WIN A COPY OF DAMN VANDALS SPANKING NEW ALBUM ROCKET OUT OF LONDON

dv cover

Without doubt one of the most highly anticipated albums of 2014 has been Rocket Out Of London, the sophomore full-length from UK psyche rockers Damn Vandals. It is quite simply an exhilarating romp of psychotic rock ‘n’ roll which more than lives up to the greedy hopes and feisty expectations lying in wait for it. The album has not only reinforced the reputation of the band bred with debut album Done For Desire as one of the most original and promising propositions in British rock but cast the London quartet as a new template for psyche rock and sonically twisting ingenuity.

Featuring brawling incitements made from maelstroms of garage punk aligned to psyche and stoner rock, the album is a raw and hypnotic riot of insatiably addictive and demented rock ‘n’ roll. With tracks such as the aurally rapacious Twist Up And Tangle, the swamp-esque I Bring You Love, and the volcanic This Music Blows My Tiny Mind as well as the wickedly virulent title track, Rocket Out Of London is a dark and mischievous masterpiece and one you can get your fevered hands on for free.

Damn Vandals and Manilla PR have linked up with The Ringmaster Review to offer the readers the chance to win a free copy of Rocket Out Of London. It is the opportunity to romp voraciously one to one with one of the year’s major highlights from one of Britain’s most creatively dramatic and dynamic bands and we have two CDs up for you to win.

Simply answer this question in the comment box below leaving your name and email address. Submit your answers by Saturday May 17th when we will choose two winners randomly from the correct entries and be in touch for mailing details.

Now for the question…

What is the title of the first single taken from Rocket Out Of London?

 

Good Luck!

 

Read the review for Rocket Out Of London @ https://ringmasterreviewintroduces.wordpress.com/2014/04/07/damn-vandals-rocket-out-of-london/ …it might give a clue 😉

Check out Damn Vandals @ http://www.damnvandals.co.uk and the new album @ http://damnvandals.bandcamp.com/album/rocket-out-of-london

 

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Subset: new hints and ferocious horizons

 

    SUBSET London shot March 2014

    Subset has been to the fore of the UK underground scene almost from their initial emergence in 2009 through their continually inventive and diverse noise bred encounters. Each of their eight releases has been dramatic in not only presence but the continuing evolution and sparking imagination charging through their sound. Last album Loverdose is a fine example, the naggingly intriguing and explosive release as unpredictable as it was resourceful, fusing thick essences of rock, metal, and punk into tracks which left expectations floundering and passions hungrier. It took the band’s reputation to yet another level, providing one more major step in their ascent but we have the confidence to say it was only the appetiser to even greater glories.

The reason for that claim is a track called Roughened, a brand new song from the band which we have the pleasure and honour of getting a sneak preview of. Such its potent and striking impact we thought we would look at a comparison between the track and a couple from Loverdose, looking at another twist in the growth of Subset and their incendiary songwriting as well as a potential breakthrough into international recognition which the song alone suggests is possible, yes it is that potent.

Between them Carnage and Bayonet from Loverdose give a full picture of the album and Subset’s sound at that moment in time. The first of the two flies at the senses on a surge of punk and grunge infused rock with a melodic seducing which wraps sensuous persuasion round senses and imagination. Guitars and bass offer a persistent snarl and insatiable predation which the rhythms whip up into a greater frenzy, All the time though a Buzzcocks like lure winds its bait around ears and imagination. The song merges a further raw and caustic breath into the mix, inciting the senses and imagination into assuming you think the band was at their pinnacle. That was until Roughened infected body and soul.

As rhythms thump down with a strength and intent which arguably has never been more dramatic and imposing from the band, and Romain Daste’s excellently expressive vocals combine with rich predatory growling riffs to steal a greater slice of an instantly awoken imagination, the punk heart of the band roars as never before in the new track. That is only part of the story though as the previous grunge and rock pop elements of the band which have certainly not been abandoned find themselves redefined as a fiercer noise and psyche rock charge of invention. Contagion is as virulent as ever but courted by a definite post punk temptation and an overall greater voraciousness which has been thickened and almost carnally fortified in the songwriting.

Bayonet from the previous album showed a harsher side of the band, merging melodic rock and punk infused metallic essences into a scuzz blessed provocation which was unafraid to entice with rapier tendrils of sonic noise whilst preying on and snuggling up to the senses with raucous noise and tempting melodies respectively. It was a proposition which gnawed and flamed at ears whilst teasing them with pop rock wantonness and now Roughened employs much of the same web of sound but twists it into a more incisive and riveting furnace of raptorial ingenuity whilst adding richer strains of garage punk and alternative metal. It is crafted and delivered in a greatly maturer blaze of craft, invention, and instinctive devilry; Subset and songwriting at their most inventive and exploratory it is easy to say.

As much as the two older songs and Loverdose as a whole impressed, hindsight showed they only hinted at the new mouthwatering and breath-taking alchemy that runs through Roughened. The track is quite brilliant and just the start as the band has numerous more juicy provocations waiting to mark a new horizon in the journey of Subset. We cannot wait and suggest you keenly watch this space as fans and newcomers to the band are in for something special we suggest, Roughened our undeniable evidence.

http://subsetband.com

www.soundcloud.com/subset-1

 

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

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

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Select All Delete Save As – Ultra Cultura

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It is not only a slight shift in band name which is offered by new album Ultra Cultura, but also a richer maturity in songwriting and sound from its creators Select All Delete Save As which at times catches the breath. The band’s previous self-titled debut showed selectalldeletesaveas, as their name was written in 2011, as a highly mischievous and unpredictable proposition. It was a raw and promising encounter which ebbed and flowed in success but nevertheless ignited the imagination of a great many, and a potential soaked seed which has bred the tremendous Ultra Cultura. The new ten track release from the Jersey bred duo of by Antony Walker and Terry Emm is a tantalising and eclectic persuasion which has not lost any of the pair’s devilish intent to wrong foot and constantly surprise the listener. It more impressively though shows a big leap in the quality, writing, and musical craft of the band, showing a maturity which has the potential to bring the band intensive attention.

The pair of Walker and Emm met on a music course at the University of Gloucestershire, and it was when the former was commissioned to record an album, that the two linked up with Selectalldeletesaveas, band and first album the results. With tracks recorded over a year ago, the two musicians have returned to spread their lyrical and musically revelry, Ultra Cultura a natural but to be honest far greater continuation than maybe anticipated. Linking up with sound engineer Jono McMillan, who also provided drums and percussion on most of the tracks, Select All Delete Save As has sculpted an album to steal attention and imagination from its opening seconds, something it never relinquishes until the closing of the final festival of devilment and intrigue. As with its predecessor, certain moments on the release shine stronger than others, but there is never a moment when attention gets seduced away from the release this time around.

The title track sets things off to a strikingly potent start, sparking an immediate increase in an already eager appetite inspired from the band’s last release. Electronic pulses and percussive teasing toys with ears initially, coaxing their focus ready for a raw rub of guitar. Already something feels different to the band, a more honed and concentrated enterprise stroking thoughts as mellow vocals smoulder within the brew. A stronger indie breath seizes control soon after as a shoegaze like warmth permeates the still nicely grazing texture provided by guitars. It is an absorbing persuasion which really ignites with the stunning voice of guest vocalist and fellow islander Rachael McVay. With tones which seduce note by note and a fire to her delivery, the singer ignites the already pleasing track to new levels, which in turn seemingly sparks a greater intensity in the sounds wrapping her contribution. The song is a magnetic start to the album, the first character of a multi-faceted release.

The following Human Error merges chilled electronic premise with guitar woven melodies, vocals plain and emotionless tempering the emotive flames around them. It is a more testing blend than the previous song but also growing to a proposition easily successful with the imagination, its mix of Radiohead and Joy Division coldness with expressive post rock like enticements permeating incessantly until the listener is immerged within its shadowed grin. Its place is sandwiched between the opener and the excellent Modern Life is War and does it no favours but the song easily holds its own before its successor lights another fuse of ardour. Again featuring McVay, the song makes a restrained entrance before a sizzling shot of guitar spirals across the ceiling of the emerging track. There is a feel of House Of love to the track at first which with the alignment of vocals between band and McVay sparking a broader smile of energy, the song glides sultrily across the senses like a mix of The Adult Net and Some Kind Of Wonderful era March Violets. Mesmeric and ravenously seductive, the song is an evocative breeze of indie pop and quite delicious.

Both the melancholic Temperature and the Archetypal Woman simmer in their temptations but croon and dance respectively their way into the affections, the first with the band’s skilled humour and precisely invasive melodic bait within another emotionally haunted atmosphere and the second with its jazzy meanderings and very English relish to refuse predictability and expectations. Whereas Temperature plays with a post punk seeded lack of light its successor romps like The Monochrome Set meets The Jazz Butcher, a distinct British kind of eccentricity which as its companion only expands the diversity and boundaries of the album further.

The pair of Service of the Lord and Nectar of Instruction also takes longer to wrap their persuasive toxins around the passions though imagination is soon enlisted by the temperate yet solemn caress of the first and the anti-folk smile of the latter. The evidence of their success is the lingering enticements which swim around the memory after their leaving, the jazz funk invention of guitar in the second of the two leading into an eagerly catchy chorus one of the persistent lures.

The virulent seduction of instrumental Slowcore Puck absorbs next, its impassioned climate and melody hued colours flirting with thoughts before the post punk/electronic minimalism of The Sun & his Sunglasses brings its entrancing psyche encircling hypnotism to the party. The humour of the band as everywhere simmers and spills with glee, adding to the fun and creative irreverence often at work as in closing song Charge my Pad. An infectious stroll of guitar crafted indie rock with pop spice and drama which seems seeded in The Cure, band and song turn on its audience with a great flume of Bowie inspired mischief, this passage of the song simply the illegitimate yet endearing bastard son of Starman. With blossoming keys and a constantly flavoursome throaty bass line, the song leaves album and its recipient with a gleefully wide grin.

It is probably fair to say that Select All Delete Save As is still an incitement for a certain audience but as we stated in our review of the last album, the band does not care when it comes down to it as long as they light up their own and some other hearts somewhere. Ultra Cultura is sure to recruit a great many more adventurous appetites to the band and its ever evolving presence which has really leap in impressive growth between albums.

The self-released Ultra Cultura is available now @ https://itunes.apple.com/us/album/ultra-cultura/id868037607

http://www.selectalldeletesaveas.com

8.5/10

RingMaster 27/04/2014

Copyright RingMaster: MyFreeCopyright

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Oh Captive – Advance Creature EP

Oh Captive Online Promo Shot

Disregarding the deceptive label of post punk seemingly placed upon them, certainly on the accompanying promo sheet, what UK’s Oh Captive actually cast is a magnetic brew of pop punk and alternative rock around a rigorous spine of muscular melodic rock. Presented on their debut EP Advance Creature, the band’s sound it’s an exciting blend of passion and sonic textures drenched in striking craft and undeniable potential. It is a release which sparks fires in the emotions though not always retaining the same intensity, but from start to finish provides a fuse to the imagination and ignites a keen appetite for Oh Captive now and in the future.

The Bristol quartet emerged in 2012 and took little time is awakening an eager following locally before last year striking out around the country with bands such as Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars. Comparisons to the likes of Coheed & Cambria and Twin Atlantic have fallen upon the band over time, comparisons relatively easy to understand listening to their four track debut.

The release opens with Beds Of Many Ghosts and immediately has ears entangled with enticing melodies, crisp rhythms, and a coaxing Oh Captive Cover Artworkhook which lays down the first seductive bait. Settling into its confident stride, the track relaxes around the vocals of guitarist Tim Kelly but all the time is creating a virulence of hooks courted by an emerging groove. It is a striking narrative coloured further by thirsty shadows provided by bassist Tom Hitchins and the guitars of Kelly and Curtis King which weave a provocative and contagious web of enterprise. The song is an irresistible encounter, one which has a familiar air to it in many ways but steps beyond that security with bold imagination and a thoughtful swinging design from the impressive rhythms of drummer Chris Hill.

The excellent start is swiftly supported and matched by Terrible Lives. The track again shows no restraint in unleashing contagious hooks and evocative melodies around a persistent rhythmic beckoning which frames the fine tones of Kelly ably supported by those of King. The song teases with guitar and rhythms alone at times; the bass held in reserve but once involved in the suasion opens up the depths and darker textures of songs and songwriting. Like the first track, it creates a tapestry of smart twists and turns employing a skilful persistently changing gait evolving the face of the song whilst brewing an almost toxic groove to wrap the track and subsequently steal the show in a quite scintillating climax. Both songs are strongly memorable but the second really gets under the skin with that deviously addictive groove most of all.

The remaining two songs do not reach the stature of their predecessors though both only cement an impressive introduction to the band. The title track steps up next, its tender melodic start courted by a sonic mist before it expands into a rich and evocative blaze of passionate sounds and lyrical reflections. Perfectly balanced and vibrantly poised, the track courts the senses with a masterfully woven venture of dark rhythms and radiant melodies aligned to similarly captivating vocals, and though it does not entrench itself in the memory as those before, its presence only enhances the promise of the band.

The closing Retreat Being reasserts punchy rhythms and almost rapacious sinews to the skeleton of another track which is just at ease crooning at and seducing ears as it is forging a sturdier imposing persuasion. The bass of Hitchins is especially vocal and melancholic in the track to lead thoughts deep into an emotional intensity but as excellent as the song is again it lacks the spark to impact beyond its departure.

Overall Advance Creature is an EP which potently grips thoughts and emotions throughout. It is a striking entrance by Oh Captives, one soaked in a promise which suggests the band is going to have a rosy future whilst providing plenty of exciting investigations ahead.

The self-released Advanced Creature EP is available digitally from April 28th

www.facebook.com/ohcaptive

8/10

RingMaster 27/04/12014

Copyright RingMaster: MyFreeCopyright

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King Goat – Self Titled EP

     King Goat Online Promo Picture

     King Goat is an intimidating provocation, heavy in intent and in weight, and as evidenced by their new self-titled EP, mightily compelling. Consisting of three immensely imposing tracks stretched by tempestuous riffs and impossibly alluring grooves, the release pushes King Goat into a new intensive spotlight. Its riveting weave of stoner and doom metal with psychedelic and progressive flames is a raw and thorough captivation of ears and imagination, a proposition sure to arouse a wealth of new allegiances.

Hailing from Brighton, King Goat emerged at the start of 2012 and was soon stirring up attention locally. Their debut EP, Atom was released early 2013 to good responses but soon followed by a change of frontmen. Once back into its stride the quintet began working on their second release and unleashing again their powerful live performances across London and the South coast to stronger responses whilst garnering an ever increasing legion of fans. The new EP is the next potent step in the rise of a band which you sense has the potential to eventually impact intensively on European psychedelically fuelled doom metal.

The EP starts with an epic track in length and presence. The Final Decline is a towering and thoroughly absorbing journey for senses and King Goat Cover Artworkimagination which breeds from an opening suggestive ambience. It is a stark and chilled atmosphere which initially caresses ears, a portentous breath in climate with a lone emotive guitar coaxing which stands engagingly within the cold wind and barren landscape unfolding around it. The song slowly emerges with dark weighty tones of the bass and resonating beats prowling the senses matched by the equally shadowed vocal calls. It is an intensive proposition but lit by enthralling guitar design which without being flashy or dramatically startling simply seduces the imagination with its eastern temptation and repetitive virulence. The song gradually increases into a stroll, all the time brewing and accelerating its rapacious energy and rhythmic enticement until from a moment of catching breath it erupts into a primal swagger with equally bestial growls before an excellent melodic roar of vocals soar across the incendiary scenic maelstrom now smothering the senses. It is an exhaustive and alluring encounter which only enhances its bewitching grip with every taking of its dramatic journey.

The following Cult Obscene is swifter in its emergence but like its predecessor is bred by a provocative and imagination sparking scenery soaked in a sinister ambience. It is not long though before hypnotic rhythms enslave attention, soon sharing that entrapment with scorching melodic flames of adventure from the guitars and again a bass tone which simply resounds within ears and the narrative of the track. The track shows a mix of Cathedral and Ten Foot Wizard to its enveloping shadows and blazing melody defined drama whilst the caging sinews and rabidity of the rhythms has a certain Mastodon predation to their intent. As its predecessor, the song simply consumes the body, feet and senses wrapped up in the riff driven stomp of the track and imagination through to passions enslaved by the sonic invention of guitars and grooves.

Already the release has a hungry appetite alive and greedy for itself which is only driven to stronger urgency by final track Melian’s Trance. The closer is inescapable, every aspect of its sculpting working like an epidemic on the listener. It is a blazing tempest of adventure and metallic devilry employed by dark ravenous emotions and deeply rooted shadows lying in the heart of the songwriting and unrelenting imaginative sounds of the band. With riffs, rhythms, and grooves an overwhelming horde of insatiable predators submission is inevitable, the song a thunderous end to an equally massive release.

With Sabbath essences permeating the whole EP as rigorously as those already mentioned, King Goat has announced themselves to the whole country with a metallic bellow which is hard to ignore or resist.

The self-released King Goat EP is available from Monday 28th April @ http://kinggoat.bandcamp.com/

www.facebook.com/kinggoatbri

8.5/10

RingMaster 27/04/2014

Copyright RingMaster: MyFreeCopyright

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

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