Deepshade – Everything Popular Is Wrong

Deepshade Promo Colour Picture_RingMaster Review

Copyright Ashley Hardman Photography

Highly anticipated by many and set to excite a whole new crowd of hungry appetites for the band’s sound, UK band Deepshade release debut album Everything Popular Is Wrong. It is a masterful and magnetic fusion of alternative and psych rock with grungy tendencies and thick streams of imagination across ten exciting slices of sonic fascination. Imagine The Doors meets Queens Of The Stone Age with the occasional rich tonic of anarchic energy from Eighties Matchbox B-Line Disaster or Engerica, and you get a whiff of the magnificence lying in wait within Everything Popular Is Wrong.

Wigan bred Deepshade was formed in 2013 by vocalist/guitarist David Rybka, bassist Tom Doherty, and drummer Paul Barlow. Little time passed before the trio enticed a potent and loyal local following and began being featured on the likes of BBC Introducing and numerous shows and alternative radio stations within Britain, Europe, and the USA; The Guardian newspaper announcing Deepshade around the same time one of the ‘Hot Top Ten Unsigned British Bands To Check Out’. Their presence and reputation continues to grow and now with the band recently signing with Ambicon Music Group, the national release of Everything Popular Is Wrong allows the country and beyond to hear why.

Deepshade Cover Artwork_RingMaster ReviewRecorded with producer John Kettle (Merry Hell, Moko, Tansads) and mastered by Fran Ashcroft (Spin Jupiter Spin, Gorillaz), Everything Popular is Wrong opens with the tantalising shuffle of Time and an immediate lure of spicy grooves and just as vibrant riffs and rhythms. Seventies spice colludes with nineties fuzziness straight away, whilst an underlying snarl carries an alternative/punk snarl to echo the description given a few lines earlier. The string invention of Rybka matches his vocal prowess whilst the dark lines of Doherty and firm swings of Barlow cast hefty shadows and a driving energy to devour swiftly.

It is a great start but soon put in the shade a touch by its successor and increasingly so by the following pair of songs. The Line is next up and quickly leaps into a bluesy revelry with again irresistible tangy grooves and thumping beats courted by a growling bassline. Feet and hips are soon taken for a feisty ride by the track, its bracing energy as lively and infectious as the fiery nuances toning every subsequent melody and sonic temptation.

Out Of Hand steps up next to raise the bar again, its slower warm stroll hypnotically coaxing sonically entwined ears, subsequently leading them into a web of virulent hooks and melodic incitement. Again there is a raw air and scuzzy hue to it all which only adds to the addictive drama and the gripping tension which seems to breed within the track as it explores its invention and the imagination. As outstanding as it is, Tattoo shows it a clean pair of heels. Released as a free download earlier this year and understandably being part of the reason why so many were hungry for Everything Popular Is Wrong, the song prowls with a flirty if predatory gait and an open creative devilry similar to The Dropper’s Neck, slipping into fierce and fiery expulsions of noisy enticement from time to time too. Quite simply the track is like a lap dance for ears, swinging slim rhythmic hips wrapped in sonic curves with temperatures rising accordingly.

A southern breeze joins the melodic caress of the following Haven’t Said A Word, it a Kyuss like tempting which feeds the dirtily textured crescendos of intensity and emotions which erupt throughout the mesmeric and increasingly evolving croon whilst Bring The Axe Down straight after, twists a rockabilly like riff into a virulent seduction equipped with off-kilter imaginations of sound and theatre. The song is sensational, something akin to Josh Homme and Guy McKnight redesigning Powersolo and ridiculously more addictive with every listen; stealing the show each and every time.

Lowlights arguably carries the thickest grunge hues within the album in its creative body, its Alice in Chains/ QOTSA serenade a rousing proposal often as bruising as it is melancholically reflective whereas The Mud, The Blood, and The Tears (written as The Blood, The Mud, and The Tears on the album cover so take your pick) casts an enthralling bewitchment drawing on essences of Jim Morrison and co, The Walker Brothers, and Pearl Jam, and turning them into something unique and spellbinding to Deepshade.

The final two songs upon Everything Popular Is Wrong ensure the album continues to excite from a great height; Chairman first to spring a gentle yet agitated swing within sultry melodies across atmospheric skies as vocal harmonies captivate and the bass of Tom Doherty devilishly entices against the masterful skittish adventure of Barlow’s swings. Sad Sun has the pleasure of closing up the release and does so in riveting style. It brings all the nastier, scuzzy qualities of the band’s sound out in appealing style but equally the richness of its charmed melodies and smouldering ambiences, all qualities of every song on the release. Here though they all seem to be given full rein to vent or seduce but within a tapestry of craft and invention which ensures it unites perfectly to perpetually beguile and thrill.

Without doubt Everything Popular Is Wrong is one of our favourite incitements of 2015 and hard to imagine it will not be yours too. There is of course only one way to know, so we suggest you go get some Deepshade down you.

Everything Popular Is Wrong is available digitally and on CD from September 25th via Ambicon Records through most online stores.

Pete RingMaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Sexwolf! – Hangin’ With The Boys

Sexwolf_RingMaster Review

It has been digitally devouring the senses for a few months now but in the breath it takes one month to roll into another, Hangin’ With The Boys gets to physically violate the world. A fierce infestation of punk fuelled rock ‘n’ roll, the EP is the debut release from noise merchants Sexwolf!, an English quartet which has become recognised as one of the wildest and greedily devoured hardcore confrontations on the Birmingham, indeed Midlands rock scene. Going by Hangin’ With The Boys they are one of the most exciting too, a treat lovers of feeling something substantial in their hand which bites, i.e. a CD, will go wobbly over.

With inspirations from the likes of Every Time I Die, Cancer Bats, Black Sabbath, and Refused sparking their sound and sharing stages with bands such as He Is Legend, The Bastard Sons, Black Shapes, Black Art, and Heck (Baby Godzilla) amongst a great many more, under their belts, Sexwolf! go straight for the jugular with Hangin’ With The Boys and its opener, the band’s forthcoming single None Stop Body Rock.

cover_RingMaster Review   Guitars and drums respectively send a torrent and barrage of their finest ferocity down on the senses straight away, their bait leading the listener into a tempest of vocal antagonism and infection dripping grooves from within an already more hostile onslaught driven by the vicious beats of drummer Jenk. No quarter is given as the track continues to abuse and batter yet the guitar of Joe Lane conjures virulent sonic enterprise to temper his carnivorous riffs and those of bassist Dan Mogg, whilst together the band breed a contagiousness which is especially virulent in the rousing and ravenous chorus helmed by the raw squalls of vocalist Richard Phillips. As much as you might say the song and the band’s sound is living off essences heard often before, they become twisted and cultured in the ways of Sexwolf! to emerge with a fresh and fiery character of their own.

Evidence is swift as She Got Gold leaps from its waiting seat and tears a raucous hole in air and psyche. As it abrases the senses it simultaneously spins an addictive tapestry of noise rock hooks and impossibly catchy grooves matched by the diversity of the vocal attack. Like Shevils meets Gacy’s Threads with a splattering of Every Time I Die for good measure, the track is a glorious trespass of body and soul, a protagonist to a lustful appetite for more of band and sound. Guitars are bluesy, vocals unpredictable, and the rhythms, well they just beat an enslavement out of you with force and violent charm.

Nomesayin resourcefully uses its few gasps over a minute to unleash an hellacious bestial swamp of violent punk ‘n’ roll that just breed pleasure whilst Captain Bastard Face seems to have the scent of blood in its nostrils the way it explodes from the blocks and ravishes air and listener. It does have the invention to also share waspish grooves and hostile repetition across its sonic predation, an enterprise which seems to only increase the potency of its maliciousness and the emerging bolshie but mischievous swagger.

The final thrilling skirmish between band and ears comes courtesy of Fuklashnikov, a minute and a half of twang infested rancor and raging belligerence, and another tsunami of noise that just hits the spot. If hardcore in its full savagery is not for you then run, run away now but for the rest of us with a taste for spiteful invention and devilry, Hangin’ With The Boys is a must, especially now in its physical glory.

Hangin’ With The Boys is available on CD from October 31st and digitally now at the Sexwolf! Bandcamp.

Pete RingMaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Koshiro – Crown Of Venom

Koshiro Promo Picture_RingMaster Review

Starting off well and just getting creatively bigger and bolder over its six tempestuous tracks, the Crown Of Venom EP from metalcore quintet Koshiro, pretty much reflects the emergence of the British band. Making a good and potent impression with the first release, the band has continued to grow into a formidable proposition on the underground metal scene. Whether their new EP is enough to push them into the thicker glare of the broader metal scene time will tell, as it still suggests there is plenty more from the band to come in greater originality and ingenuity, but it will forcibly remind that the Bristol fury is around and getting stronger and more sonically vocal.

Formed in 2010, Koshiro quickly drew attention and loyal local support with their fierce yet melodically fiery sound. Their self-titled EP of 2012 and a handful of singles around and since it have nudged wider attention with plaudits increasing in turn, whilst live the band’s reputation has similarly only grown, shows with the likes of Feed the Rhino, TRC, Lower Than Atlantis, The Safety Fire, Blessthefall, Malefice, I, The Breather, and LIFERUINER part of their emergence over the years. Crown Of Venom though, is a new big step for the band; in songwriting and imagination it easily outshines all before and musically reveals the band as mentioned earlier, bigger, bolder, and creatively busier. In the words of vocalist Ben Errington, “These new songs are both the most chaotic and the most heartfelt we’ve ever put together. There are tracks on this record that I never thought we’d be capable of; we really wanted these songs to capture our live sound perfectly but take it to the next level, really expand upon our grand ideas which have progressed from our past singles ‘Malevolent’ and ‘Guts Guilt Greed”.

Koshiro Cover Artwork_RingMaster Review     The EP was recorded with long-time collaborator Kevin Peters and opens with the thickly atmospheric, slightly portentous air of Green and Gold. Strings seep elegance and melancholy in equal measure whilst the ever strong tones of Errington share the emotive heart of the track as haunting keys cup his expressive voice with cinematic resonance. It is a potent coaxing into the release and the following King Of Snakes, if a start which does not light any particular fires outside of intrigue despite the prowess of all. Its successor quickly provides a bigger temptation, its initial breath Tricore like with again Errington providing rich bait as around him the guitars of Ben Bone and Thomas Clark begin sculpting a provocative and spiky weave of riffs, grooves, and sonic confrontation. The expected storm does not materialise despite ire and aggression lining all aspects, with the swiping beats of Craig Rudman especially intimidating and again the song does not hold the spark to get the blood raging through veins but with inventive enterprise and fine fluidity to its subtle and bigger twists of gait and ferocity, the song keeps ears and appetite easily on side, especially with its rousing anthemic calls, before being eclipsed by Necromancer.

As suggested, the EP improves and gets more fascinating with each subsequent track, and so as the first pair pleased, Necromancer stirs the senses like a landslide. From a dying heartbeat, the song erupts in barbarous rhythms and crushing riffs but amongst them a delicious scythe of violin ignites air and imagination, its wonderful touch just the first of ingenious hues and ideation within the carnivorous beast posing as a song. It would be hard to say it brings major originality but remembering others mixing up recognisable flavours as cleverly and tenaciously as Koshiro do is hard. The track continues to snarl and brawl with creative zeal but equally aligns the hostility with a striking melodic and vocal croon. In a way Crown Of Venom and indeed Koshiro seem to come of age at this point, a maturity continuing to impress hereon in.

Sleeper Cell steps up next with a rhythmic shuffle from Rudman which resonates through bone as it bewitches with infectiousness whilst bassist Rich Miller lures the darkest predacious tone from his strings as the guitars cast a tapestry of rancor and sonic romance. The ever riveting strings continue to spark adventure too whilst vocally Errington is as compelling, whether with raw squalls or clean persuasion, as the volatile furnace of sound and the musically driven bellow of emotion. The track is a climatic storm of temptation, and as its predecessor also ripe with the shoots of real originality which are definitely blooming within the band’s sound now, Creation Theory swift confirmation as between two vocal samples, which sound like they are voiced by Michael Caine, it sculpts a hellacious emprise of sound as physically carnal as it is evocatively suggestive. Like a war cry in many ways, the track has body and thoughts enflamed and ready to unleash their emotive strengths, a powerful success from a gladiatorial merger of devouring intensity and incendiary invention.

It is the pinnacle of the release, only relenting in its animosity as it departs for closing track Catharsis to begin spreading its melodic warmth with a slightly mercurial and antagonistic underbelly. It was up against it to match the previous trio of songs but still leaves the EP on a high whilst relishing the chance to reveal more of the depth and new diversity in the band’s sound and composing.

Actually there is one more offering upon Crown Of Venom, the bonus of a cover of Sia’s Chandelier. Though Koshiro easily improve the song it does nothing for the EP and quickly found itself ignored in our numerous listens of one increasingly impressive and enjoyable release.

Koshiro are again proving themselves to have the potential to make a big impact on the UK and European metal frontline, even more so this time around. They are probably still a couple of rungs short but with more progress as shown here, watch out world here they come.

The Crown Of Venom is available from September 25th through all stores.

Pete Ringmaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Kolo – Do You Want To Rule The World

Kolo_RingMaster Review

It is hard to tell if Do You Want To Rule The World, the debut album from UK rockers Kolo, is getting its first outing this September as kind of implied by its press release or came out earlier this year and is now getting a national reboot come Sept 25th. What we can tell you though is if you have yet to get a taste of Kolo’s vibrant pop rock sound, the album is very deserving of a hefty moment of your time. It might not blow you away, though it could easily do that too, but as we found, band and album only provide a perpetual lure to return and party in its infectious melodic revelry.

The band emerged in 2006 when Exeter bred vocalist/guitarist Jon Burnell, equipped with a wad of songs inspired by “all the tramps and slightly weird people who come into the record shop” , moved to London and subsequently linked up with Spanish born bassist Dani Mourinho and Croydon drummer Steve Fuller. 200 or so shows down the line, the band found itself invited to support 3 Doors Down, this notable moment in their emergence followed by the band performing at a host of O2’s around the UK and the recording of their first EP. Recorded with producer Sean Genockey at the legendary Rockfield Studios in Wales, and mixed by Kirk Kelsey, it was a well-received introduction selling over 4000 copies and whilst providing a further spark to the band playing in the US and chances to share stages with the likes of Scouting for Girls, Mr Hudson, The Rifles, and Infadels.

In March 2014 the band flew to Nashville to record Do You Want To Rule The World with 3 Doors Down guitarist Chris Henderson who had personally invited Kolo to record their album at his own studio. Seemingly released worldwide via LHM Records this past May, we are assuming September’s outing is another additional and welcome nudge on the world’s attention, a persuasion for more take notice of what really is one thoroughly enjoyable and increasingly compelling encounter with the almost exhaustingly energetic and creatively lively Kolo.

cover_RingMaster Review     Their album opens with the previously successful single Castro, its gentle emergence offering no hint to the anthemic roar to follow. With muscular beats and a meaty bassline joining early harmonies and melodically climbing guitar, the song slips into a controlled but feisty stroll which is never afraid to spring a flurry of fiery energy and catchy hookery the way of ears. It is a great invitation into the heart of Do You Want To Rule The World and quickly backed by the sturdier but no less infectious Be Someone. Again Mourinho provides a bass temptation to get hungry for whilst guitars and beats collude to cast a boisterous enticement catching ears as potently as the alluring tones of Burnell. The song is a kind of mix between Foo Fighters and Sick Puppies without sounding overly like either and the perfect set up to the stirring air and magnetic textures of Andrea which comes next.

The song is another melody driven warm tempest of enterprise for which the word rousing fits perfectly whilst its successor Mr Bigshot recruits ears and feet with a smiling swagger which you would swear came from an ELO seeding. With more bounce and swing than a bungee rope, the song leaps around inciting the same in others whilst entangling their vocal chords in its rich virulence of pop and rock at its united best. It is not particularly demanding or ground-breaking but all irresistible, heart-warming temptation.

Rule The World courts the alternative rock emotion of a 3 Days Grace in its pungent and energetic croon lit by the rolling bait uncaged by Fuller at choice moments whereas the outstanding Break Your Face dangles spicy slithers of grooving from its Stereophonics meets Fall Out Boy creative theatre to become more captivating and impressive with every passing minute. Both tracks hit the spot for body and soul, a success also pretty much found by High Heels and its harmonic mellowness over more of the rhythmic energy and prowess which as much as anything stands out across the album as a whole.

Variety is another strong feature to the songs within Do You Want To Rule The World, and maybe no more openly than through King Of The Street People which from opening with an enticing merger of voice and emotive strings twists into a breath-taking, urgency fuelled saunter sure to set dance-floors on fire and coax appetites into pure greed. It is pure pop and instinctive rock ‘n’ roll with a classical air and hungry rock breath, the provocative lure of strings a perfect companion to the grouchy voice of the bass and the contagion of the song an exhilarating soundtrack to the creative drama thrilling the imagination. As Break Your Face, the song is Kolo at its musically ingenious best and if there is anything to say ‘against’ the album, it is that the band does not take this boldness enough into other tracks.

The haunting start to Earthquake is a mesmeric lead for thoughts and the following adventure of changeable energies and similarly mercurial melodies and textures, its success making way for the pop infection that is closing track Dreams, another fiery serenade of vocals and guitars with a rhythmic skeleton equipped to be as tender as it is dramatic. The pair provides an enjoyable end to an album which maybe is not ground-breaking in any major way but reveals more as it only improves with age.

Kolo is a band to make you feel good and make your body move in ways you thought forgotten. Their songs are rock pop to lick your lips over but be warned once they infest there is no shaking them off… thankfully.

Do You Want To Rule The World is out now via LHM Records through most online stores.

Pete RingMaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Eujenics – Meniscus

David Gunton Photography

David Gunton Photography

Making their introduction with a roaring bang, UK alternative rock band Eujenics have just released their debut single Meniscus, a track potent enough to alone suggest there is something rather tasty emerging from within the musical heart of Sunderland.

There is not a great deal we can reveal about Eujenics this time around but it is hard to imagine that they will not be offering more heavily flavoursome propositions ahead through which we can eagerly explore them more. Right now we know they are a quintet which formed this past March and made their live debut at The Academy in Newcastle to, by all accounts, a rapturous crowd. Fair to say they have stirred up a strong and loyal following already and now, with their first EP scheduled for February next year alongside a full UK tour, Eujenics is setting about laying the seeds for national awareness of their thickly enticing sound with Meniscus.

A great opening snarl of guitar with spicy grooving attached is quickly met by a just as tasty and gnarly bass proposal. It is magnetic stuff which continues as the song settle into its controlled but fiery stroll led by the swiftly enticing vocals of Nic Wood. Guitarists Chris Hanna and David Oswin continue to offer antagonistic riffs against heavily alluring grooves, the latter seeming to inspire a swagger in the confrontational attitude of the rhythms uncaged by bassist David Scott and drummer Chris Hall.

Every turn seems to bring a new line of imagination with each more fascinating and gripping than the last, culminating in a passage which is dominated by the predatory bass and the dark spoken tones of Wood. It is a moment which just puts the icing on the thrilling cake. Across the track this kind of invention and impassioned energy does spark thoughts of bands like Manic Street Preachers and Mind Museum but they are whispers in something already emerging as distinct to an attention grabbing band and song.

We reckon checking out Eujenics is a done deal for you all, though when you get a first bite this good the wait for the next nibble can seem a lifetime so be warned.

Meniscus is out now as a free download.

Pete RingMaster 24/09/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Mr Darklight – Into The Fury

Original DL_RingMaster Review

If the name Mr Darklight is familiar it is likely because you have already discovered his part in the electronic pop infection that is Masters of the Radio. Now the electronic musician/producer has unveiled his debut solo track in the shape of the captivating adventure of temptation, Into The Fury. It is a strange title as the piece of music never suggests turbulence ahead or within its heart, so possibly it is one moment in a larger journey, but what it does supply is a warm flight of imagination for ears and feet to feast on whilst casting cinematic suggestiveness for thoughts to run with.

Inspired by the likes of Daft Punk, Devo, Fatboy Slim, Gary Numan, Giorgio Moroder, Jean Michel Jarre, John Williams, Kavinsky, and Mike Oldfield as well as going by the nature of Into The Fury film scores, Mr Darklight quickly fills ears with the emotive tones of the piano. Its poetic breath and touch is the seed to a gentle but purposeful stroll through an instrumental landscape ripe with melodic essences of OMD and Depeche Mode. Thoughts are soon whisked into a magnetic flight by synths as they spread their broad ambience around the continually enticing evocative hues of the piano.

In a way the piece is like a travelogue of internal reflection or external air bound adventure, all depending which way the imagination goes with the track’s electronic clues as the guide with each listen. It is an absorbing and thoroughly enjoyable first meeting with the solo Mr Darklight, and hopefully the beginning of many such outings ahead.

Into The Fury is free to stream now.

Pete Ringmaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/