Top Buzzer – Inside is a Room Vol. 1EP


It has been two and a half years since British pop punk ‘n’ rollers Top Buzzer had us leaping around with the thrilling stomp of The Sprollie EP. It is a time though which has seen the band still a busy live proposition and its members, especially vocalist/bassist Andy ‘Dukey’ Duke, get involved in a horde of other projects and bands alongside the ‘day job’. Now to stir up and entertain ears at home again, the London based trio have uncaged the Inside is a Room Vol. 1 EP; four tracks of the band’s inimitable and contagious rock ‘n’ roll. It might be more recognisable prime Top Buzzer devilry but the release also reveals a broader embracing of punk and varied rock flavours within a fresh snarl and even keener hooks than ever.

Originally Jersey bred and formed in 2011, Top Buzzer has been a feisty punk proposition from day one, in sound and DIY attitude. Quickly they created their own label Back2Forward Records for first release, the Hands Up EP, and in turn the highly successful single Remission which followed. Praise and support followed across the written press, such as Kerrang, Rock Sound, and Big Cheese and on radio as UK and US shows and stations, terrestrial and online, took a shine to their mischievous pop punk revelry. Debut album Outside Is A World, again released that first year, grabbed greater and keener attention which was subsequently eclipsed by The Sprollie EP in 2013 and the band’s contribution a year earlier to the 2012 Rebel On The Underground – A Tribute To X-Ray Spex compilation.

As mentioned it has been a fair old gap between releases, but now Dukey, guitarist/vocalist Soni, and drummer/vocalist Welshy ensure the wait for something new is a quickly forgotten moan with Inside is a Room and indeed opener Trapped In The Room. Straight away ears are accosted by a swarm of riffs and rhythms, guitars and bass instantly lining that initial surge with sharp catchy hooks before expanding them further as the song settles into its tenacious stroll. Feet and hips are a swift blur to the equally animated nature and motion of the song. Dukey’s familiar tones adding to the recognisable air of the song but equally pushing the new lusty and punchy nature to the band’s sound. Like the ‘bad’ kid down the road your mother warned you about, the one destined to cause trouble and encourage develop bad habits, the track stirs up the spirit and an urge to lose inhibitions.

That same irresistible nagging arises with Meanwhile in San Francisco and its deliciously spicy melodic beckoning around Welshy’s enslaving anthemic bait. There is a touch of The Vibrators to the song as it settles and blossoms a thick lure of beats and bass temptation whilst on top Soni’s guitar uncages a blues frisked spiral of sonic enterprise. Ultimately creating a rousing proposal which at times is almost akin to Toy Dolls meets The Adicts, the track has body and voice firmly involved before allowing Denny’s Song the chance to run its grittier hard rock meets pop punk persuasion by ears for a matching success. Again resistance to getting physically and emotionally involved is futile once hooks and swinging rhythms seize hips and the imagination; the vocals across the band only stirring things up further with their boisterous encouragement.

The EP ends with the old school punk seeded Live is Blind where the three prong vocal attack alone is a riveting and thickly enjoyable incitement. Imagine The Ramones, Radio Stars, and The Wildhearts colluding for a riotous, rip-roaring stomp and Top Buzzer have that covered with the excellent closer to another thrilling incitement of ears and bold fun.

We have had a serious sweet tooth for Top Buzzer since that first EP, no denying that, and with releases like Inside is a Room EP, it only gets more acute. Pop infested punk ‘n’ roll does not get much more fun and to be honest better than this.

The Inside is a Room EP is out now via most online stores and @

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Éohum – Ealdfaeder



In many ways taking over from where predecessor Revelations, Aurora of an Epoch left off, the Ealdfaeder EP is another compelling and fascinatingly invasive proposal from Canadian metallers Éohum. The release sees the Montreal based outfit continue to entwine traditionalist and cultural spirited sounds and explorations into a doom infused black metal devouring of the senses. Marked again by the suggestive majesty of French Horn, the latest release is another creative conception which ignites the imagination and backs up thoughts arising from the previous encounter that this is a band with very potent horizons ahead of them.

Formed in 2010 by guitarist Jeremy Perkins, Éohum (pronounced ee-o-um) has continued to hone their atmospheric infestation of ears and psyche whilst becoming a potent live proposition. Originally written as a literal, poetic project, the band and adventure only grew and evolved as Perkins brought in friends with metal seeded musical roots and backgrounds. The release of debut album Revelations, Aurora Of An Epoch in 2015 awoke ears and attention beyond their home shores, its dramatic character and voracious confrontation aided by guest contributions from the likes of Cryptopsy’s Matt McGachy and ex- Vinyl Hero Nick Wybo. Now it is the turn of Ealdfaeder to draw spotlights again the way of the band with one suspects, even greater success and acclaim in tow.

EOHUM-EALDFAEDER-EP_RingMasterReviewEaldfaeder opens with Eurocide and immediately has the imagination alive as resonating beats from drummer Luca Belviso unite with the suggestive hues of Annie Perreault’s flute. Thoughts of ancient civilisations and modern cultures arise to the simple but pungent lure as the EP begins its overall look at “… the loss of interest and connection between human cultures and the environment due to our greed filled, corrupt world of today.” In no time Perreault is surrounded by the more predacious riffs of Perkins and Sylvain Dumont as that initial rhythmic coaxing equally turns primal and intensive. Drama soaks the track even as it settles down somewhat, though it is still prone to explosive reactions within its intrigue guided prowl. The raw vocal squalls of Barrie Butler infest ears and atmosphere too whilst the resonation of Cesar Franco’s bass strings is as expressive as the flame of French horn laid within the maelstrom by again Perreault.

The track is bred of the same invention and imagination as the earlier album but already shows a fresh blend of classical beauty and pestilential temptation which carries on through the EP and Unmasking A World Of Deceit which follows. Even more ravenous and inhospitable, the track flies at the senses from its first insatiable breath, vocals and grooves harrying and fiercely engaging the listener as rhythms share a barrage of spiteful intensity and enthusiasm. It is a barbarous intrusion, black and death metal furies uniting within the heavily textured ambience as a hostility, led this time by the vicious creative swings of Simon McKay, assaults ears. As expected though, things only twist and evolve as again the mesmeric call of horns share the track’s atmospheric background.

Through the salacious character and nature of The Apathetic Plague and Ode To A Martyr, thoughts and emotions are seriously entangled and challenged for exhilarating experiences. The first also imaginatively merges unbridled brutality and unpredictable melodic resourcefulness within its blackened trespass of the senses whilst its successor is a torrential swarm of great swinish vocals from Butler matched in plague like concussive endeavour by the scourge of guitars aligned to Belviso and Franco’s rhythms. The second of the two tracks is glorious, the pinnacle of the EP and a hex on the body with its bracing collision of textures, contrasts, and sonic irritation. Once more the golden lure of horn from Perreault is just irresistible; Éohum’s merging of its never indulgent tones with voracious tempests more skilful and natural than ever, so much so that it seems like the horns rather than temper the storm actually encourage it.

Curative Undulations brings Ealdfaeder to an immense close; the track, as its predecessor, shaped and driven by McKay’s rhythms as it devours and seduces with creative and dramatic ingenuity. It immediately thrills and only impresses further across its inventive body and with every delving into its bold adventure. That success applies to Ealdfaeder as a whole too, the EP growing as it reveals new depths and craft with each listen.

Éohum has one of the most distinct and unique sounds in metal right now, only Floridian experimental death metallers Markradonn really exploring something remotely similar, and in Ealdfaeder they have unleashed a release which, whether it hits your sweet spot or not, will make a predominantly striking impact.

The Ealdfaeder EP is released March 18th via Mycelium Networks @

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Fighting Sides – Haven’t Scored Yet EP

Fighting Sides Promo_RingMasterReview

A band for less than a year, US quartet Fighting Sides has already risen to be a prominent presence within the Atlanta music scene. Now the band is looking at nudging bigger attention and recognition with the release of their captivating new EP, Haven’t Scored Yet. Offering four tracks of alternative rock meets melodic/pop punk; the EP is a lively and magnetic introduction to the band for many of us whilst potently building on the potential of its well-received predecessor.

Emerging April 2015, Fighting Sides was formed by vocalist Robbie Hiser after the “implosion” of his previous band. Calling on friends, Hiser quickly completed the band’s line-up with guitarist Alex Downtain, bassist Arafat Patwary, and drummer Sheppard Martin. That May saw the release of their debut offering, Demo MMXV, an encounter sowing the seeds and groundwork for the vivacity in the band’s sound which now fuels Haven’t Scored Yet.

Recorded with Jason Andrews (Go Radio, Holiday Parade) and mixed/mastered by Sam Pura (Basement, The Story So Far), the new EP opens with This Is Our Night. The first lure of guitar is enough to awaken ears though they really come alive as the warm tones and harmonies of Hiser and band further offer the imagination their bright prowess. Never breaking from its relatively restrained stroll, the song soon reveals its pop punk tenacity as hooks and riffs unite with robust rhythms for an infection loaded romp.

Fighting Sides Art_RingMasterReviewThe following Stand Tall is similarly bred but swiftly shows a grouchier edge to its intensity and rhythmic textures as well as richer emotive hues in its fiery melodic enterprise and vocals. As its predecessor, the song has ears and thoughts fully engaged with a nicely brewing appetite for more in tow. That gets healthily fed by the poppier exploits of One More Day, though it too has a potent line in emotional shadows within its galvanic canter. Though the song, as its companions, is not a full on roar, it has an anthemic quality which only adds to a successful persuasion and recruitment of listener involvement.

Let Me Be brings things to an equally enjoyable and convincing close; its accomplished and boisterously melodic rock ‘n’ roll a highly satisfying and engaging incitement to the wanting to know more about Fighting Sides.

Right now it is fair to say that Fighting Sides is still trying to find something majorly distinct in their music to set them apart but in providing a thoroughly enjoyable time they have hit the nail square on the head with Haven’t Scored Yet.

The Haven’t Scored Yet EP is released March 18th and available @

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Kirsten Adamson – New York Girl

Photograph by James Glossop.

Photograph by James Glossop.

Taken from and backing up a thoroughly captivating debut album, New York Girl is the new irresistible single from Scottish singer songwriter Kirsten Adamson. It is one of those songs which though thoroughly fresh you feel you already know and have an affinity with, a lively romp to raise the spirit and get those feet leaping around to. The summer might not quite be here yet but in sound Kirsten Adamson brings it to your doorstep with New York Girl.

If the name has a tinge of familiarity to it that is because Kirsten is the daughter of ex-Skids and Big Country songwriter/guitarist/vocalist Stuart Adamson. As hinted at by her self-titled album released last December and the new single, plenty of his talent has transferred in the genes. With influences from the likes of Kate Bush and indeed Big Country a major part of her formative years, the summers spent in Nashville where her father relocated to in 1998, have equally left a potent impression on her invention and quirky pop sound. Pinning her down with comparisons is a tough thing such the refreshing distinctiveness which flows through voice and music but imagine a mix of Rachel Sweet and Fay Fife with Lene Lovich for occasional company and you get closer.

New York Girl instantly leaps upon ears as throbbing rhythms collude with the energetic and spicy coaxing of keys and guitars. It is a lively entrance which only continues to invite participation as Kirsten’s voice dances amongst the jangly strands of guitar and the bold rhythms which still bound around within the melodic seducing of keys. There is a definite eighties alternative pop scenting to the magnetic encounter, so much so that if Kirsten was around back then you could easily see her being swooped up by Stiff Records.

Continuing to twist and swing with an inescapable pop contagion, New York Girl leaves a spring in the step and a satisfied smile on the spirit; much as the album it comes from which maybe is an even better way to get the song because then you get to bask in the feisty revelry of tracks like Robot Girlfriend, The Calling, and Valentine alongside the beauty of others such as Like This, Feel The Same, and Time To Be Afraid amongst many other impressing proposals.

New York Girl is released Match 18th whilst the Kirsten Adamson debut album is out now @

Upcoming UK tour dates:


22nd The Hope and Ruin, Brighton

23rd The Fiddlers Elbow, Camden London

24th The Vic, Derby

26th Gullivers, Manchester

27th The Cluny. Newcastle

30th Stereo, Glasgow

31st Cafe Drummond, Aberdeen


2nd Mad Hatters, Inverness

3rd Voodoo Rooms, Edinburgh

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Tess of the Circle – You Take Me Out Of My Head

Tess of the Circle pic_RingMasterReview

Following a pair of rather tasty teasers already, Tess of the Circle provides another slice of pure enticement for their upcoming album with new single You Take Me Out Of My Head. Their new full-length, Amplify, has become an eagerly anticipated proposal already, thanks to those previous singles, and now the new track just cements that eagerness and the growing reputation of the UK band as one rather exciting rock ‘n’ roll incitement.

Amplify_RingMasterReviewA British independent collective based around the songs and music of singer/songwriter/guitarist Tess Jones, Tess Of The Circle has already made a potent impact with their sound and debut album Thorns, a collection of lyrically biographical songs from Jones bred from a mix of 70’s electric rock riffs and acoustic guitar enterprise. A project starting in 2013 with Jones and a group of live and album musicians within his circle of friends, the band has found greater and closer attention over time, especially since the release of Face the Changes and the outstanding Love Is The Drug That You Crave, the first two singles from the impending Gavin Monaghan produced Amplify.

You Take Me Out Of My Head is sure to only add to that focus with its galvanic rock ‘n’ roll stomp. Straight away it has ears attentive as strokes of guitar and riffs collude with the throaty throb of Ben Drummond’s bass. Quickly the enjoyable stabs of sound become a rolling stroll of jangly enterprise and feisty riffery as the guitars of Lee Clifton and Jones engage in a bluesy hard rock lined persuasion of the imagination. Hooks and grooves are frequent bait within the track, the latter wrapping around the excellent vocal prowess of Jones and the tenacious rhythms of drummer Paul Stone.

Great rock ‘n’ roll has the spirit as engaged and aroused as ears and with consummate ease You Take Me Out Of My Head finds that success whilst reinforcing that the arrival of Amplify cannot come soon enough.

You Take Me Out Of My Head and Amplify are released April 22nd with pre-ordering available now on Amazon and iTunes.

Upcoming Live dates:

Saturday 26th March Wheatsheaf, Oxford

Tuesday 29th March The Jam House, Birmingham

Wednesday 30th March Century Club, Soho

Thursday 7th April First Thursday Club, Thame (Oxfordshire)

Wednesday 25th May Servants Jazz Quarters, London N16 (acoustic Set)

Friday 10th June Music At The Northcourt, Abingdon, Oxford

Saturday 18th June Party In The Park, Adderbury

Sunday 17th July Roots Festival. Birmingham

Saturday 6th August Green Gathering Festival

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Sixty Minute Man – You Made Me Say Please


It was a busy and successful attention poking 2015 for UK band Sixty Minute Man and it looks like it will continue to be so in this with the release of their debut single, You Made Me Say Please. It is a rousing and boisterous slice of rock ‘n’ roll bred from alternative rock seeds but showing far broader character and dynamics to its ear grabbing roar.

The band itself comes from Salford, Sixty Minute Man formed in 2014 and soon showing the invention and qualities which have seen them breed a cult following in and around the Salford/Manchester area. The sextet unveiled their first release, The Ten O’clock Curfew EP in the May of last year to very strong and positive reactions. Unveiled at a sold out launch night at Manchester’s Sound Control, the five track introduction was followed by Sixty Minute Man headlining a stage at Blackthorn Music Festival and twice playing support to Alias Kid amongst their own host of shows locally and further afield.

art_RingMasterReviewNow it is the turn of the Gavin Monaghan produced You Made Me Say Please to wake up broader awareness of the band, and such its lively incitement, the spark to national recognition is certainly a possibility.

The song instantly leaps on ears with bold melodies and arousing rhythms led by the throaty bass tempting of Dan Hamnett. As singer Daz Beasley reveals the narrative and his vocal prowess, the keys of Adam Lyons unite with the sonic enterprise of guitarists Lee Fox and Sean Duffy, between them casting magnetic melodies and a radiant celestial hued hook that just grabs the imagination as a Scott Beesley led rhythmic tenacity seizes the body with anthemic feistiness.

As mentioned, the single is a hungrily lively proposal with an infectiousness which escapes from every aspect of its highly charged character. On its own, the track shows why the band is beginning to create a buzz, and even alone there would be no surprise if You Made Me Say Please brings the band under closer scrutiny in the coming weeks and months.

You Made Me Say Please is released April 4th through Blue Eagle Records with an accompanying video. Pre-ordering is available now @

Upcoming Live Dates:

Fri 25th March at The Live Rooms, MANCHESTER

Thurs Apr 7th at The Packhorse, LEEDS

Fri Apr 8th at The Rocking Chair, SHEFFIELD

Fri Apr 15th at The Blind Tiger, WIGAN

Sat Apr 16th at The Brewhouse, WARRINGTON

Sat Apr 30th at Club Academy, MANCHESTER (supporting Alias Kid)

Sat May 14th at Gorilla, MANCHESTER (supporting Space Monkeys)

22-24th July – Blackthorn Festival

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

Fahran – A Thousand Nights


Giving another potent nudge on attention for their excellent and increasingly impressive second album Chasing Hours, British rockers Fahran release the track A Thousand Nights with another slice of the album in Take This City Alive for company. Both tracks epitomise the creative and rousing qualities to be found in the full-length and the Nottingham hard rock band’s sound as a whole.

Formed in 2012 out of the ashes of Toxic Federation, Fahran soon made a potent impression with their self-titled debut album which embraced inspirations ranging from the likes of Queen, Iron Maiden, Metallica, Led Zeppelin, Thin Lizzy, Shinedown, Alter Bridge, and Black Stone Cherry into an expressive and dynamic hard rock sound. With a just as attention grabbing live presence which has seen them successfully play Bloodstock and Download, the band made a bigger and bolder statement with the 2014 released Chasing Hours, again a success backed by their tenacious live exploits.

Now the single gives a potent reminder of album and the Breaston quintet’s enticing sound with one of its highlights. A Thousand Nights wraps ears in a sonic seducing straight away, riffs and rhythms collecting around the sonic coaxing before springing fiery grooves and classic rock bred flames around ears. Inspirations are an open colouring to the classically honed encounter, the guitars of Chris Byrne and Jake Graham a snarling captivation alongside the impressive vocal tones of Matt Black. Major surprises are not a bold element of the song but more than covered by the melodic seducing and rhythmic intimidation shaping it. Within Chasing Hours, the song was one which took longer to convince to the same stature as others but persuade it did and now seems to shine even more as a lone temptation.

Alongside it, Take This City Alive is a far more ballsy and hungry offering, a slice of rampant rock ‘n’ roll with delicious grooves entwining JR Windsor’s anthemic beats and bassist Josh Ballantyne’s throaty lures, not forgetting that powerful vocal prowess of Black. Inescapably infectious with a creative and physical swagger to match, the track roars with sonic endeavour and rhythmic aggression, teasing and pleasing ears with its boisterous swing and lively hard rock vivacity.

Both tracks provide all the best reasons to check out Chasing Hour, if it is not a friend already, but more so to give yourself the best kind of night out by seeing Fahran live.

A Thousand Nights is available now.

Upcoming Live Dates:

March 24th – Grand Central, Manchester

March 27th – The Prince of Wales, Kettering

April 16th – The Cellar, Oxford

May 1st – Dementia Aware Fest, Birmingham

May 21st – The Woolpack, Doncaster

June 5th – The Rock Bar, Tamworth

June 25th – The Birdwell, Barnsley

July 14th – Carnfield Hall, Alfreton

September 10th – Redemption Festival, Wakefield

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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