Eujenics – Humanism EP

Eujenics_RingMaster Review

Two singles last year alerted ears to the creative prowess and imagination feeding adventure of UK alternative rockers Eujenics, songs which laid the seeds to eager attention upon the newly formed Sunderland band. Now together with a pair of new offerings they form debut EP Humanism, a powerful confirmation of the potential in those early tracks further charged with a greater fire of sound and impassioned intensity.

Formed in 2015, Eujenics quickly made an impact last September with debut single Meniscus, a mark quickly reinforced by its successor Kalashnikov two months later and a potent live presence which has seen them already share stages with the likes of Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire. From Humanism alone it is easy to sense and suspect that 2016 is going to be a big year for the striking band, a time of big steps and rewards and an increase in expectations upon them such the impressive broad introduction to the band for a great many more by their EP.

art_RingMaster ReviewLooking at those two aforementioned singles alone within Humanism, it provides a powerful and rousing proposal to get the teeth into. Meniscus immediately entwines ears in a strand of sonic temptation with guitarist Chris Hanna’s bait a spicy coaxing on its own but becoming even more powerful once aligned to the gnarly tone of David Scott’s bass and the rapier like swipes of drummer Adam Hay. The early grooves only seem to escalate in enticement and alluring drama as the climate of the song becomes sonically muggier, vocalist Nic Wood lighting it with his angst soaked tones and expression. There is an air of bands like Manic Street Preachers and Mind Museum to the increasingly eventful and dynamic roar of the song and release, and a contagion to its heart and character which is inescapable. The track is superb and very easy to see why it made such a potent impact last year.

Kalashnikov is an even darker and more rapaciously intensive offering which starts with the predacious growl of the bass as it steps into view. Beats soon begin to stalk the senses too as a sonic mist brews and subsequently erupts in a blaze of acidic tendrils and melodic magnetism. As emotion oozes from the delivery of Woods, things relax a touch but boil again as a tempestuous climate and presence emerges. For all its volatile nature though, catchiness flirts from its gait and the grouchy but inviting hooks which line the outstanding explosive roar of sound and emotion.

Both tracks hint at stoner-esque hues which certainly come to the surface of Culled. It is a fiery canter revelling in a heavy rock ‘n’ roll breeding though in no time it provides its own individual emotion drenched drama through masterfully blending evocative melodies and aggressive angst into its striking sound and body. The further into its creative bellow the more virulently infectious and resourcefully unpredictable it becomes, ending on a finale which leaps at the listener to get the body physically involved.

The last song to explore on the EP is Eviscerate, a track seemingly nurtured from the same seeds as Kalashnikov such its dark intensive bass led start but quickly revealing its own swampy smog of sonic enticement with a touch of fellow Brits, Morass Of Molasses to it. As compelling as anything upon Humanism, it is also the most intimidating in weight and intensity without defusing the strength of the sonic tempting and melodic tenacity which as much as anything sears songs in to the psyche.

If you have already been greedy with Eujenic’s first pair of songs then the EP will only elevate the excitement and enjoyment so far felt whilst for newcomers, Humanism is a major alert to one of the most exciting bands to emerge in British rock ‘n’ roll this past year or so.

The Humanism EP is released February 13th at a launch show at the Independent in Sunderland. Also playing will be Waste Of Space, Grayce., and PussyWillowFurryVenus. Tickets are £4 and available from the bands or at

Pete RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

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MPG (Mike Paradine Group) – Bayonne, NJ

MPG_RingMaster Review

Having stomped around and downed a brew or three to the debut Mike Paradine Group album, Death in The Family around four years ago, there was no disguising the anticipation waiting to check out its successor Bayonne, NJ after its recent release. Thanks to the man himself, we have got our eager teeth into Mike Paradine’s second solo album, and true to say expectations were not let down in any size or form.

Bayonne bred Paradine is probably better known as drummer and songwriter in New Jersey based metal band ArticFlame, the band he founded after leaving heavy metallers Balistik Kick, where he had been a member for thirteen years, in disillusion at its “negativity and inactivity”. Since emerging, Paradine and ArticFlame have released to date a quartet of increasingly acclaimed albums whilst sharing stages with the likes of W.A.S.P., Manowar, Savatage, Quiet Riot and many others.

Also the author of King of Toys, a highly praised horror/poetry book about a 5 year old boy who is abused by his drug addled parents and after a horrible episode of abuse, sees his broken down toys come to life and avenge the event, Paradine unveiled his debut solo album Death In The Family in 2012. It was built on a collection of personal songs lyrically seeded in themes such as an on-going feud with certain family members, growing up in the late 70’s, early 80’s in Bayonne, 9/11, and his battle with cancer as a 13 year old, as well as more humour fuelled adventures. The album was a heart delivered and felt proposition of rousing emotion and rock ‘n’ roll which its successor emulates with similarly intimate tracks based on experiences, people, and life in the home city where he still resides. Where it Bayonne, NJ differs to the first album is in its sound. Whereas Death In The Family revelled in numerous styles across heavy and hard rock to varied metal exploits, the second full-length sees the band stick solely to the hard rock sound which Paradine started his musical life playing. As the release soon shows though, it does not prevent songs from offering a broad variety of sound and enterprise, or from sparking the same depth of pleasure as the previous encounter.

art_RingMaster ReviewWith Paradine writing the lyrics, melodies and playing the drums across the majority of the album and Allen Carescia writing the music, playing guitar/bass, and producing, Bayonne, NJ quickly grips ears and attention with opener Deadbeat Dad. Straight away there is a grouchy attitude and muscular intent to the song’s rock ‘n’ roll, guitars sharing irritable riffs as rhythms firmly jab behind the growling tones of Paradine. Direct and pulling no punches, the song is a raw and potent slab of confrontational rock ‘n’ roll backed as strongly by the similarly toned Heaven Would Be Hell for Me. Almost predatory in its stroll and sonic belligerence, the song is east to be drawn to but truly comes alive when harmonies and melodic flames dynamically erupt to leave an already keen appetite greedier.

In the first MPG album, a host of vocalists featured across its songs but for Bayonne, NJ Paradine and, as in the third track, fellow ArticFlame Michael Clayton Moore take turns driving tracks. Fair to say there is a different spark and dynamic at play with Clayton Moore’s recognisable tones; tracks given another rich hue to tempt with, a third emerging when both vocalists unite their contrasting styles for an anthemic lure again as here. In tandem with that, Paradine’s rhythms are alone as thick a tempting in the song as too the sultrily spiced guitar adventure brewing within its boisterous persuasion.

Riot at the Public House stirs up body and emotions in similar style and fashion next, the aggressive attitude of the opener returning to line the invitation of hooks and grooves and colour the prowl of the bass. Clayton Moore again leads the excellent rousing of body and spirit, embracing the great contrast between both men’s tones vocals, though as good as it all is, things leap up another gear, vocally and musically, in Unforgotten Highway. The song is spellbinding as melodic caresses and emotive shadows cradle the superb vocals and emotional expression of Clayton Moor. As soon found, it is an provocative incitement which stays with thoughts long after it leaves ears, its melodies alone as lingering as the potency of the vocals and the subtle percussive touch of Paradine.

Bayonne is potently delivered to ears and imagination through Zombietown next, its barren spirit and decaying landscape enjoyably tempered by the honky-tonk piano/keys spawned shuffle uniting with Paradine’s accusing delivery and the agitated nature of the sounds around him. Showing yet one more strain of the varied flavouring to the album, the striking proposal makes way for another in the funk infested rock ‘n’ roll of Dancing Bag of Bones. There is a Cooper-esque feel to the song as it sizzles in sonic endeavour and spicy enticement, flirting and twisting like its protagonist in ears before leaving heftily satisfied emotions in the masterful hands of Little Darling. A superb cover of the Thin Lizzy classic, it quickly revels in Paradine’s undisguised passion for the Irish rockers, an essence enjoyably scenting many songs within the album, whilst showing its own adventurous touches in thrilling tribute to the legends.

Obviously inspired by that aforementioned book of Paradine, King of Toys simmers in and seduces ears soon after, its melodies an emotive suggestiveness within the music of this time Mike Marino. Keys and guitars court each other’s respective elegance and fiery drama as an array of vocal textures bring the tale to the imagination. More of a grower than other tracks, it too leaves a lingering and enjoyable mark before the old school air of Taking on all the World blazes away with an impassioned weave of melodic acidity and blues infested invention. Without quite sparking the same fire as numerous others on the release, it still has ears enthralled and a wish for more vocal before the album closes on the twin treats of Hey Mama, another irresistible cover of this time The Godz track, and finally Daddys Little Girl. Each recorded separately to the rest of the album, the first features Dave Manheimer and Kilroy on guitar with “Ghost” Meehan on bass alongside Paradine whilst the closer is an emotive ballad with drummer Mike Young backing Clayton Moore who wrote the, yes “sappy” but richly enjoyable song.

Increasingly impressive, Bayonne, NJ is a rock ‘n’ roll treat so easy to get unavoidably involved in, and as the first MPG release, a proposition which just makes an appetite for more as lively as the pleasure found within it.

Bayonne, NJ is out now through

Pete RingMaster 3/02/2016

Copyright RingMaster: MyFreeCopyright

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Primitiv – Immortal & Vile

Primitiv Band Pic_RingMaster Review

Looking for a heavy slug of intoxicating grooves within tar thick liquor made from doom and death metal imagination, then checking out the debut album from Primitiv would be a rewarding move. Immortal & Vile is a tenaciously resourceful and relentlessly predatory proposal from an India hailing quintet showing more of the depth of the country’s metal scene. As you might hope from the band’s name, their sound and indeed release is a bestial protagonist of ears and appetite, a prowling devouring of the senses which is just as potent in inflaming the imagination.

Primitiv was formed in 2013 by bassist Riju Dasgupta and guitarist Rajarshi Bhattacharyya, former band-mates in Albatross and Workshop. Evolving a sound bred in true old-school metal, the band’s creativity, as shown by their album, grew to also involve thick strains of sludge and stoner virulence in the barbarous tempests of doom infested, death fuelled predation that points them out. With vocalist Nitin Rajan (Sledge, Morticide), guitarist Kiron Kumar (Hellwind, Colossus), and drummer Pushkar Joshi (Blood Meridian) alongside the founding pair, the album needs little time to whip up hunger in ears for its ravenous and seductive intrusions, though the release first opens with a more arguably expected but certainly successful epic flavoured introduction courtesy of Clash of the Gods. As the lone demonic tones of Rajan lay the base for the album’s exploration through “the creation of mankind, amidst dominating creatures, and its ponderous progression towards damnation”, stringed temptation and rising orchestral breaths unite to nudge the imagination and colour the air. It is a potent if unsurprising coaxing easily awakening eager ears and thoughts ready for the lumbering and rapacious apocalypse of World War Zero.

art_RingMaster ReviewThe second track stalks the listener from the off but with a liveliness which has the body involved as swiftly and firmly as the merging weave of spicy grooves holds the passions. Bestial and infectious, and driven by the iron loaded swings of Joshi in tandem with the dark fiendish tone of Dasgupta’s bass, the track crawls destructively yet engagingly with the grizzled throat raw prowess of Rajan straddling its presence. A lining of sonic enterprise is soon in evidence though, aligning itself to the dark rabidity on offer whilst casting increasingly gripping grooves and also a more toxic but equally alluring melodic tempting; it all springing from the skilfully manipulated strings on Bhattacharya and Kumar’s guitars.

The impressive start continues into Demon of Science where again imagination soaked adventure and brutality collude to smother and invade the senses. Rajan is again as primal in tone and varied in delivery as the antagonistic sounds crowding around his lead, an industrial spicing proving the point as it adds a compelling temper to the hostility fuelling the track. The uncompromising swings of Joshi ebb and flow in violence too though not their venom as they give the song a torrential drive emulated in the merciless rabidity of sound and attitude devouring ears.

If the listener thought it was being stalked by the first songs, Lake Rancid shows it was previously only a flirtation with its own compassionless harrying. The track is a primordial contagion with ravenous butchery from its first breath mixing with pitiless riffs and uncharitable rhythms to consume the senses as a winery of sonic imagination and magnetic craft lights the way. As the album, it is a gloriously sadistic pillaging of the soul quickly matched in success and raw majesty by Dead Man’s Desert. By this point, grooves shared by the band have a richer stoner-esque hue though they come as toxic and invasive as anything before. Like a sadistic heathen king, Rajan’s rasping tones crawl mercilessly through ears, riding this dirty tide of doom bred savagery bound in evocative and at times poetic melodic seducing; everything ultimately drenched in death and emotional carnality.

Immortal & Vile is brought to a powerful close by firstly the corrosive suffocation of Taurus and finally the sanguinary rock ‘n’ roll of Lords of Primitiv. The first of the two is a cancerous affair, every note and syllable a pestilential immersion for the senses and infestation of the psyche whilst its successor with less barbarity swings and sways with smouldering grooves and smoking sonic endeavour around sinew cast rhythms. Voracious at heart and eagerly flirtatious in its design, the track is a fiery slice of old school rock and coldblooded attitude, and quite irresistible.

Indian label Transcending Obscurity is developing a thoroughly enjoyable habit of giving the world some stirring and impressive metal incitements from India and surrounding areas; Immortal & Vile is right up there as one of the best yet.

Immortal & Vile is out now via Transcending Obscurity Distribution @

RingMaster 03/02/2016

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Burn The Ocean – Come Clean

BTO_RingMaster Review

This month sees the European release of Come Clean, the debut album from Italian rock band Burn The Ocean and an introduction which grabs ears from start to finish with an eventful and passionate mix of alternative/heavy rock.

Rising from the ashes of 2NOVEMBRE, the Genova hailing quartet is made up of guitarist/vocalist Emanuele Pecollo, drummer Davide Di Maggio, and bassist Valentina Di Maggio, all previously in the former band, and guitarist/vocalist Fabio Palombi of Nerve and Ritual Of Rebirth. It is a merger of talent which swiftly shines within Come Clean, a release which song by song and listen to listen becomes more potent and enjoyable.

Straight away ears are enticed with Days in November, the opener emerging from the twist of a radio dial with pungent grooves and jabbing beats. It is a strong invitation soon infused with more intimidating textures and glimpses of sinister vocals, though still those initial thick grooves steal ears and appetite. Quickly backed by the vocal unity of Pecollo and Palombi, the track is soon showing a confident swagger and rhythmic muscles as infectious grunge hues colour its thick enticement like Soundgarden with a predatory snarl.

Burn_The_Ocean_come_clean_RingMaster ReviewThe Seed, as persistently used as enticement across the whole album, offers easy to devour grooves and melody sculpted hooks backed by again a potent mix of vocals. With the dark throated tones of Valentina Di Maggio’s bass prowling that thick seduction aside the composed but impacting beats of Davide Di Maggio, the song also grows into a raw yet welcoming grunge shaped incitement encrusted with classic and heavy rock flavours and attitude.

As suggested the album becomes stronger and more compelling with each song, though Land of Mud is more matches its predecessor than outshines it as it strolls along with a lighter catchier gait within tendrils of spicy guitar around moodier rhythms. It is Feast which makes the more dramatic proposal with its fiery nature and sonic twang around an inflamed heart represented powerfully by both sets of vocals. It is hard to say that there are any major surprises but the persistently evolving and heftily flavoursome song is only a step up in potency and attraction with its easy to get involved in union of individual prowess and emotive intensity.

Latest single Bitedown comes next, its grouchy but welcoming character the lead into another web of intoxicating grooves and expressive melodies around robustly tenaciously rhythms. The track sizzles in ears, its anthemic antagonism and rousing blaze of sounds virulent drama as it steals top honours in the impressing release.

The dynamic, groove infested cover of Led Zeppelin’s Black Dog soon and boisterously backs up the album’s pinnacle, the track an incendiary roar of sonic fire and creative dexterity exciting ears before making way for the closing allurement of Gone Away. A southern rock infused instrumental crowded with evocative samples, it plays like an epilogue to the vociferous shadows emerging across the themes of its predecessors. Sparking the imagination and unmistakably pleasing ears, the forcibly enticing acoustic rock finishes seducing Come Clean off in magnetic style.

Without lighting a fierce blaze, Burn The Ocean has announced themselves in fine and perpetually impressing style. Come Clean is a release which needs and deserves potent attention to show the depth of its success and potential, whilst suggesting that this is a band with a very promising future.

Come Clean is out now via Sliptrick Records through Amazon and other stores.

Pete RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

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