Forty Four Hours – Only Just Holding On EP

Pic ashley_bird_

Pic ashley_bird_

Word of mouth has suggested there is a buzz brewing around a particular emerging talent from the city of Manchester; a suggestion backed up by the band’s UK tour last year, and now we can say that all good things heard about Forty Four Hours are true and more. Our evidence comes in the band’s debut EP, Only Just Holding On, a four track adventure of alternative rock ‘n’ pop that grips ears and imagination from so many angles that you need a map to pinpoint them all.

Formed in the February of 2014, Forty Four Hours consists of twin brothers Joe (vocals/keys/bass) and Alex Holden (vocals/guitar) alongside Alix Foden (drums). The band’s first single Earl Gray awoke numerous sets of ears and appetites for the band’s distinctive sound, a success matched by a quickly enthused over live presence incorporating that aforementioned tour around the UK amongst numerous more shows culminating in joining Funeral For A Friend on the Doc Marten’s #standforsomething tour. Last year saw the band, alongside continuing their hunger to play live, set about recording their debut EP; a release described by Joe recently as “a radical left turn from the bands earlier material. If anything, this record is quite a bit darker, it expresses a lot of stuff we’ve needed to say for the past year: writing it has been really cathartic. We’ve tried not to make you cry though. We really got to experiment with this record, so expect the unexpected.

44 Hours - JHO Artwork_RingMaster ReviewMusically it is hard to say the EP is a particularly dark proposition, its lively and busy enterprise an adventurous smile on the ears but certainly lyrically the band is unafraid to delve into emotive shadows. It opens up with Hold Out, a song quickly setting out the EP’s stall in sound, tone, and imagination. As suggested, the Forty Four Hours proposal is openly distinctive, something boldly away from the crowd though imagine Mallory Knox and The Police getting down and intense and you get a clue to the virulently contagious roar of their EP and sound. The opener makes its first touch with drama lined and slightly moody keys crossed by spicy guitar, their potent union continuing as the quickly gripping tones of Joe, backed as potently by the voice of Alex, capture the imagination with the song’s narrative. In no time the track has engulfed attention with its rich temptation of guitar and vocals alongside shadowy textures cast by bass and beats, it all laced with magnetic hooks and wrapped in an irresistible catchiness.

The following Difficult is of a similar breed but swiftly showing unique character with punchy beats aligned to funk bred guitar and bass enterprise. Soon throbbing with its thick contagion loaded swagger, the song also embraces more of the dark drama of its predecessor though it is cleverly tempered by sparkling keys and the increasingly magnetic vocal enterprise bred within the band. Like its predecessor, it has body and emotions exhausted such the involvement lured but Pressure & Sleep soon allows a breath to be taken with its mellower romancing of the senses. The third song is just as keen to weave bolder energy and tenacious creative deeds into its swinging shuffle though, resulting in another infectious seduction if with a modicum of reserve to its compelling presence.

The Time And The Place completes the line-up of Only Just Holding On; it another feisty romp as devilish for the dance-floor as a single set of speakers with Forty Four Hours only confirming their ability to write and sculpt songs that warmly demand attention and incite eager involvement from all before them. As the EP, everything about the song hits the sweet spot; all the time suggesting we have something special within our ears from a band with the potential to soon be a well-spoken name in the clutches of acclaim.

The self-released Only Just Holding On EP is available from January 22nd @ https://fortyfourhours.bandcamp.com/

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Pete Ringmaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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Like Animals – Feral EP

Photo Credit: Travis Tiernay

Photo Credit: Travis Tiernay

Taking our introduction to Canadian trio Like Animals through new EP Feral, it did not take long for their sound to show it matched up to the release’s title; each of its five tracks an untamed slice of noisy revelry and warped imagination and all leaving the licking of lips and a taste for more.

Hailing from Orillia in Ontario, the trio of guitarist/lead vocalist Jamie Haffenden, drummer/backing vocalist Will Tennant, and bassist/backing vocalist Myke Caouette create what is declared in regard to the EP as deviant melodic math metal. Equally though, it has paws in progressive technical metal, noise rock, and hardcore ferocity we would suggest, all flavours amongst others spicing up the increasingly impressing Feral. Following previous EPs from Sweet Whispers, Plagued Ears to The Undertoad and The Wild, the latest encounter is another animal themed exploit challenging and unsettling the senses and gripping the imagination with its unbroken raw spirit and fierce exploration.

EP Cover - Like Animals - Feral_RingMaster ReviewThe EP opens with its title track and initially a low key, melancholically toned guitar coaxing which is quickly joined by Haffenden’s voice. A few moments more and Tennant and Caouette bring a bulkier incitement with their rhythms, each carrying raucous intent to their catchy nature; William English meets At The Drive-In coming to mind through it all. Subsequent jazz lined weaves of guitar and moody bass shuffles only divert the creative adventure to new thrilling detours though they never meander too far from the driving compelling core of the encounter.

Perpetually unpredictable and magnetic, the track is a gripping start to proceedings instantly backed by the Fall of Troy meets Red Hot Chili Peppers like discordance of The Lions Share. Everything from vocals to sonic tempting has an off-kilter edge and mania to it yet things never lose structure or captivation even as hardcore ferocity succumbs to advent-grade devilry, and in turn it to a punk fuelled uproar. Again expectations are left lifeless as the track continues to creatively twist and turn like a dervish before Lounge Lizard relaxes things with its unconventional balladry and skittish canvas of ear bait and invention. Every Time I Die in league with early Postcard Records era bands like Orange Juice or Josef K comes to mind at times, not for clear reasons the latter pair but close enough to suggest the ingenuity at play as the song seduces at times whilst on its way to a more volatile and explosively dynamic trespass of ears and passions.

The indie punk/technical rock discord juiced eccentricity of Caterwaul ignites ears and appetite next, bordering on frenzied reactions admittedly whipped up by its tempestuous landscape of bullish ideation and exhausting noise aligned to seductive asides and mellow trespasses. As creatively busy as it is though, The Jungle Book of Love provides an even more feverish incitement whilst bringing the heated confusion and clamorous beauty of its namesake to bear on ears and thoughts. Dipping into spices of Mars Volta and The Dillinger Escape Plan, the track is a tapestry of wilding craft and sonic, maybe slightly deranged, adventure.

That description easily applies to Like Animals as a creative force too, a thought cemented as Feral for the umpteenth time sets our passions boiling whilst words are written.

The Feral EP is released January 22nd @ http://likeanimals1.bandcamp.com

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Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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

Guardian – Revolution

Guardan Promo Shot_RingMaster Review

There is a fresh tempest about to savage the British metal scene; a bracing consumption of the senses going by the name of Revolution. It is the title of the debut album from Guardian, a Northumberland quartet which had already shown its creative intent with their earlier Tyrants EP. A long time in the making, the new twelve fury encounter is a ferocious blend of varied metal provocations driven by themes “centring on the balance of life and nature, and an emphasis on the unsustainable damage that humans are inflicting on our planet”, and a wake-up call to national attention for the great invasive roar of Guardian.

The band made their first impact with the aforementioned Tyrants EP mid-2014, inspirations from the likes of Pantera, Machine Head, Whitechapel, and Parkway Drive adding to the varied metal bred textures making up the release’s sound and even more so now, Revolution. Well-received by fans and media alike, the EP was supported by Guardian going on a month long European tour followed by a just as busy series of shows around the UK. Thoughts then turned to the band’s first album, Guardian taking their time to write and create the beast before us and proving suggestions that they are one of Britain’s exciting new breed of extreme incitement.

The short introductory climate of Resolution starts things off, its sombre yet elegant melodies the lining to an emerging portentous air as the instrumental leads ears and imagination into the volatile and combative landscape of the album’s title track. Instantly Revolution is an intimidating threat of wiry grooves and biting riffs against barbarous rhythms, the raw antagonism driven by the throat grazing vocal scowling of Matthew Hall and lit by grooved spicing from guitarist Zac Yates. It is a magnetic challenging of ears and emotions; one sculpted with open enterprise and unpredictable imagination within a ravishing cauldron bred from essences to be found in many flavours from death and thrash metal to hardcore and metalcore.

Guardian Cover Artwork_RingMaster ReviewApart from the fade-out, the track is an immense beginning backed as forcibly by the mazy dynamics and brutal tirades of Politics. Ears are instantly pushed back by its intensity as the predacious nature of the song brews, building until erupting in a hellacious outpouring loaded with the violent rhythms of drummer Joshua Stephen matched in vitriol by the bestial tones of Cory Young’s bass. Yates again veins the storm with toxic but virulent grooves and hooks, their potency successfully riding the crushing breakdowns, as here, breaching the whole of the album.

Innovate devours the senses next, its instant cantankerous character the spark to the song’s savagery in sound and vocal animosity. Inhospitable but again rabidly catchy, the blistering track inflames the appetite for voracious trespasses before the rapaciously energetic prowl of Capitalism matches its triumph. Rock ‘n’ roll to beat up on the world to; the song is an incendiary slab of heavy-duty metal vehemence leaving body and emotions with a want to take on the world.

Through the fearsome heavy metal seeded enmity of Deliverance and the outstanding hardcore toned Catharsis, band and album keep an already hungry appetite greedier, both tracks a sonic web of inventive twists and murderous inclinations before Propaganda provides a rousing if corrosive weave of winding groove honed tendrils to inflame the cancerous tapestry of sound. In some ways the three together provide the pinnacle of the album, each leading and seeming to inspire the following to new creative antipathies before the ‘mellower’ landscape of Hope hugs the senses. Its touch sears the sense from the off and of course it too unveils barbarous sounds and imagination over time, but from start to finish it enthrals with a ‘lighter’ atmosphere and infectiousness absent elsewhere within Revolution.

Nomadic leads the listener through a meandering landscape coated in raw melodic and electric sonic endeavour next, its rhythms building another bad blooded dispute as Hall’s vocals infest the psyche as supporting band roars incite the instincts. It is a crushingly invigorating proposition setting up body and emotions for the back breaking intensity of Ambivalence and finally the ravenous sonic dexterity and rhythmic rabidity of Restoration. The pair creates an intrusively dramatic and explosively volatile finale to Revolution, at the same time giving glimpse of even richer veins of exploration within the Guardian sound.

Revolution is a thoroughly satisfying and enjoyably exhausting release from a band easy to see making strong waves ahead. It is an encounter which might not live up to its name in regard to stirring up the metal scene, moments of surface similarity between some tracks and a familiar feeling to others noticeable if no issue, but for relentless seriously accomplished and stylish metal fury, Revolution is set to wake up thick attention.

Revolution will be available from 22nd January through all stores and platforms.

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Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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Devilstrip – Rise

Devilstrip Promo Shot_RingMaster Review

This month sees Rise, the debut album from US rockers Devilstrip get its UK release and show what those over the pond and especially in Akron, Ohio know, that the trio is one thickly enjoyable hard rock roar. The ten track encounter offers an infectious and rousing proposal rich in heavy grooves and melodic tenacity upon robust rhythms; the result being rock ‘n’ roll to get eagerly close up and personal with.

Formed in the closing weeks of 2012, Devilstrip consists of lead vocalist/guitarist Marc Wasmund, bassist/vocalist Graig Lindgren, and drummer/vocalist Jimmy Gray. Drawing in inspirations from the likes of Black Stone Cherry, Live, and Foo Fighters, the threesome soon set about penning tracks built on the intent to “create something original, yet accessible”. Debut single Go lit ears first, its well-received release also the touch paper to the band’s hunger to play live, an appetite seeing them share stages with bands such as Europe, Buckcherry, Jared Weeks, Girl on Fire, Saving Abel, and L.A. Guns amongst many over time. Fair to say, Rise only reinforced the band’s emergence in the US underground scene, drawing plaudits from critics, media, and fans alike. That success is surely to be expected in the UK moving into Europe now as the Devilstrip sound makes its invitation through Rise.

Not What You Need is the first slice of bait from the album, its initial low key and atmospheric sonic coaxing a deceptive lead into the swiftly fiery and boisterous heart of the song. Riffs and rhythms are soon a choppy lure over which the potent tones of Wasmund entice as agreeably as the slim grooves and melodic tempting also exposed. It is easy to see where that Black Stone Cherry spicing comes into the band’s music in the opener alone, though it is not an overpowering essence in the broader heavy rock character of the song.

Devilstrip Cover Artwork_RingMaster ReviewIt is a thoroughly enjoyable start but quickly outshone and played by Go. From the off, flirtatious grooves and melodic charm holds ears as country rock meets grungy hard rock flavours colour the track and imagination. In no time hips twist as eagerly as those grooves and feet dance as tenaciously as rhythms, Wasmund the vocal ringleader to it all in the increasingly varied proposition. More irritable and antagonistic as it goes, the track has ears hungry for more which Including Me more than feeds with its outstanding revelry. For all the references offered as hints to the band’s sound, this track is like Terrorvision at their inventive best; a tone and spicing which does the song no harm at all. Across Rise, there are many familiar scents and essences of bands and supposed influences yet, as here, they only add to the nature and infectious weight of the album.

Both the swinging temptress that is Are You Ready and the punkish Kill The Headlights keep album and ears in thick unity, the first an insatiable flirtation of grooves and anthemic theatre whilst the second stomps and swaggers around one delicious throaty bassline. Its punk n’ roll flavoured canter come prowl is a lively affair with the right mix of devilment and intimidation to have feet leaping and emotions cornered in preparation for the resourceful confrontation of To The Enemy. A great steely bassline opens things up, its irresistible bait soon joined by sonic flames and stabbing beats before all three collude in a predatory courting of ears. Things relax a smidgeon as the vocals reflect the song’s lyrical heart but always there is a volatile atmosphere to sound and voice sparking feistier evocative eruptions of emotion and energy.

The crunchy presence and emotive reflection of Ugly comes next, its pleasing if slightly unadventurous offering allowing no lessening of attention, as neither does Light Up The Room straight after. Again there is a punk hue to the air of the subsequent power ballad spiced encounter, more essences showing the flavoursome and varied songwriting of the band before Love, Hate, Die backs all thoughts with its potent croon and melody soaked intensity. Like its predecessor and indeed the following She Said, there are plenty of aggressive turns within scenery draped in melodic charm and prone to angst fuelled roars, and as the other pair, plenty to be captivated by. With She Said enjoying a great tempestuous climate, the trio conclude Rise in fine style, though for personal tastes, the album is at its loftiest in the first half dozen tracks where they seem to have much more character to their imagination and devilry.

Nevertheless Rise is a gripping slab of hard rock from a band we can only hope to hear and see more of this side of the Atlantic from hereon in.

Rise is released in the UK on January 22nd Through All Stores.

http://www.devilstriprocks.com   https://www.facebook.com/Devilstripband   https://twitter.com/devilstriprocks

Pete RingMaster 22/01/2916

Copyright RingMaster: MyFreeCopyright

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

Delayed Departure – Consequences

Delayed Departure_RingMaster Review

Consequences is a release which teases and flirts with ears and thoughts, all the time laying down potent bait until you find yourself humming hooks when alone and increasingly wanting to share news of its vibrant presence. The EP is the new encounter from UK melodic/alternative rock band Delayed Departure, and a collection of highly flavoursome songs which may not be about to turn the British rock scene on its head but will certainly offer it a fresh and tasty proposition to get teeth into.

Hailing from Hampshire towns, Delayed Departure was formed in 2013 by old school friends and guitarists Charlie Bluck and Jamie Hooks. Its line-up quickly doubled with the addition of vocalist Mike Harland and drummer Steven Kedge, growing by another before the year’s end with bassist Ollie Drapper. With particular fondness for the likes of You Me At Six, Paramore, and Don Broco, the quintet spent 2014 working on their sound and honing their live craft across a host of shows throughout the South of the UK. Now national awareness is being targeted by Consequences, with success easy to expect.

Delayed Departure Cover_RingMaster ReviewThe EP opens with the brief melodic suggestiveness of Opus, its sonic touch a resonating shimmer aligned to a just as pulsating bass throb. It is a reserved proposal but one building in intensity and drama for a roaring climax, led by the voice of Harland, which drifts off into the waiting adventure of Ocean. Guitars and bass immediately collude to create a weave of fiery enticement courted by thick melancholic shadows, their enterprising union speared by the swinging beats of Kedge and hugged by the already impressing tones of Harland. It is a strong and engaging big step into the heart of the EP with things only blossoming to new and gripping heights song by song.

Let’s Catch Fire is the first sign of that trait, its initial spicy groove immediately lighting ears and appetite before band vocal roars and rousing rhythms spearhead the robustly infectious stroll and character of the song. Hooks are laid as imaginatively as harmonies, the wiry tendrils of melodic flirtation as catchy as its anthemic rhythms as the track whips up listener involvement with its heavy rock ‘n’ roll enticement.

A calmer invitation follows with Captive; poetic melodies caressing the magnetic delivery of Harland as Drapper’s bass lurks with darker intent in the surrounding emotive shadows. Here alone, it is easy to see why bands such as Deaf Havana and Don Broco are given as hints to the Delayed Departure sound but personal thoughts are also nudged towards Able Archer and for less obvious reasons eighties band The Sound by the excellent encounter.

The underlying volatility of the latter part of the song is a bolder tempting within Synopsis next, the track almost stalking ears with its rapacious rhythms as vocals and guitars cast a hazily thick and forcibly provocative tapestry of craft and sonic suggestiveness. Tenacious twists, so often sparked by the dexterity of Drapper and Kedge, again litter a song which avoids expectations whilst making an adventurous but easily accessible and contagious proposal.

The same quality and skill applies to closing song Choices, the pinnacle of the release with its rousing crescendos and tempestuously fascinating landscape of sound and resourceful exploits. As strong and impacting as the EP is throughout, the closer is a step above all before, taking feet and bodies in hand with its boisterously infectious exploits as potently as it tantalises ears and thoughts with its evocative calms and emotive reflections. There is a brewing ferocity to the track too which ensures a powerful departure of song and EP leads to the quick return of ears.

Consequences makes for an impressive introduction to Delayed Departure with thick enjoyment for ears. As the band grows and their sound explores its own unique character, the five-piece can only get bolder and stronger too, that another pleasing thought coming out of one fine encounter.

The Consequences EP will be available through all stores and platforms from Friday 22nd January.

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Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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

Reapers Riddle – The End Is Nigh

RR_RingMaster Review

If you are ever looking for some highly enjoyable and fiery rock ‘n’ roll with the muscle to snap bone, than Australian rockers Reapers Riddle is always a potent port of call. Previous EPs and singles have persistently proved the fact but fair to say the Perth band has simply outdone anything which came before with debut album The End Is Nigh. The twelve track adventure sees the band push their fusion of metal and heavy rock to new imaginative and bold heights; each encounter within its apocalyptic walls a singular protagonist within an overall emprise that forcibly grips ears and imagination alike.

Emerging in 2009, Reapers Riddle quickly whipped up attention with the release of a self-titled demo that same year. It was the A Touch Of Death EP two years later which opened up broader interest and appetites outside of their local scene though, the internationally acclaimed release stirring up the underground across the globe with just as wide radio play. The following period saw line-up changes and shows with the likes of The Getaway Plan and Misfits before the single Drop, and its video, revealed the bold growth and invention which had brewed in the band’s sound over the same period. Second EP Game Over only confirmed and pushed the band’s growing stature as well as an imagination which The End Is Nigh now reaps.

From the portentous Intro and its alluring dawning of the end, the album initially seduces ears with melodic tempting and melancholic ambience as Disintegrate brews up its subsequent roar. As much a statement on today as the first chapter in the album’s darkly prophetic theme, the track is soon swinging across the senses with ravenous riffs and robust rhythms with the recognisable and potent growling tones of vocalist Clayton Mitchell expressively colouring the emerging landscape. Guitars, led by the sonic prowess of Kristen Sanfead, burn the air as they flame with heavy metal and melodic rock enterprise, searing across the rugged rhythms prowling ears in turn.

Cover_RingMaster ReviewIt is a powerful beginning to The End Is Nigh matched by War on Indulgence and surpassed by the album’s title track. The first of the two rumbles and grumbles from the off, the bass of Jason Edwards a grouchy predation against the sinew swung beats of Andrew Burt with guitars again bringing a creative and inventive fire to scorch the hefty prowl of the song. With vocal diversity adding to the bestial weight and tone of the encounter, the track is a well-crafted mix of contrasts quickly over shadowed by its successor and its groove spun creative theatre. Vocals flirt and excite ears early on, again imaginative variety adding to the enticing spice of guitar and arousing bait of rhythms. At times the album is like a ‘rock opera’ with, as in this magnetic treat, the narrative’s drama as much as anything leading the inventiveness on show.

Rise of the Macchina slowly comes to life next, its compelling air and body rising to its steeled feet in predatory manner as an industrial air smothers monotony lined rhythms and their automated suggestiveness. With Mitchell again mixing up his delivery impressively, the incitement blends predacious roams with vociferous roars, the resulting a track which again leaves body and emotions hungry for more.

A shuffle of tenacious rock ‘n’ roll provides the heart of Welcome to the Wasteland, the stomp a celebration in the barren climax of all with riffs and rhythms rabid inciters wrapped in sonic revelry. A party at the end of the world, the exhilarating arousal makes way for the bluesy toxicity of Write of Passage. Swaggering in, clothed in tangy tendrils of guitar and carrying a devilish vaunt to its attitude and voice, the song is like the carnival barker at the end of days; the doorman to hellacious landscapes welcoming and intimidating in equal measure.

Those suggested hostile outcomes emerge as Valley of the Damned next, a thumping cascade of ravenous rhythms and gnarly riffs descending with merciless appetite upon ears, each clutching and clawing at the senses. Mitchell’s voice along with spicy sonic endeavour tempers the carnal heart of the track, merging with its antagonistic energy to spawn another invigorating rock ‘n’ roll anthem before the sobering croon of Last Breath envelops the imagination. A reflectively provocative smoulder of imposing shadows and melancholic angst, the song is a tantalising affair just as potent bursting into emotion fuelled cries becoming more captivating and irresistible with every listen.

Hollow is a heavy metal romp which at times lacks the punch of its companions but in other moments has body and voice fully involved in its brawly fun. Think Misfits sings Black Sabbath with an eager smile and the song will thickly please before it is forgotten in the might of Dying Breed, and alone the rhythmic enticement of Burt. Turning out to be as primal a predator as anything on the album, the track swings and roars as it enslaves, taking the listener on a boisterous canter lined with easy to devour hooks bred from unpredictable imagination; simply Reapers Riddle at their dynamic best.

Every album should have a song which puts the cat amongst the pigeons of expectations and closer Tnaryt Esir is just that. A theatrical exploration in its own right, the song opens with soaring classically honed female vocals which are soon replaced with darker gothic tones as rhythms engagingly skip along. Featuring Darkyra Black and Sophia Marie, the thirteen minute offering entwines rapacious heavy rock and a varied mix of metal to match the mix of tyrannical and engagingly enticing vocal delivery on offer. It challenges and fascinates, and though an undulating success in personal tastes at times across its unconventional soundscape it only breeds a want to explore deeper which in turn only leads to thicker pleasure found.

Reapers Riddle is ready to make a global impression with The End Is Nigh and show all just how good they are.

The End Is Nigh is available now through most online stores and @ http://reapersriddle.bigcartel.com/products

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Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

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

The Amputees – The Hitchhiker’s Guide To The Amputees

band photo_RingMaster Review

It has been just over two years since US garage punks The Amputees stirred up strong attention for themselves with the Scream EP, its body and success building on the similarly appealing beginnings founded in its predecessor Commence The Slaughter a year earlier. Always a busy live proposition, now the seven strong collective of musicians return from the studio with The Hitchhiker’s Guide To The Amputees, a four track roar proving their promise drenched sound has now come of age.

To be fair, the new 7” EP is also rich in further potential too, it more the beginning of a new chapter of exploration than a final destination in sound. From day one, The Amputees have never been predictable, in the style of songs, the direction an EP might go, or the line-up at shows but always the septet makes a potent and stirring impact and The Hitchhiker’s Guide To The Amputees is no different; in fact it is the band’s finest moment to date.

front cover_RingMaster ReviewFormed in 2011 by vocalist/guitarist Louis Ramos, the band consists of Gary Young (guitar), Kaleen Reading (drums/guitar), Carrie Ramos (tambourine/vocals), Geena Spigarelli (bassist/vocals), Soledad Alvarado (bass), and Nova Luz (vocals/guitar/bass); musicians uniting in New York City from various US states. Inspirations range from The Beatles and Fleetwood Mac to The Sex Pistols, The Velvet Underground and Black Sabbath to Nirvana amongst many; influences which no doubt go some way to the diversity of the band‘s sound and songs over their trio of EPs.

The new encounter opens with Al Hammer, the song hugging ears with a controlled but dirty guitar before launching into a fiercely rousing slice of punk ‘n’ roll. Louis Ramos immediately stirs things up vocally as riffs and rhythms unite in a combative yet infectious stroll whilst hooks come with a mischievous tempting. In no time a thick anthemic quality entices and grip ears and appetite, infesting its potency into the vocals too as fiery grooves and sonic enterprise add their tenacity to the inescapable contagion driven by confrontational rhythms.

The song is superb, alone sure to wake up broader spotlights upon the band, though the following Dogrose will pull its fair share of keen appetites too. A boisterous riff steps forward first with a lure which is almost Rocky like in its challenge and invitation, though the biggest bait is the female vocals which lay tempting tones across the emerging song almost as instantly. We cannot say which of the ladies provides the lead, but her tones only seduce as the song bristles and rumbles in something akin to Breeders meets The Passions with a touch of The Raincoats to it.

Ego dives straight in next, riffs and beats inspiring a feisty stomp as vocals and guitars spread their raucous attitude and tangy resourcefulness respectively. A minute and a half of punk ferocity, the song as its predecessors, also uncages the keenest hooks and spiciest melodic twists to grab attention and ignite the passions before Dogmother grumbles into view to bring the EP to a cantankerous close. Grouchy and compelling, band and song merges grunge and garage punk to infest body and psyche with a proposal which swiftly has you heading back to the play button once it departs.

As suggested The Hitchhiker’s Guide To The Amputees is the band’s finest moment so far, and clearly so, such its step forward from those previously impressive encounters. The Amputees should be stirring up crowds and ears far from home and after their new EP escapes that might just begin to happen.

The Hitchhiker’s Guide To The Amputees is released on February 13th on Money Fire Records.

http://www.theamputees.org   https://www.facebook.com/theamputees

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

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