelically flavoured heavy rock incitement, but one honed into something warm and seductively compelling tempering any weight and intensity borne.

The last time out we suggested that Jingo were moving into a sound which was more at home alongside the mellower moments of a Blood Ceremony and Jess & the Ancient Ones rather than the comparisons to Fleetwood Mac and The Magic Numbers which the earlier singles arguably raised. Wake Up is again in the camp of the latter references but as with all the previous releases has its own character which takes it into another fresh breeze of sound.

From the lone jangle of guitar soon joined by big bulbous beats and a tangy bassline, the song embraces the ever riveting vocals of Katie who also seems to have added another indefinable tint to her delivery. There is a thrilling hint of a rapacious snarl at times to her voice which rides the melodic washes like a temptress whilst adding a little intimidation to ward off interlopers.  The muscular rhythmic web of the track is exceptional as is the stronger flamed and acidically absorbing cast of guitar and enterprise which streaks across the continually shifting encounter. All combined the aspects fuse into an experience which teases and secures a full submission to its melodically breathing intensively crafted fire.

Wake Up is a song which is immediately accessible but also a slow burner in revealing all of its depths and sultry vices. Black Flowers is still the band’s finest moment to date but Wake Up is breathing strongly on its neck; roll on the next release which the band say is only again a couple of weeks or so away

Go grab Wake Up @


RingMaster 18/09.2013

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Eutopia – Satellite of Love EP


The Satellite of Love EP is the debut EP from the London based power-pop/electro-rock band Eutopia, a release which toys with the senses and thoughts to emerge as one vibrant and intriguing encounter. It is a proposition which does not exactly ignite raging fires within the passions but certainly one which keeps them entranced and riveted to its enterprising persuasion from start to finish.

Eutopia consists of Alexander Kotziamanis (music/lyrics /guitars/vocals) and Leah Lennick (keys/synths/vocals), the pair forming the band in 2011. Their first EP is a blend of classic and electro rock with plenty of pop and dance spawned tantalising. It offers a collection of four tracks which are individual in presence and in success but combined make for a magnetically calling piece of energetic revelry. The opening title track immediately tells you what Eutopia is all about, bold electro weaves flirting wantonly with the ear whilst guitars add a raw glaze to the atmosphere above snappy beats. It is an instantly intriguing premise given an extra drenching of tempting by the Russell Mael like vocals, their expressive devilry evolving into a more classic rock delivery further into its energetic flame the song ventures. There is a certain familiarity to the song which has an essence of the eighties in its classic rock and metal fusion and reminding of David J Caron at times, but equally there is a sizzling imagination which sets it in its own limelight.

The following City Lights continues the strong start arguably elevating its introduction to another step of satisfaction. The song again 294920_416945564989548_1720032215_nemploys the same essences but has a broader snarl to its presence which adds a pleasing shadow and texture to the contagious exploits of song and sound. As with the first there is plenty of invention and energetic ideas going on within the electro classic rock bred conjuring which brings enough for those without an appetite for old school eighties rock and pop rock to chew over and contemplate.

Wave Goodbye and Life complete the EP, the first an emotively sculpted pacey ballad with a great guitar enticements and an almost folky whisper to the keys and melodies. At times the song feels like the band is merging two different songs into one landscape, the at times awkward union of electro and melodic rock seemingly coming from individual direction but then when the excellent chorus harmonies wash over the senses it is all forgotten and rich satisfaction sets its claws in. The closing track also takes a slower classic rock gait as its core wrapping it in electro beats and melancholic keys whilst shard of crystalline sonics tenderly shine upon the expressive narrative.

It is a strong end to Satellite Of Love, a release which leaves a healthy appetite for it and the band in its wake. The electro beats for personal tastes do not do some of the songs any favours, their mechanical touch too regimented for the flowing melodies elsewhere, and as mentioned you need a strong taste for eighties classic rock to fully appreciate the release one suspects, but for those of us without that palate Eutopia and Satellite Of Love are still a meeting you cannot pull away from and the promise they show very tempting.


Ring Master 18/09/2013

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The Howling Tongues – Self Titled

Brian Hall Photography

Brian Hall Photography

Having impressed immensely with previous EP Keep the Dust Down, Atlanta rockers The Howling Tongues return with their debut album to confirm all the promise previously tantalising the ear. The ten track album is a further evolution in the bands rise of sound, the previously ravenously raucous and scuzzy tinted approach given a polish and clarity which allows the emotive breath of songs to make an even bolder declaration. Equally the throaty bass almost grizzled bass persuasion has moved on though debatably not to greater strength, its presence again whilst pulsating less intensive and enthralling. Overall though it is a fiery release which continues to mark the quintet as one of the most flavoursome emerging southern blues rock ‘n’ roll bands.

Formed by guitarist Nick Magliochetti, vocalist Taylor Harlow, and drummer Tylor James in 2011 with the trio soon joined by bassist Zach Smith and keyboardist Thomas Wainwright, The Howling Tongues took little time in making a marked impression locally. An early EP and live performances bred a hungry response to their self-termed “no regret rock-n-roll”, whilst Keep The Dust Down thrust the band to an even greater and wider recognition.

Recorded with producers Stan Lynch (former Tom Petty and The Heartbreakers drummer) and Billy Chapin, their debut album is a rich 884501947114_cover.170x170-75and fire breathing encounter. Recorded mostly live and mixed to analog tape in 15 days at Sound Emporium Studios in Nashville, the album starts off with a feisty enticement in Gotta Be A Man, the big rhythmically boned track with scorching guitar enterprise and strolling gait an open continuation of the previous EP. Ridiculously addictive and  strikingly rapacious in its seizure of the senses and passion, the track has control of feet and hunger within a few sizzling seconds and never relinquishes its grip, even with a groove and hook combination which is straight out of the Ballroom Blitz songbook.

From the thrilling start things take a down shift in attack, the album as a whole turning to a more smouldering and slowly burning persuasive premise. Let Me Be shows it is not a bad move at all but for personal tastes more almost brawling energetic explosions like the opener and like those found on Keep the Dust Down would have lifted the album to even greater heights. The second song though has a sultry atmosphere which is easy to consume and an evocative touch which leaves a lingering satisfaction, keys and harmonies as compelling as the now almost expected striking guitar invention from the band.

Both Chainsaw and Strange Way To Say Goodbye continue the inviting offerings if without the same potency of the first two tracks. The first is a heavy yet respectful melodic rock beckoning with a certain swagger to its walk across the imagination whilst its successor comes rife with evocative and dramatic keys to stand as a broody ballad with the vocals of Harlow as expressively tempting as those powerfully calling keys of Wainwirght. The following Let It Fade also has a reserved approach to the ear which works so well but ultimately does lack that spark to explode within the passions. Again the keys and vocals are outstanding; their presence continuing the variety at play upon the album, but the tempered sound of the bass alongside suggests the band missed an opportunity to really score the senses, a darker more predacious lilt from Smith maybe unleashing a more virulent success to what is still a pleasing confrontation.

The gentle yet tall standing song The Sound makes a more than decent mark before the excellent I’m In Love wraps it in shade through its fizzing incendiary invention and melodically flaming sonic imagination. With an anthemic call and sinew clad body wrapped in the sixties tease of keys, the adventurous and continually moving track is a major highlight to rival the starter and set fresh fires burning in the emotions.

The closing trio of songs, the bluesy crooning Another Heart To Bleed, the emotionally simmering What’s It Gonna Take, and the acoustic southern country rock ‘hymn’ Too Many Times keep attention and appetite strongly engaged as they complete a fine and rewarding suasion of passion and imagination. As mentioned a lack of a storming blaze of contagion like a Makes You Tick or a Nagasaki arguably leaves the album short of really setting the heart ablaze but nevertheless The Howling Tongues has created an album which brings real pleasure to the day.


RingMaster 18/09/2013

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