Rolling out inescapable welcomes: introducing Recruits

Recruits_RingMaster Review

Recruits is a proposition you are destined to hear more about in future months, already the UK band has been stirring up attention and support through their excellent slice of feisty and contagious alternative rock posing as the We Are Recruits EP. There is the sense things are beginning to really stir for the band, so rather than wait we thought it was time we introduced you to this rising quintet and with thanks to the guys, explore the heart of their sound and presence.

Hi all and thanks for taking time out to talk with us.

It’s a pleasure!

For those unacquainted with Recruits so far, can you introduce the band and tell us about its beginnings?

Steve Smith – Vocals, Ben Yarrow – Lead Guitar, Eddie Vessey – Rhythm Guitar, Steve Heather – Bass Guitar and Jonno Smith – Drums.

In early 2014 the band started off with different members pulled from different places, however we were all from Scunthorpe and knew each other one way or another; whether it was being old friends, or being in previous bands together. We learnt covers for months while trying to find a vocalist. When we finally found vocalist Steve, we worked on original material and released our debut single Right Words in May 2014. Shortly after we replaced our old drummer with our current drummer, Jonno; and then worked on writing more material. Since then we have had a change in bass player and in November 2014, the band welcomed Steve Heather.

Was there any specific intent when forming the band and if so is it still the prime drive?

A few of us started this as a hobby, we loved music and we just wanted to play music as a band. When Steve joined he had the intention of getting the band very far in the future and wanted to end up doing it as a career one day. When Jonno joined the band and we wrote an EP, I think we all got this same mind-set that we wanted to push the band to the extreme. We started taking things more seriously and have really pushed ourselves this past year to get as far as we have; the main drive is that this band is still our passion, and one day we all want this to be our Job.

Recruits 2_RingMaster ReviewHow would you describe your sound to newcomers to the band?

We label ourselves as ‘alternative rock’ but our sound has developed differently since we went in the studio last year. You could say we are more ‘pop-rock’. The music is fairly simple and revolves around catchy lyrics and hooks.

It is also a heavily flavoursome proposition, so what are the prime inspirations for your sound and personally as musicians?

There are too many influences for us to say, we’re all inspired as musicians by huge bands such as The Beatles and Foo Fighters. Lyrics and the feel of songs are normally inspired by things going on in our personal lives at the time. Sound – wise we just sit in a room and write the music we want to hear, and want to play, it comes naturally to us.

As you said earlier, you all come from the Scunthorpe/Grimsby area of the UK, a lively music scene?

Obviously the UK in general isn’t much of a lively scene for music as it has been in the past. Our areas aren’t bad though, we’re lucky to have certain people in both areas that work their socks off to put on a large amount of quality music events as often as they can which improves the scene as a whole and gathers together fellow bands and musicians. There’s a mixture of different scenes within the towns as well so it’s nice to have different tastes and genres bouncing around, although it tends to float more towards indie rock music.

You have as you mentioned just released debut EP We Are Recruits. How was the experience of recording and releasing your first offering to the broadest attention?

The experience was exciting, it’s the first time any of us went to a professional studio to record music we had written and seeing our music transform into radio-worthy songs in front of us was great. It was a stressful time though, it was a very long process and we had a huge gap without releasing anything so we felt pressured to get it out as soon as we could. We felt confident in our efforts and thought the EP would go down well; we had the occasional doubts but thankfully a lot of people seem to really like it!

Are the emotions and excitement releasing your first record the same as playing live or it is a different kind of thrill and maybe anxiety?

Of course it is different. The first record represents a certain time-lapse of a band, it’s the first impression. When all the effort has been put into it and it is out, then it is out for good, out for anyone to say anything about it. If you mess things up it could come back to haunt you in the future. However it is an exciting and a new experience – anything could happen! Playing live brings you more adrenaline and a sudden feeling of anxiety that quickly wears off. You know you could make a mistake, but it’ll be forgotten about by the end of the night, you just focus on enjoying the moment.

How does the songwriting process within the band work generally?recruits cover_RingMaster Review

It differs from song to song. It can start off as an acoustic chord progression, a riff, lyrics…however it starts though, we all chip in our own bits and help each other to fine tune our parts!

Do you have any specific hopes for it or is it more a wait and see what happens adventure?

Obviously we hope the band goes somewhere, and we can do this for a living one day, but hoping for something in particular might lead to disappointment. You never know what will happen, we all have our own goals within the band, and while we push to achieve them we’re happy just doing what we do, having fun and seeing where it takes us next!

What is next for Recruits now the EP is stirring up attention?

Well we’ve played our share our shows and done a little tour for the EP. After signing to DMF Digital recently, we’re going to draw the curtain a little while we focus on rebranding and then releasing more new music! We have recently joined From The Depths PR in America, so while this is going on they will be helping us to continue to push the current EP.

Once again thanks for talking with us, anything you would like to end with?

Thanks for having us! Please drop us a like on our Facebook page. You can Stream our EP for free in Spotify, YouTube and Soundcloud!

The We Are Recruits EP is available now @

Pete RingMaster

The RingMaster Review 17/07/2015

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Strings Of Atlas – In A Better World EP

Atlas and his Nova_RingMaster Review

Strings Of Atlas is a “psychedelic urban punk band”, a labelling which presumably comes from either the band or someone pushing them and their new encounter, In A Better World EP. It is a tag which sort of fits and does not, but one label that does is simply that the El Paso bred Strings Of Atlas is one mighty fine rock ‘n’ roll incitement. The band’s sixth studio and latest offering is our introduction to the duo of singer/songwriter Atlas Cage (vocals, guitar, bass, drums) and former Archetyped bassist Ed C., and the first feeling, after being gripped by strong enjoyment, is that we have been missing out. Consisting of five tracks which whip up attention and appetite with increasing success, the EP is a thumping treat of an encounter. Not one to re-invent the boundaries of rock music but certainly one to give it a new tasty prod.

Since forming, Strings of Atlas has opened for such artists as Nick McGalis and Guitar Slim, whilst their music has graced a trio of short films and the soundtrack of the movie, The Edison Bomb. As mentioned and according to the press release for the EP, In A Better World is release number six from the band and for us potentially the one to awaken a new broad spotlight upon their stirring sound.

Strings Of Atlas - In A Better World Album Cover_RingMaster Review     The EP opens with Burning Days and a spicy web of grooves aligned to punchy beats. It is a strongly alluring start which hits another level once the striking tones of Cage join the affair. His voice reminds of Dicky Barrett from The Mighty Mighty Bosstones, and once it unites with the already potent sounds brewing up in the song, a nice whiff of Rocket From the Crypt emerges. It is an essence which only gets stronger within subsequent songs on the EP. His guitar play is just as magnetic too, riffs and hooks laying down nothing particularly spectacular yet everything comes with a craft and instinct to it which is virulently infectious. The song continues to get feet and imagination involved before making way for its equally potent successor.

The second song is the EP’s title track, and like the first it grabs instant focus, this time with a sultry blues toned coaxing complete with soulful melodies and vocal persuasion. The song’s steady and enticing stroll continues to smoulder and sizzle, and though it does not have the imposing snap of its predecessor, the track is one lingering slice of fiery enterprise.

As strong as its first two tracks are though, In A Better World kicks up another gear from The Way You Don’t Love on. The third proposal is an incendiary slab of garage and melodic rock, that RFTC whisper entwining with a great sixties spicing springing thoughts of bands like The Kinks and The Who to mind. Loaded with an additional snarl and a breed of punkish attitude which can only give an extra spark to any rock ‘n’ roll stomp, the song perfectly hits the spot, though as it outshines the previous song it is in turn eclipsed by the following Odyssey. The feisty stomp is glorious, a cauldron of rebellious riffs and rhythms wrapped in a gripping mesh of guitar and bass tenacity, each casting contagious hooks and a predacious air. Again vocally Cage has full attention, stirring things up as potently as the sounds around him with the result one outstanding rock roar.

The release is concluded by A Light In The Dark, a rousing and tantalising seduction of psych rock and melodic punk, again predominantly recalling The Mighty Mighty Bosstones and Rocket From the Crypt whilst sculpting its own distinct and irresistible romp of anthemic rock ‘n’ roll.

Co-Produced by Charles Godfrey, In A Better World sets the wheels in motion for a far keener and expansion spotlight on the band. Strings Of Atlas have certainly now caught and chained our attention and it is hard to imagine us being a lone new recruit to this potential drenched and thoroughly enjoyable band.

The In A Better World EP is available now on Amazon and iTunes or @

RingMaster 17/07/2015

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Animosity Kills – Manipulative

Animosity Kills Gen pub photo_RingMaster Review

The name is Animosity Kills and if the Norwegian band can realise the open potential rifling through their debut EP Manipulative, it could be a moniker you will become very aware of. The four track rumble of metal wears its influences firmly on its sleeve, inspirations from the likes of Metallica, Iron Maiden, Pantera, and Testament clear and familiar attributes, but that does not stop the introduction to the Askøy quintet being charged with fresh and tenaciously modern enterprise. It is a thoroughly enjoyable encounter making a potent nudge on ears and awareness.

Animosity Kills began in the October of 2013 and consists of rhythm guitarists Stephan Høgtun and Rupert Notøy Rødland alongside lead guitarist Mats Bruland, as well as vocalist/bassist Erik Lindelid and drummer Sindre Høgtun Gjelsvik. There is little more we can reveal about them except that on good authority they are one mighty beast live, a suggestion easy to go with going by the energy and intensity of the songs within Manipulative.

Animosity Kills Manipulative Album Cover_RingMaster Review   The EP opens up with Thermic Vision which is immediately badgering ears with a horde of rugged riffs and a wonderful carnivorously dark tone from Lindelid’s bass. With the crisp swipes of Høgtun Gjelsvik’s sticks on skin adding to the already volatile mix, the track is soon into a predatory stride bred from thrash seeds. Swiftly a busyness to the sound and songwriting of the band grabs ears, the creative web as clear as the spices sparking their sound, Pantera and Metallica the obvious references to the imposing and compelling opener. The track continues to prowl and roam over the senses, never exploding as it hints it might and thoughts hoped it would but still providing a captivating and combative persuasion sparking a keen appetite for what is on offer and yet to come.

To come is first of all Lord Of Darkness, it also tall and muscular with fiery guitars and thumping rhythms ridden by the strong vocals of Lindelid. As its predecessor, the song also keeps things turning and twisting with creative regularity, the trio of guitars creating a weave of individual and united resourcefulness which just licks at ears as the rhythmic side of the band tempers their adventure with a bordering on bestial contrast and threat. It is an accomplished and richly satisfying proposal but quickly outshone by the following Ballistic. Even with its firm tempting of riffs lined with slim hooks there is a new air of variety, and so it continues as the song expands into an enthralling stomp of rich contagion equipped with a virulent swagger. There is a touch of Volbeat and Grumpynators to it, the same kind of swinging infectiousness they are known for fuelling the addictive power of the chorus and the rousing riffs leading into it especially. With blistering melodic craft and endeavour pouring from Bruland’s guitar across the similarly gripping adventure sprung by Høgtun and Høgtun Gjelsvik, the track is a show stopper, or should that be inciter.

Manipulate concludes with its title track, a song riding thrash cultured torrents of compelling riffery and pummelling rhythms, including another hypnotic bass snarl, and twisting them into a blaze of instinctive heavy/classic metal. It has the old school air you might imagine but the fire of the track flames with touches of alternative and groove metal as well as simply a bruising and healthy dose of raw rock ‘n’ roll.

It is a fine end to an impressive first taste of Animosity Kills, a band with the promise and tools, not forgetting invention, to forge their own distinct and rich place in the metal scene sometime ahead.

The Manipulative EP is out now @

RingMaster 17/07/2015

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RazorRape – Orgy In Guts

Bandphoto Studiocrew_RingMaster Review

Sure to split as many opinions as it will ear drums, the new album from Swedish metallers RazorRape is one riveting horror show of visceral intensity and sonic pestilence rapped in carnivorous grooves and a vocal delivery bred from the fiercest wildlife. A fusion of death metal and gore grind further loaded with a creative devilry best described as an aural equivalent of a Hieronymus Bosch painting, Orgy In Guts sees the Malmö duo of drummer/vocalist Martin Schönherr and guitarist David Mauritzon dripping blood, sex, and mayhem from every savaging masquerading as songs. It quite possibly is the band’s finest moment; certainly it is their most compelling, starting immediately with the outstanding Illustrious / Robert Zimmermann created cover wrapping its torturous landscape.

From opener Bonesaw Facefuck, band and album descend on ears and psyche with brakes locked off, the track unleashing a violent tirade of rabid riffs and corrosive rhythms. It is soon breeding increasingly enticing if senses searing grooves whilst vocally Schönherr spills his guts, though as hinted in the song and more inventively across the whole of the album, there is a rich and powerfully pleasing diversity to his delivery which at times even outshines the musical variety on show. Lyrically who knows, words all come out as a pestilential torrent of texture and sound. We cannot even say if it comes in Swedish, English, or Mongolian but we can testify it, as the ravenous sounds, just gets under the skin to spark ears and imagination.

The impressive start continues through both A Beast of Human Waste and Holy Gory Glory Hole, the first a predator from its first breath and growl. Staggered swings and riffs merge to share the assault with all out ferociousness across an ever developing scenery, the track inventively mixing up the carnal savaging before its successor thrusts the listener into a sense stripping, flesh devouring, sonic wind-tunnel. It too is unafraid to fling a tangy groove into the tempest as well as jumble up its gait and fury to fine effect.

RazorRape - OrgyInGuts COVER_RingMaster Review     As with numerous similar genre offerings, there is a surface similarity which often cloaks the individual character of some songs but as incitements like Spinal Cord Impalement and Vomit Drenched In Mucus reveal, let the ravishments consume, and at times numb, whilst delving deeper into the slamming turbulences only leads to the discovery of generally unique identities. Both tracks offer such proposals, they as next up Choking On Feces and indeed the album’s title track, sharing many traits within their unbridled riff driven hostility but equally uncage plenty of twists vocally and musically to set each aside of another.

To be honest at this point RazorRape have got the job done in drawing plaudits and appetite but they only dig deeper, the previously mentioned song Orgy In Guts an offal strewn bloodbath of sound raising the ante before Black Flood Of Body Fluids swings its thick bones and pus spewing animosity in a rancorous swagger complete with sonic and acidic corruption. As great as they are both have to submit to the glory of the outstanding Bitch Butcher Boogie, a song best described as Cajun grind. Throwing itself on to ears with a rockabilly groove aligned to country bred melodic flames which further erupt within its nefarious shuffle, the track provides two minutes of dirty, insidious, and mercilessly addictive primal depravity.

     It is a pinnacle few tracks can match though the likes of the breath-taking, energy eroding Grinding The Dead and the just as hellacious but even more merciless and crushing Rampage In Red give it a more than fair try whilst Rot In Excrement crawls over the remains with its scourge of sonic malevolence and cancerous devilment.

Lady Gagball comes equipped with sonically toxic but contagious grooves which wind around a leering wall of rhythms and riffs. There is great bedlam to the song, especially with the unpredictable and psychotically varied delivery of vocals, which helps provide another major moment upon Orgy In Guts before Hey Whore, Let’s Gore storms over and chews up the barricades with its addictive violation of body and soul.

The album closes with Tennis Racket God, the only track which does not quite work for these ears, RazorRape offering a classic metal spawned finale with relatively clean vocals and melodic tempting. It is a fair enough offering which is easy to go with but within its first half minute a longing for the return of the sonic bloodletting and swinish/ throat blistering squeals and growls were steering reactions.

Nevertheless it cannot derail a thoroughly punishing and enjoyable trespass on the senses from RazorRape, Orgy In Guts providing grind in any shape it comes something to get down and relentlessly boogie with.

Orgy In Guts is out now via Rotten Roll Rex @

RingMaster 17/07/2015

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Presents For Sally – Wishawaytoday

presents-for-sally-wishawaytoday-artwork-_RingMaster Review

Whatever the weather outside it is hard not to feel just a touch summery whilst embraced in Wishawaytoday, the new single from UK indie band Presents For Sally. The song is a lively hug of nineties indie pop and warm shoegaze ambience, united in an energetic and dynamic stroll which simultaneously provides a flirtatious romance for ears and imagination.

The two track release is the teaser for the trio’s forthcoming new album Colours & Changes, both via Saint Marie Records. Presents For Sally have been no strangers to acclaim and attention since forming in the late nineties, a host of singles and debut album A Touch of Joy, A Touch Of Sadness luring in fans and media alike. Sound wise Matt, Anna, and Phil have created a kaleidoscope like feel to their music, every twist of a song rearranging similar essences into new captivating designs and as you may rightly assume, Wishawaytoday and its companion Hits Like Kisses are no different.

Wishawaytoday swiftly saunters along with melodic and sonic flames tempered by a lovely dark and brooding bass tone. Once the vocals join the persuasion, things mellow a touch whilst still retaining and exploring a compelling fusion of light and dark. The heart and flow of the song is feisty though, the track, as it simmers boldly and smoulders tenaciously with melodic heat, a commandingly catchy incitement melding together whispers of bands like House of Love, My Bloody Valentine, and We Ghosts.

It alone wakes up an intrigued and keen anticipation of the upcoming full-length which the following Hits Like Kisses reinforces with its own individual theatre of sound. It opens with a lullaby like caress of melodies and harmonies which together create a celestial hug rich in radiance and emotive reflection. Around it though, a tempestuous air slowly brews; its own body intensifying with every passing second before erupting in a seemingly volatile but mercilessly enthralling wind of thick enticement, ridden by the still mesmeric and harmonious vocals and driven by crackling rhythms and fuzzy energy.

The first song is the eye candy and the second the drama of the single, and together the two mouth-watering encounters weave an inescapable tempting for Presents For Sally’s next rich endeavour.

Wishawaytoday is available now via Saint Marie Records digitally and as a 7” single @ and

RingMaster 17/07/2015

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