Dead Shed Jokers – Peculiar Pastimes EP

Dead Shed Jokers 2

If the impossibly magnetic lures of Dead Shed Jokers have yet to make a play for your passions then the Welsh quintet has made the opportunity very easy with their latest EP Peculiar Pastimes. Available as a free download via their Bandcamp profile, the band has made one of those invitations only a fool would not go and investigate before greedily accept the rewards offered. Consisting of six contagion lit tracks, five of which are taken from a live session at BRFM Radio the band undertook this past July, the release is an enthralling explosive heat of sound with more dramatic spices than an Indian restaurant kitchen.

The title track opens up the richly satisfying encounter and immediately has a healthy appetite for its offering licking lips and coverattention rigidly in its hands. From an intriguing and haunting distant teasing the song erupts with intensive riffs and punchy rhythms rampaging through the ear whilst a guitar unleashes tendrils of melodic tempting which wrap tenderly yet rapaciously around the senses. It is a riotous fusion of noise and stoner clad rock, an instantly irresistible bait for the passions given extra toxicity with the strong vocals which add their urgent enthusiasm to the mix. Like a mix of The Dropper’s Neck and Queens Of The Stone Age but not, the track twists and turns like a wanton belly dancer, its sinews rippling within the energy and passions expelled by the outstanding storm of invention. Seduction and causticity go hand in hand as the track rages and draws the strongest, keenness submission from thoughts and emotions to its exceptional persuasion.

The next five tracks are live takes of songs, four of which appear in their original form on the band’s well-received and acclaimed album Peyote Smile which came out at the tail of 2011. Monkey Song is first and like its predecessor soon has the imagination lured into its embrace as a drifting blues temperance cast by guitar, harmonica, and a deep slow bass drawl coax the ears. Rhythms also take a restrained approach to the introduction, it all building up to the striking full stride of the track which takes little time to alternatively stomp forcibly or unwind a smouldering acidic tendril of enticement across the air. There is a classic rock and psychedelic essence to the fiery encounter, further evidence of the wealth of flavours the band take as inspiration and employ in their invention. The track as the subsequent ones reveal just how potent sound and band is live, something we should all indulge in at some point.

Interesting Point, But… follows next and like its predecessor takes a provocative and gentle hold on the ears at first before slipping up numerous gears and degrees of temperature to brew an incendiary and inciting stroll of sonic adventure. The entwining of restraint and full on rampancy again frequents this track making for a presence which has limbs treating the dirt to a rigorous thumping  and lungs taking deep breaths in between the outbursts. It is an adrenaline fuelled and coaxing treat which is soon matched by The Memoirs of Mr Bryant, a shimmering sonic flame of evocative textures and fire bred melodic flames brought with a craft and passion which only impresses. There is a seemingly taunting like intent to the riffs and drum jabs tempered by the potent expression of the vocals and deeply hued colour of the melodies which raise the passions further, a combination which makes the song a heavy duty irresistible temptation.

The live cut of the title track is next and no cigar on guessing it too is an odds-on winner in securing total slavery of the heart, the track genius live or studio embraced. Its raucous presence is replaced by the sultriness of Magic Teatime, a song which leaves you basking in melodies which entrance and a passion which sears the imagination. There is a kind of formula to certainly a majority of songs presented on the EP, persistently twisting slow burns of suasion with crescendos of almost antagonistic energy and brawling intensity laid side by side. Equipped with a breath of The Doors and Bad Company the song is simply a lingering joy to end an invigorating release.

The Peculiar Pastimes EP and sound of Dead Shed Jokers come to that, has an open familiarity to it but simultaneously manages to sound unique in presence and effect. It is a refreshing and exciting experience which leaves the listener with only one option, go check out and grab the band’s album, better late than never.


RingMaster 22/11/2013

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The Darlingtons – Who Says There’s No Beach In Doncaster EP

The Darlingtons Press Photo

Soaked in a melancholy which enthuse their hearts rather than casting them in darker oppressive shadows, the songs and sound of UK indie rock band The Darlingtons is an absorbing and magnetic wash of imagination and craft. The Taunton band has a presence and ability to reflect the darker shadows of ordinary life in a way which pulls no punches but still brings a breath of hope and consolatory comfort; most of all though it provides one pleasing and evocative encounter which plays like a new old friend and emotional co-conspirator.

With already their debut EP Decades Dance under their belt and the experience of having a label ‘behind’ them, the foursome of Kiran Roy, Daniel Young, Alex Bispham, and Chris Holmes now forge their own furrow and fight their own battles alone, and earning plenty of acclaim for their live performances and now their second EP through it. Who says there’s no beach on Doncaster? Is a collection of six live tracks bringing the band’s stage potency directly into the ears of the listener. It is a raw and unafraid to show warts and all encounter which declares the quality of songwriting and sound of The Darlingtons with unrestrained ease, and probably with such intensity to the emotive strength of the quartet, does so far better than any studio release might be able.

Opening song Bats is an immediate attention grabbing proposition, rhythms a bold enticement around which the guitars float andWho Says There's No Beach In Doncaster Front Cover flame with melodic enterprise. Everything takes a step back soon after arriving, apart from the continuing to jab rhythms and moody bass, to allow the excellent vocals to begin their narrative. It is compelling stuff which only intensifies as the guitars return their sonic embracing and vocal harmonies skirt the emotive vocal delivery. Though arguably not as tender in its touch, there is a feel of the House Of Love to the song which seduces as successfully as the every punchy rhythmic frame. It is a mesmeric lure and already a powerful declaration of the band in songwriting and live performance.

The following Ship At Sea has turmoil in its presence from the first note, keys offering an unsettled emotive suggestiveness whilst the drums prowl the song as if expecting dark clouds and trouble ahead. The rhythmic aspect of the band is a scintillating temptation throughout the release, constantly offering immense and dramatic textures and cages which thrust the song to the heart of imagination and emotions within its recipients. Within the song the still impressive vocals find themselves a little overrun by the intensity and rhythmic intent but not enough to defuse their effect and reflective potency whilst the guitars and bass conjure individual entrapments for the senses which are as irresistibly toxic as they are mouth-wateringly enterprising, especially the twang lilted bait laid down in the latter part of the riveting track. With a slight resemblance to Prince Edward Island and evocatively Scottish band Letters, the track leaves a lingering breath-taking impact in its wake.

Both Don’t Give Me Hope and For Some Else In Time keep the band’s hold on the passions secure, the first an insightful beckoning lyrically and musically around again rolling hypnotic rhythms which slowly builds its atmosphere and intensity into a climactic finale which never quite reaches the full blaze its hints at but certainly has the air smouldering brightly. Its successor equally burns with a resourceful but reserved suasion which leaves the appetite well catered for and want for more an open greed. Neither of the songs quite matches the might of the previous tracks but with elements which fully seduce and overall a presence that breeds satisfaction, the pair only enhances the experience of Who Says There’s No Beach In Doncaster?.

The opening to Everything is a surprising welcome, guitars prancing with a festive heart and dark bass romping within their eager caresses. It is not that the other tracks are manna to the pessimist but the shadows are noticeable by their absence at the start of the song and when it sparks its rhythmic and guitar spawned explosive fuel. The track then does step into that melancholic shade again which initially disappoints but only until the song merges both extremes into a vibrant and magnetic dance of sound and emotional expulsion. Though the song also falls just behind the outstanding start to the EP it provides another varied and flavoursome treat, rhythms and guitar strokes addictive, keys and vocals alluring.,

     Watch Yourself brings the release to a close in fine style, the song an infection loaded slice of indie pop with a heavy emotional body which a virulently anthemic chorus. It completes in Who Says There’s No Beach In Doncaster? an exciting and robust encounter from a band we are going to hear a lot of in coming years you suspect and one definitely that should be seen on stage.


RingMaster 22/11/2013

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Evoss – A Sense Of Time EP


Hailing from Liverpool, Evoss is an alternative rock band with plenty of heavier and classic rock tendencies which give their music substance and a presence which demands attention. Their sound is not anything to worry or break new or familiar sonic scenarios already well entrenched with plenty of other bands, but it has something which makes you want to come back for more and that is half the battle for any band. Consisting of four accomplished and enjoyably crafted songs the EP is a stylish open gateway into Evoss, an entrance you suspect will be well-trodden over years.

Evoss was formed in 2006 as an acoustic duo by guitarists Rob Boyd and Carl Serjeant but as their ambition and intent grew they recruited vocalist Shaun Luck in 2010. With songs emerging with a potency and heart that almost outgrew a mere trio, bassist Sean Nugent was brought into the line-up in 2012. A Sense Of Time, the band’s debut was written and recorded in 2011 with its initial online unveiling last year. With newest member drummer Tony Long recruited this year and the band working on their first debut album, A Sense Of Time has been made available as a buy now name your price download on the band’s Bandcamp profile, a gift no rock fan should ignore.

Slaves To The Puppeteer opens up the release, guitars and crisp rhythms immediately stirring the air whilst the bass prowls itsa3048774919_2 walls with a dark toned menace. As the vocals of Luck begin their narrative the sound relaxes around his delivery before raising the heat for the enticing chorus. As keys coax out a greater evocative feel to the song the guitars of Boyd and  Serjeant cast a weave of smouldering riffs and refined melodic endeavour which like the strong vocals only invite the imagination to embrace their skilled proposal. It is a strong and appealing start which without igniting fires still has attention and emotions busy in their appreciation and urge to indulge once again.

The following Hourglass is a similarly sculpted slice of melodic rock but with its own subtle character and flaming passion. From the nicely defined melodic lures of the guitars and the equally potent vocals to the firm rhythmic frame of guitar and bass, the track entices the listener into a blend of hard and alternative which is easily digestible by an appetite which is full of satisfaction from the wholesome offering. Like its predecessor the track does not step out from the crowd in body or flavour of sound but lifts its head above most in craft and passion.

Taken provides a mellower proposition in energy and force but loses none of the anthemic and infectious bait which marks the first two tracks. The chorus provides impressive crescendos to the song which are as catchy as anything on the release whilst its whole is another superbly created piece of heart bred rock n’ roll, just as its successor the closing Not Too Late. The final song is an engaging ballad which slowly burns and over time just as effectively recruits the emotions as the other more riotous explosions on the EP.

The A Sense Of Time EP is not going lead you into brand new or distinctively different realms of rock but simply for a for strong and refreshingly created encounter of unfussy yet inventive rock music with a fire in its heart, Evoss is a band to take a close look at.


RingMaster 22/11/2013

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Ellice Blackout – Bad Tattoo EP


With more virulent toxicity and passion chaining irresistibility than a bondage party at the sex addiction wing of the local hospital, well one can dream right?…Canadian melodic punksters Ellice Blackout unleash their debut EP Bad Tattoo, a release which inspires mischievous moves and greedy hunger. Made up of three adrenaline driven tracks which riot with and ignite the passions, the release is the arrival of a new voraciously energetic force in pop punk.

Hailing from Victoria, BC, Ellice Blackout was founded by members with a wealth of experience through several successful Vancouver Island bands such as Fineas Gage, Reaver, Killing In The Name Of, Funk Vigilante, The June Fiasco, Calling All Wave, Saul, and Dead Eyes Open. Creating an insatiable rampage of predacious rhythms, acidically squalling guitars, and a wealth of addictively barbed hooks, the band leaves the air breathless and listener sweat drenched with one of the most excitable and exciting introduction this year.

The title track ignites the touch paper for the release, guitars immediately teasing before the band explodes into a charged stomp of crisp rhythms and jagged riffs behind the appealing vocals of David Fraelic. From its first notes the song has imagination and emotions swinging with its eager sway, those sharp riffs from Joshua Boudreau and Josh Desjarlais continuing to lure whilst the bass of Josef Faraguna without breaking sweat adds the right depth of skirting shadows to the incendiary mix. Fraelic is a busy and enthusiastic, not forgetting impressive driver of the runaway melodic punk wagon potently backed by the tones of Faraguna and drummer Derek Zemanek, and with all elements flirting with breakneck rampancy the track is a thrilling epidemic of an enticement from the band.

Pretty Sexy For A Sexist shows right away it is not prepared to let its predecessor take all the glory, guitars stroking the ears with a sultry melodic taunt which is soon joined by firm beats and a darker bassline. Once into full swing with riffs getting feistier and the bass throatier, the track strides like a combination of Offspring or Fall Out Boy aligned to Alkaline Trio and Billy Talent, sinews turning carnivorous at times and intensity intimidating. It is a powerful encounter showing the strength of the band’s songwriting and attack, a declaration soon matched and reinforced by the closing storm of The Best Revenge. Like the other two tracks, it is rife with addiction causing grooves and spiky hooks within rowdy riffs and commanding rhythms. The vocals of Fraelic and band are as catchy as the lures laid elsewhere within the song’s more hard rock like premise, whilst the tight sonic mastery and acute passion swarming through the song has an element of My Chemical Romance to it.

The song, like the Bad Tattoo EP is littered with appealing additives from numerous styles and essences providing a spicy form of melodic punk which leaves emotions racing and anticipation for more from this emerging force, hankering for it to be sooner than later. Ellice Blackout has the promise and sound to be a name on the lips of pop punk and melodic rock worldwide and with their EP a free download it all starts here.


RingMaster 22/11/2013

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