Still Bust – 77 For You (57 For Me)


At its very best, hardcore can produce some of the most rewarding and exhilarating challenges, and some of the most viciously impacting. The new EP from UK band Still Bust is all that and more, one of the genre’s most riveting and emotionally searing releases this year. Veining their sound with irresistible discord drenched tendrils of noise and math rock, the Gloucester band is one offering something different as evidenced by the excellent 77 For You (57 For Me).

The successor to debut album A Few Things We Might Agree On (A Few Things We Might Not) of 2013, the quartet of Matthew Stanley, Ed Hudson, Matt Raybould, and Niall Jones, swiftly scar and grip ears and attention with their new proposition. The EPs title refers to diabetes of vocalist/guitarist Matty, 77 being the average life expectancy for someone without diabetes compared with 57 for someone who does. The encounter though has no sense of self-pity, instead raging and pushing thoughts and emotions of listeners to challenge their own issues and to deal with them. It also has titles which catch the imagination and raise the first step of anticipation before a note is even heard.

First up is It’s Your Fault And You’re Stupid (Kind Regards Barbaros Icoglu), which straight away entangles ears and appetite with its opening web of sonic temptation and magnetic unpredictability. Guitars score and tease with EP Artworktheir discord bred ideation, like fireworks leaving a pungent taste on the senses which lure you in for the oncoming punk fury which subsequently bursts free. Its bait is no less intrusive and compelling, the varied and multiple vocal attack as enterprising as the rhythmic antagonism and aggressive riffery around it. With the technical ideation and craft of the band continuing to vein the angst driven roar, the track emerges like a mix of Cancer Bats, The Dillinger Escape Plan, and UK punk band Dead Retinas with elements of Every Time I Die, and is insatiably riveting.

TV On After Breakfast (Would You Like Your Hair Cut Today) comes next and swiftly unleashes its hostile punk breeding as riffs and vocals rage contagiously whilst rhythms beat out a bruise on the senses with every rally. Within the brawl though, the band uncages another dose of warped and technically twisted ideation which helps to turn a great song into a rigorously impressing one. The bass reveals a deeper throated intimidation to its creative armoury whilst the guitars continue to sculpt a net of seduction and malice which is inescapable, not that you will wish too. Its successor I’ve Never Been More Happy To Have A Hypo (However This Could Mean I Have Irreparable Knee Damage) is built from a similar template though with a unique character and tempest of sound of its own. There is a darker threat and intensity which has little difficulty in riling up hunger and passion for track and release. The song is not alone on the EP in providing a false end either, the encounter taking a breath to return with an even more potent and greed sparking design of enterprise and temptation.

The closing Twenty Foot (Broken Foot) is a test which goes from delicious seducing to raw testing hostility, entwining both across its length whilst providing an epic and enthralling close to the EP. Addiction breeding grooves erupt straight away from within the song, seducing ears and imagination with their insatiable and inventive toxicity. Heavy rhythmic jabs and furious riffs add their taunts soon after too before the raw vocals squall aggressively across the whole mix. Such the impressive start, it loses some of its grip with the following expanse of impassioned anger and slow predation but in time employs its lustful and irresistible endeavours once again within the tempestuous climate and emotion of the track to reignite ears and passions.

It is a striking end to an invigorating and wonderfully abusive release which suggests the potential of Still Bust, as outstanding a release it has just created, still has plenty more to explore and reveal. We can hardly wait.

The 77 For You (57 For Me)EP is available digitally and on white vinyl via Matt Records @ and respectively.


RingMaster 10/09/2014

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Heavyweights – Keep Your Friends Close


Seemingly embracing the pop infectiousness of Blink 182, the rawer aggressive contagion of Mucky Pup, and the addictive hook invention of Hagfish, US pop punksters Heavyweights provide more than enough with new EP Keep Your Friends Close, to suggest they are a band in the midst of carving out a healthy future for themselves. Consisting of five tracks which easily cast an enjoyable and inventive stomp of infectious hooks and melodies, the release is a captivating proposition which has attention focused and appetite stirred for its not startling but certainly pleasing sounds.

Formed in 2011, the Baltimore quintet of vocalist Dave Heilker, guitarists Eric Navarro and Sean Ryder, bassist Punk Rock Chris, and drummer Kurt Speiss, have brought inspirations from the likes of All Time Low, Fall Out Boy, Blink 182, Man Overboard, New Found Glory, and The Wonder Years into their refreshing sound and enterprise. With debut EP The Sound of Time Running Out and an acoustic split release with fellow Maryland band A Place in Time under their belts, Heavyweights now make another sizeable and compelling statement in their emergence with Keep Your Friends Close.

It opens with the relatively brief It’s Not Pretty, But It’s Us, a track which makes an ok entrance but evolves into an intriguing slice of melodic punk which is at ease either make a slower expressive suasion or launching into an eagerly KYFC Cover Squareenergetic proposition. It is not a song which ever explodes, though it drop hints at times that it might, and does not excite the ears as potently as subsequent tracks, but it makes a firm and engaging start to the EP. The band displays their imagination and skill within the song, pushing it further with the following Dior 999. The second track bursts from a magnetic bassline with nostrils flaring in its energy as emotive intensity colours the creativity of the guitars and passion of the vocals. Swiftly contagious and gripping, choppy swipes of riffs and persistently twisting hooks embrace the strong vocals of Heilker which in turn are backed by those of Speiss and Navarro, the song alone pushing the release to a new exciting plateau.

Bonfire seizes its opportunity to next entice ears, guitars swiftly moving in to lay a web of sonic bait and melodic endeavour over the imagination whilst vocals parade the track’s narrative. Rhythmically both Speiss and Chris sculpt their most compelling cage of temptation yet on the EP, backing up the rich weave of enterprise from the rest of the band in another highly pleasing song. Heavyweights take little time to show they know how to sculpt catchy and resourcefully smart enticements in their songs, Bunkbeds next proving the point. Also featuring Mike Hayden, the track instantly sparks thoughts of Hagfish with its infectious start, vocals and hooks familiar bait to the Texas band. It is a lingering spice but one soon merged with a Fall Out Boy like drama and powerfully evocative textures which create another vibrant and hunger sparking romp of sound and ideation.

The release closes with Anna Marie, an infectious and melodic stroll of pop rock which flows with fiery and emotive melodies matched by vocals, all amidst punchy hooks and jabbing rhythms. Not quite holding the spark of the previous pair of songs, it still leaves the imagination busy and appetite full whilst adding fuel to already impressed reactions for band and EP.

Keep Your Friends Close does not set pop punk ablaze but certainly suggests that Heavyweights have the potential to leave that kind of mark on the genre ahead whilst providing strong and richly pleasing encounters along the way.

The Keep Your Friends Close EP is available now @


RingMaster 10/09/2014

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Cries Of The Captive – Imperialist EP

Promo 2

Like a pissed off beast in season, the Imperialist EP from US metallers Cries Of The Captive is a raw and hostile slab of primal malevolence which only leaves appetite and ears wanting more of its exacting ferocity. It is a swamp of fury, an oppression of deathcore which from start to finish is rigorously compelling.

Formed in 2011, Cries of the Captive went through several line-up changes and shuffles before the union of rhythm guitarist Skyler Dustin, drummer Kyler Loughlin, vocalist Mason Blair, and bassist Jake Makley alongside one of the band founders, lead guitarist Jordan Huemiller. The band’s following and reputation has grown as forcibly as their sound over time, leading to the creation and release last December of the Imperialist EP. Recorded with Chelsea Grin guitarist Dan Jones, the release is an attention grabbing marker which now with its reboot through Imminence Records, pushes the Utah quintet into a new spotlight. Since its recording, Cries Of The Captive has seen Nate Barnes replace Makley and the band begin work on their debut album again to be unleashed via Imminence, with 2015 looking like being another big step in the band’s ascent.

The Muay Thai Body Obliterator opens up the tempest, a guttural snarl from Blair working with a guitar sculpted niggle to confront ears before dramatically pungent rhythms and caustic riffery break out to entice and erode the senses. It is an uncompromising squall of sound and intent; from the corrosive delivery of Blair which is indecipherable yet open in its malice and passion, to the flesh ripping spite of the guitars and bone splintering tenacity of the rhythms, the track is a brutal examination but just a teaser for greater things to come.

The following Condemned has its jaws deep in body and thoughts within seconds of an opening roar of vocal hate from Blair. Riffs spear and desensitise whilst rhythms bruise and exhaust, combining for a torrential outpouring which COCT_1500x1500alone grips attention. It is the excellent variation to the vocal attack, which still defeats all attempts to understand the lyrical maelstrom, and the sonic mesh of melody veined acidic grooves which thrusts the track to a new plateau to its predecessor though. Whether charging with nostrils flaring or crawling over the senses with a pestilential glee, the track is a glorious invasion of blistering sound and malicious enterprise.

Next up, Solipsism makes a less intensive though no less intimidating entrance. It is merely a few breaths though before the track stalks with bestial fury aligned to a scorching sonic enticing, creating its own distinct and addictive savagery. The vocal diversity is a horde of seductive demons, calling the passions with many voices as the turbulent sound and intensity collides with and irresistibly baits emotions around it. The track as all on the EP, is a nest of invention beneath its primal voracity, smooth turns through numerous flavours and striking ideation waiting for those brave enough to rupture the surface tension of the raging storm above it.

The title track brings the release to a close, setting another impressive standard and variation to sound and songwriting. Emerging from a sultry melodic climate of sound and expression, the track offers a bearlike ferocity of rhythmic swipes and carnivorous riffery, each taking its passion seducing toll on body and senses. Again lyrically there is little we can reveal such the raw onslaught of Blair but it is of little issue in the concussive and scintillating uproar surrounding him. Graced by a sonic beauty which manages to permeate the hate to equal success, the song is a thrilling and lingering finale keeping release and band a captivating proposition in thoughts and hunger.

Imperialist easily sets up swift and eager anticipation for the band’s full-length encounter and a thoroughly impressive and deeply satisfying incitement for itself. Cries Of The Captive is a fury on the march with a sound which does not take no for an answer.

The Imperialist EP is available now via Imminence Records @


RingMaster 10/09/2014

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