This Burning City – Blinded

TBC_RingMaster Review

With the release of their storming single Ignorance last year, we settled down to chat with its creators This Burning City to learn more about the band and their attention grabbing sound. At that time the Canadian alternative hardcore quintet were working on their debut EP, declaring that its “sound is going to be huge.” Recently the Blinded EP was unleashed and fair to say the band was not misguided in their prediction. The five track fury is a gripping roar of hardcore lock ‘n’ loaded with an array of punk and metal essences entwined with scorching melodic enterprise. The promise drenching their previous single is potently realised in the release yet at the same time it only opens up new waves of potential to be excited and hungry for ahead.

From the small town of Gananoque in Ontario, This Burning City formed in 2012, school friends coming together to make some noise. A few line-up changes was followed by a honing of the band’s direction and sound, first single Consummation in the September of 2013 the result. With inspirations including Ritual, Dead And Divine, Stray From The Path, The Chariot, Prophets, and The Color Morale adding sparks to the band’s quickly persuasive sound, second single Ignorance last November, awoke stronger and broader attention, and indeed strong anticipation in a great many for the band’s first EP, and as a rousing and volatile tempest of craft and sound, Blinded more than lives up to expectations.

This Burning City - Blinded_RingMaster Reviewcover  Wasted Time opens up the encounter, prowling riffs enticing ears first before the band, led by the impassioned vocal squall of Steven Harnden, creatively gangs up on the senses. Already the soon to be confirmed variety of the frontman’s delivery shows its strength, as too the band’s sound which perpetually evolves with elements of groove metal, post hardcore, and metalcore adding to an enflamed punk ferocity within the song. It is a tastily intrusive stomp which flows straight into the even more uncompromising predation of Feed The Machine. Featuring fellow Ontarian artist Todd Barriage of Borland Studio, who also mixed and mastered the EP, the track explores a Rage Against The Machine like stalking of air and listener. With the heady beats of Jarrett Montgomery courted by the bestial lures of Nick Deslandes’s bass, the song is as exhaustive as it is fiercely contagious, bellowing and inciting with unrelenting efficiency and addictiveness whilst seemingly confident in the knowledge it will get people to their feet with fists clenched.

A spiral web of guitar enterprise from Mitchell Ferguson and Jacob Harnden quickly entangles ears as In Your Head steps forward next. In no time the song is an addictive rhythmic and energetic shuffle carrying an unshakeable infection within its mercilessly bruising overall tempest of intensity and sound. The carnivorous encounter is sonic rabidity superbly sculpted and coaxed into greater antagonism by the skills of the band yet at times as catchy as any slice of rock ‘n’ roll around today, with the continuing to impress depth of Steven’s vocals the extra spice.

Track by track Blinded just gets heavier and more uncomfortably enjoyable, The Victim the next creative furor to stir up the emotions and appetite. Once more within raw hostility and great unpredictable imagination, weaves of melodic calm and seducing emerge, making full use of their moment in the storm before stepping back into the metalcore raging equally thrilling ears.

The EP is brought to a vicious close by State Of The World, another track, without pulling punches, lyrically and musically taking an individual look at a theme lured within the landscape of politics, world events, people, and injustices. Without being the most unique song on the release, it hauls thoughts and emotions into an impassioned heart and sonic turbulence with striking prowess to potently complete a thoroughly impressive release.

Last single Ignorance certainly whetted the appetite for This Burning City; sparking keen intrigue and excitement for their next move. That step is Blinded, a release that roars that this is a band ready to step into richer and broader spotlights with the hard to argue suggestion of bigger and bolder things still to come.

The Blinded EP is out now as a name your price download @ http://thisburningcity.bandcamp.com/

https://twitter.com/tbcbandofficial     https://www.facebook.com/ThisBurningCity

Check out our interview with This Burning City @ https://ringmasterreviewintroduces.wordpress.com/2014/11/14/roaring-flames-introducing-this-burning-city/

Pete RingMaster 21/10/2105

Copyright RingMaster: MyFreeCopyright

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

The Pacers – Losing Touch

Pacers_RingMaster Review

Merging sixties garage rock and psychedelic inspirations into their own inbred punk seeded invention, UK rockers The Pacers make a rather potent introduction to themselves with their debut single Losing Touch. It is a tantalising slice of suggestiveness which shimmers in melodic colour and sonic temptation like an aural kaleidoscope. Their name feels like it is a friend before a note is heard, something familiar now backed up and pushed deeper into the psyche through the captivating Losing Touch.

The Pacers Cover_RingMaster Review     The Pacers was formed in the late summer of 2013 by vocalist/guitarist Alexander Friedl and lead guitarist Harry Stam, the pair meeting initially under “mysterious circumstances”. Uniting their shared interest in all things sixties, the duo began writing songs, subsequently enlisting bassist Jay Creswell and soon after drummer Jamie Yuan to the band. The quartet soon set about getting their sound and claws into the London live scene, playing venues primarily in north and east London and building up a quickly fevered and loyal following. Now a national appetite is about to be stoked with the release of the band’s first single, an encounter sure to catch the imagination of fans of The Stooges and The Stones amongst many more.

Losing Touch opens on a glorious eastern seducing cast by Stam, darker hues soon aligning to its fiery spicing on the senses. It is a bewitching start which becomes more eventful and resourceful as the expressive vocals of Friedl add engagingly dour textures to the quickly mesmeric and fascinating adventure. The more solemn lures of bass and beats similarly bring subtle but contrasting colour to the sonic tendrils perpetually climbing over ears and imagination with psych elegance and mystique. There is no doubting that the song enthrals from start to finish or that it relentlessly coaxes the listener into eager involvement.

In contrast to its more reserved seducing, accompanying track I’m Down is working away on feet and energy from its first breath; scythes of fuzzy guitar quickly courting the rolling rhythms of Yuan and moodier bait of Creswell’s bass. The instantaneous infectiousness of the song swiftly colludes with the rawer tone and air also enticing within its contagion, again The Pacers skilfully merging distinct flavours and tenacious endeavour in an increasingly persuasive tempting.

As relevant to modern rock ‘n’ roll as its sixties seeds, Losing Touch is a vibrant and magnetic first look at The Pacers and with a swift perusal at other songs on their Soundcloud account, the first of many we suspect.

Losing Touch is released October 22nd with a release show @ The Hawley Arms, Camden, London the same night.

https://www.facebook.com/ThePacersBand https://twitter.com/thepacersband

Pete RingMaster 21/10/2015

Copyright RingMaster: MyFreeCopyright

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

Primal – Deathzone

deathzone-_RingMaster Review

Having been won over by the third album Prophetae from Polish black metal project Primal, the sending over of the band’s first full-length Deathzone just meant we had to take a swift look. Unsurprisingly the album compared to the later release is less defined in its savage yet alluring soundscapes with a more caustic rawness fuelling the ravenous atmospheres and pestilential enterprise uncaged, yet the intrusive imagination and stark confrontational tempestuousness which equally made Prophetae stand out, are already a strongly brewing temptation within Deathzone.

Formed in 2008, Primal is the solo project of Warsaw musician/songwriter PrimalOne. Before the 2011 release of Deathzone he had released a couple of demos in the shape of Ominous Deity and a self-titled EP, both in 2010, and been part of Chapel of Fear, a split release with Iugulatus and Deep Desolation a year later. Post the debut album, 2012 saw the release of two albums in Prorok and Obłęd as well as the Duch EP with another EP called Matka Noc coming out, along with Prophetae, the following year; latest album Muzyka żałobna getting its release in 2014.

Deathzone opens with the magnetic and haunting entrance of Angel’s Hatred, its sinister coaxing soon a boiling cauldron of vocal enmity and sonic tempestuousness driven by barbarous rhythms. As has become expected in a Primal release, unpredictability enjoyably afflicts the attack and invention of the song, a strength just as ripe on this first full-length as in later encounters. Predatory and tantalising, the track is a stirring start to Deathzone with its blackened infestation of varied metal bred flavours, and matched in creative kind by the savage and nagging trespass on the senses of Wrath of the God. The guttural insidious texture of PrimalOne’s vocals is perpetual spite, inflaming and tempering the searing ebb and flow of sonic enterprise and melodic toxicity as guitars virtually stalk the imagination with dark ravenous rhythms in tow.

Across the album some striking guitar solos are offered by guest Markiz, the second track at times a cauldron of his craft as too moments within the bestial air and body of the album’s title track. At times the coherency of the blazing exploits of Markiz with the cavernous and tenebrific sound and heart of the song are less than polished, but constantly the combination is accomplished and gripping throughout the whole of Deathzone, song and album.

A flirtation of an instrumental allows a taking of breath before Book of Revelation crawls menacingly and intriguingly into the imagination. Its steely tendrils and winy sonic endeavour is a riveting spicing and lead into to the track’s immersive and addictively inhospitable maelstrom, a successful ravishment in many ways breeding the following demonic smog posing as The Prophecy, an incitement of torment beleaguered wails around a satanic narrator, which in turn makes way for Liars and its compelling dark hearted canter of ruinous intent crafted into virulent predation fuelled rock ‘n’ roll.

Completed by the raw, almost apocalyptic landscape and turbulence of Son of the Morning, a song which gets harsher and more vicious with each passing of its nine minutes, and more riveting, Deathzone is a powerful encounter which now viewed retrospectively reveals many of the ingredients and strengths which made Prophetae, our introduction to Primal, a thoroughly enjoyable and stirring release. Deathzone is also an album which grows with each listen to stand on its own as a worthy proposal for closer attention.

Deathzone is available now via The End Of Time Records as a name your price download @ http://primalband.bandcamp.com/album/deathzone

Pete RingMaster 21/10/2015

Copyright RingMaster: MyFreeCopyright

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

Postcards From Jeff – Modern Language

Postcards from Jeff _RingMaster Review

Modern Language is the name of the new single and album from UK artist Postcards from Jeff, and both propositions which capture the imagination in a mix of dusty Americana, alternative rock intimacy, and dreamily emotive atmospheres with cinematic landscapes. Killing two birds with one stone, we are taking a look at the ten-track full-length, a serenade of reflective charm and melancholic isolation which takes the listener into the heart of relatively undisturbed scenery as calm and rich in beauty as it is loneliness.

Postcards From Jeff is rural Yorkshire hailing, Manchester based Joss Worthington, the band a project living and breathing between the artist’s work in the studio producing for other artists. Last year Worthington released Postcards From Jeff’s self-titled debut EP, it and the pair of award winning filmmaker Steve Glashier directed videos it spawned, sparking potent attention towards the band. With the single Suburban Girl already successfully making its mark on 2015, and another trio of videos, again with Glashier at the helm, to accompany the album, Modern Language brings a fresh and alluring escapism for ears, imagination, and most likely the artist himself from the mundane of every day.

Postcards from Jeff - Modern Language _RingMaster Reviewart   That previous single opens up the album, Suburban Girl quickly engaging ears and appetite with its caress of eighties bred melodies and keys honed tempting. Soon joined by the plainer but no less persuasive vocal tones of Worthington, the song wraps around and tenderly engulfs ears and attention with its warm catchiness and emotive substance. Guest drums appear courtesy of Chris Smith, his rapier like beats an organic prompt within the flowing charm of the song where not for the last time on the album, musically the song invites thoughts of bands like China Crisis and The Bluebells whilst the songwriting and rich layer of hooks and melodies within the track have an Ian Broudie like feel, essences which only add to the captivation of song and release.

The following Japanese Man O’ War is similarly infectious and gently energetic, additional vocals from Clare Stagg adding to the provocative warmth soaking the rhythmic drama crafted by Smith. Worthington’s keys provide an emotive narrative which is a worldly as it is personal within a song simultaneously projecting out of the way life and cosmopolitan business in the imagination before making way for the fuzz dreamscape of A House. With electronic beats almost primal in their organic presence, the track is a sonic soundtrack to a sepia clad outlook with tantalising glides through shimmering radiance triggered by provocative keys. More of a smoulder initially compared to its predecessors, ears and thoughts are nevertheless firmly and eagerly involved.

The country scent of Tired Wings brings a clearer, less fuzzy ambience with it which accentuates the tang of the guitar and the inviting rumbles of rhythms. Stagg also returns to kiss the senses with her reserved yet siren-esque harmonies, the combination a glow within the romancing, very slightly Smiths like, body of the song. It is a masterful tempting swiftly backed by the same potency of Goddess Of The Sun, its enterprise as resourceful and adventurous as its voice is sublimely persuasive.

New single Modern Language comes next spreading an oriental/worldly flirtation from its first touch on ears. Keys again conjure a hug of multi-cultural reflection whilst the Mike Doughty like texture of Worthington’s vocals provide a great grounding to the melodic flight leading the imagination and emotions into bold and insular adventures. The song is spellbinding, simply a fascinating and infectious doorway into the craft and world of Postcards From Jeff.

Both Samaritans and Wide Eyed Wonder keep satisfaction rich, the first with its enthralling Lightning Seeds like melody fuelled ambience around punchy rhythms and spicy hooks and its successor through a more of a low key but no less hook stocked tempting. The second of the two misses the spark of the first but is still only pleasing and the same can be said of Lay Low, a croon which gets under the skin emotionally and atmospherically but fails to whip up personal tastes in the same way as those before it.

Modern Language comes to a close with Awake, a pulsating dance of crystalline keys and shadowy rhythms infesting feet and ears with relaxed zeal against the contrast of the plainer dustier delivery of Worthington’s vocals. There is also an undefined familiarity to the track which adds to the pleasure and brings the album to a potent conclusion.

Postcards From Jeff creates songs which manage to be as visual for the imagination as they are vibrant for the ears, the band name itself the perfect representative to the emotional travelogue of the songwriting and indeed Modern Language.

Modern Language is released on October 23rd.

https://www.facebook.com/postcardsfromjeff    https://twitter.com/postcardsfromj   http://www.postcardsfromjeff.com/

Pete Ringmaster 21/0/2015

Copyright RingMaster: MyFreeCopyright

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

Jealous Michael – Burning Gold

Jealous Michael band pic_RingMaster Review

Not sure if Jealous Michael are quite the talk of the town yet but the British melodic rock quartet has certainly begun causing a bit of a stir through their potent live presence and releases like new single Burning Gold. Taken from the band’s five-track self-titled EP released earlier this year, the song is a rousing weave of warm harmonies and evocative melodies within an enticing bluesy atmosphere. It also carries a catchiness to it which swiftly has hips and vocal chords involved whilst whipping up a certain appetite for the band adventures hereon in.

With half its line-up Brighton bred and the other hailing from Winchester, Jealous Michael has earned a potent reputation through a host of live performances which have included playing Concorde 2 in Brighton and the main stage at Bug Jam Festival, both as the main support, and being HMV Store’s feature act as part of their nationwide ‘Digital Week’ campaign. Previous singles My Fire and Everblue and their aforementioned first EP have also lured a rich following and acclaim for the band’s blend of catchy pop-rock melodies and haunting boy-girl harmonies. Burning Gold is of course no exception and another song sure to entice a healthy number of new recruits to their warmly infectious strain of rock ‘n’ roll.

The single opens with a dangling lure of guitar, its sonic tang and emerging blues character spun by George Stewart, who almost as quickly also unveils equally strong vocals. These are accompanied by the mesmeric tones of Letty O, theirs a thickly tempting and creative union backed by the composed and engagingly imposing rhythms of drummer Simon Young and bassist Bex Flecknor. It is probably fair to say that the vocals and especially the sway and allure of the harmonies steal the show, yet equally, it is the darker hues of bass and crisp swipes of sticks on skin which gives them the platform to dance and smoulder to fine effect whilst providing great earthiness to the track’s canvas.

As instant as it is on ears, Burning Gold is also a slow burner which just gets stronger and more tantalising with every listen. The result is a highly appetiser way to discover Jealous Michael and a reason for existing fans to wax lyrical over the band again.

Burning Gold is out now.

https://www.facebook.com/JealousMichael https://twitter.com/jealousmichael http://www.jealousmichael.com/

Pete RingMaster 21/10/2105

Copyright RingMaster: MyFreeCopyright

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