Grooves and zombies: getting close and personal with Novacrow

novacrow_RingMasterReview

According to the band, Novacrow is “a four-piece of zombie-punching, hard-rock sleazeballs.” What they certainly are is a hard rock seeded roar which is earning a mighty reputation for their eclectic sound and EP Black Syrup has only backed and reinforced their striking emergence on the British rock scene. With the supporting of bands such as Skarlett Riot, Heonias and Green Jellÿ also under their belts, the EP feels like the spark to bigger things and attention upon Novacrow so we seized the opportunity to get to know the band and its hungry heart with big thanks to vocalist/guitarist Kitty Synthetica and bassist/backing vocalist/producer Federico Spera.

Hi guys, thanks for taking time out to talk with us

No worries, thanks for the interview!

Can you first introduce the band and give us some background to how it all started and what brought you together?

Federico: The band consists of the following sex gods: Kitty Synthetica on vocals/guitar/kazoo, Jonyx on lead guitars, Freddy on bass/backing vocals, and Torben Schmidt Hansen on the drums. We all got together when Kitty and John wanted to form a band; they met Torben and I through mutual friends and cosmic forces.

Have you been/are involved in other bands?

Federico: The others have all been in bands before and I studied music in university, so I’ve always been part of different bands in some form…The so called “Mistress Bands”.

Kitty

Kitty

How have previous experiences impacted on what you are doing now?

Federico: It’s kind of hard to say, obviously with us all having been in bands before you’d think we’d be super pros, but the truth is that there’s no set way to work together. It depends entirely on the bands and the people in them. But being in other bands definitively taught us how to promote ourselves and our releases, what works and what doesn’t, etc.

Kitty: I’ve been playing gigs since I was 16 and it really helps giving you ‘live experience’. Shows can be tough and crowds can be unforgiving, but you need that to make you a better performer. In terms of the impact on my music, in previous projects, I was solely focussed on writing metal, which tended to limit my creativity. I listen back to demos I had scrapped for ‘not being heavy enough’ and think “Oh nice, I want to use that now!”

What inspired the band name?

Federico: The legend says that John one day just picked a word out of a dictionary and fused it with an animal. The idea of a bird on fire must have appealed to him I guess, so he stuck with it.

Was there any specific idea behind the forming of the band in what you wanted your sound to offer?

Federico: Kitty had a few songs already written when she originally formed the band, but that’s about it. I think ultimately we just wanted to rock out with our cocks out, and that was the main premise behind the band.

Kitty: I had a very different project in mind! I wanted an all-girl band, but these guys were the closest thing to women that I could find. Haha. No, I love this band and how well we all work together. One big creepy happy family!

Do the same things still drive the band from its first days or have they evolved over time?

Federico: The drive of the band is still rooted in the desire to be outrageous and we’re very much a success driven band. However, the way we focus that drive has definitely matured throughout our time together.

Since those early days, how would you say your sound has evolved for you?

Federico: I’d say it has evolved for the better. If you listen to our old demos there were some nice ideas, but they weren’t particularly well mediated and executed. I’d like to think that as time goes on, we manage to find the right balance between being ridiculous and writing good songs as opposed to doing one or the other, which is a significant sign of evolution for our sound.

Would you say that change has been more of an organic movement of sound or have you gone out with new things you wanted to specifically try?  

Frederico

Frederico

Federico: It has always felt quite organic. I don’t think there’s a single song which we’ve had to force into existence.

Kitty: Because Novacrow is so unrestricted when it comes to genre, there’s no ‘wrong sound.’ I have a few juicy riffs in the pipeline though.  I am also a big fan of vocal harmonies, (Alice in Chains get this SO right) so I’ll be looking for opportunities to use some interesting melodies.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Federico: With the exception of Black Syrup (which was inspired by the burlesque goodness of Pussy Liquor by Rob Zombie), I wouldn’t say there’s been a conscious influence on any of our songs or approach. We mainly base our inspiration for songs on vibes and energies as opposed to songs or artists. Instead of saying “We should write a Machine Head-esque riff in C phrygian”, we’ll say “We should write an angry and crushing powerhouse of a song”.

Kitty: There are some awesome female musicians that have inspired me massively. Brody Dalle of The Distillers, Tairrie B of My Ruin, Joan Jett, Grog of Die So Fluid, Otep, Alissa White-Gluz- to name a few. From the earliest days of getting into rock and metal, I would seek out bands with powerful female figures and I always wanted to emulate the same sort of commanding presence they had onstage.

Musically, I only ever learnt guitar as a means to write songs. I’ve never had an interest in replicating tracks; if I love a song, I have no urge to reproduce it identically. But, I do love deconstructing a track that I adore and putting together a new cover, something I have been doing on YouTube since 2009. It’s a fun challenge and a way of paying homage to songs I love.

Is there a particular process to the songwriting which generally seems to emerge?

Federico: Generally, one of us (usually Kitty) will have a whole song idea in their head, which they’d bring to a rehearsal room and we bounce ideas off each other. Each song is then mediated in a different way. I’d say the biggest exception to this is The Mantra, which was almost a completely different song when Kitty first showed it to me for pre-production.

Kitty: For a lot of songs, I think that the melody is the most important part- and by this I mean the vocal tune combined with the central guitar riff. That will always be the starting framework of any song I write. In my opinion, if you strip back everything else, but still retain that central vocal/guitar, it needs to be strong enough to make an impact on its own.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Kitty: It completely depends on the song. In a lot of cases I fixate on a phrase and use it for a title first (Black Syrup and Fat Frog for example), or the lyrics drive the rest of the track entirely (I think this is particularly the case in The Mantra).

Fight The Horde!!! was very much video game inspired. The lyrics loosely follow the storyline of The Last of Us, whilst the title is a reference to Left 4 Dead. I wanted something fast and heavy, with epic soaring choruses, perfect for kicking ass.

I wrote the lyrics to Set in Stone and Colourless whilst reading a lot of Haruki Murakami novels. I love how he creates such fantastic vast images and creates these prophetic journeys of self-fulfilment for average characters.

Novacrow EP 2016 - Blacky Syrup Cover Art_RingMasterReviewGive us some background to your new release and some insight into the themes and premise behind it and its songs.

Federico: Our latest release is the panty-dropping powerhouse of an EP called Black Syrup. It really captures the vibe of the band effectively, opening with the kazoo filled drunk anthem Fat Frog to get them booties shakin’ (which is about getting shitfaced and party-hardying). That’s followed by Fight The Horde!!!, which is a zombie-apocalypse based thumper of a song inspired by the game Last of Us. Then comes the title track Black Syrup, which is inspired by sticky black goo. Set in Stone is next, which gives the listener a peak into our more melodic side. The whole EP is brought to an end by Colourless, an easy listening instrumental piece.

Kitty: I love focussing on big over-the-top themes. Most of the time, I write the majority of a song in my head before picking up an instrument, so it’s very much a ‘visual’ experience. I deliberately wanted a set of very different songs for the EP, each with a completely different vibe and based on very different vivid scenarios.

Do you enter the studio with songs pretty much in their final state or use that scenario to bring songs to their final character?

Federico: For all of our releases so far, we’ve gone through intensive pre-production, so when it comes to recording we know exactly what we’re doing. The pre-production usually consists of recording high quality demos, so if we want to develop an element of the song we can use that as a reference point.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Federico: Ooh, there’s so much to talk about here, but I’ll do my best to sum it up. We don’t believe in “over-the-top”, so we pretty much do what we want on stage, which usually means somebody is gonna make an ass out of themselves. We’ve brought inflatable crows on stage, did a kazoo cover of My Heart Will Go On, chugged pints mid songs, and done all sorts of stupid shit when performing. It’s the biggest form of release for some of us, so we’re not gonna hold anything back on stage.

Kitty: Performing is everything. I love to make people laugh, I love writing songs and I love goading a crowd. Word of our onstage stupidity is definitely our biggest pull to shows and makes us appeal to promoters. Basically, we’re just a bunch of attention seekers, that aren’t talented enough to earn praise for doing great deeds, so have to resort to being a bunch of performing chimps. AND WE LOVE IT.

It is not easy for any new band to make an impact regionally let alone nationally or further afield. How have you found it?

Federico: Like you said, it’s not easy. We’ve definitely not even scratched the surface. It’s hard because you want to celebrate every little insignificant bit of success that you achieve, but as soon as you do then it sort of means you’re satisfied, and then your efforts diminish. This is an EXTREMELY tough industry, and unless you’re giving it you 10000% then there’s virtually no chance of getting anywhere in it. We’ve found it extremely tiring at times, especially whilst trying to balance the band with our “normal” life, but at the end of the day we can’t show any signs of stopping otherwise we won’t get anywhere.

Kitty: The music industry today is highly saturated with competing artists, in a field where very few people are willing to spend money on music. Every small victory is important to me, as I wouldn’t be making music if I didn’t enjoy it. In the grand scheme of things, I’m not under any false impressions of earning world notoriety, but I am grateful for every show, every sale and every person who takes the time to let us know how much they love the music. Hard work is everything though.

Are there the opportunities to make a mark if the drive is there for new bands?Novacrow_RingMasterReview

Federico: Absolutely. You gotta play to win. It’s gonna be extremely hard, and even if you put your 20000% into it then there’s still no definitive chance to “make it”, but it’s the best chance you’ve got. As soon as you stop trying then you lose any opportunity you might have. It’s just a matter of persistence and not letting the odds get you down and eventually you’ll find yourself in a good place.

Kitty: There’s no guarantees, at all, but if you’re going to go for it, there’s no point half-assing it. You have to treat a band like Walter White treats meth; you need to believe in your ‘product,’ market it intelligently and push it like CRAZY.

How has the internet and social media impacted on the band to date?

Federico: We’ve started the band at a point in which internet and social media became crucial to a band’s success. We’ve started using Kitty’s YouTube “fame” to fuel traffic to our various pages and so far it has worked very well, people who like Kitty’s covers tend to like Novacrow as well. So far, it has had a great impact!

Kitty: Social media is such a fantastic platform for bands, but I don’t think everybody appreciates just how hard you have to work to harness it. It is survival of the fittest. You can’t just moan about how small your post’s ‘reach’ on Facebook might be, you need to fight to get people’s attention.

The internet is incredible for musicians. I love looking at the insight statistics on YouTube and our website and seeing how people all over the world are listening to us. I had to send out all of our EP pre-orders this week, and there’s Novacrow CDs flying out all over the globe!  To an extent, social media gives you a chance to reach an audience without borders or limit. As a listener, you have an endless supply of incredible music at your fingertips.

Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Federico: Probably the former. People don’t realise exactly how much work needs to go in just to have the tiniest chance of success, and so they don’t work for it. And then they get annoyed when they can’t draw a crowd to their gigs, or get any decent support slots, until they eventually give up. How hard do you think you need to work to get anywhere with your band? Welp, that’s wrong, you have to work EVEN harder than that.

And that’s when we whip out the kazoos and zombies. We know how to work hard yet still entertain ourselves.

Kitty: You have to MAKE people want to see you. Give people a reason to want your music and look forward to your gigs!

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Federico: Hell yeah, thanks for the interview! Check out our EP Black Syrup, I guarantee you will be more aroused than you’ll have ever been in your life! And keep an eye out on our various pages for more music, pictures, videos, and tips on world domination!

https://www.facebook.com/novacrowofficial/    https://www.novacrowofficial.com/

https://twitter.com/novacrowband   https://www.instagram.com/novacrowband/

Pete RingMaster

The RingMaster Review 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Horse Party – Horizons

Pic by Jeff Higgott

Pic by Jeff Higgott

Regular readers to The RingMaster Review will know we have enjoyed an on-going affair between ears and music with UK trio Horse Party ever since they emerged in 2012 and unveiled their first pair of songs in Clarion Call and Back To Mono.  Since then, as their sound and imagination has grown and evolved, each single, EP, and indeed debut album, Cover Your Eyes, has bred a lustier and greedier appetite for their post punk/indie rock seeded adventures. Now the Bury St Edmunds hailing band has a new album to excite and draw spotlights their way, and in Horizons, one suspects and hopes, the key to deserved major attention.

Horizons is a compilation of sorts; a collection of the tracks released by the band across 2015 through EPs and singles. For fans there is the added bonus of a previously unreleased track and for newcomers, Horizons is an A-Z to why Horse Party is for so many British rock ‘n’ roll at its inspiringly majestic best. Released via R*E*P*E*A*T Records, the album is a kaleidoscope of the imagination and dark yet vibrant sounds which the threesome of vocalist/guitarist Ellie Langley, vocalist/guitarist/bassist Seymour Quigley and drummer Shannon Hope weave into their songwriting and acclaimed live shows. The fact that the tracks are laid out in release order also reveals the growth in the band’s sound over the past twelve to eighteen months alone.

It opens with the two tracks which started 2015 off in major style as a 7” vinyl single. Out Of Sight is first and instantly entices ears with a dour yet flirtatious bass riff. From its first breath, the outstanding song prowls ears and imagination, a predacious air to bass and guitar leading the seduction as beats crisply land around the just as swiftly alluring voice of Langley. Though it broadens its expression and melodic touch, the song never loses its darkly hued and persistent beckoning, even as rawer rock flames accompany the new zeal and energy fuelling the vocals. With psych rock lighting adding to the potency, the track is inescapable anthemic rock ‘n’ roll which is quickly more than matched by Receiver.

The second track shows a fleeter foot in energy and rhythms, almost bounding into view as riffs jangle and entice around the just as thickly coaxing vocals of Quigley. A delicious nagging seeded in post punk and punk with a slither of noise rock to it, the song dances around the senses, only increasing its tempting as transfixing harmonies expose lust in an already eager appetite and hooks toy with an alternation of slim and inflamed bait. Like a mix of like Au Pairs, Joy Division, and Morningwood, the track is simply irresistible.

album cover by Kate Wood

album cover by Kate Wood

What I’d Do steps forward next, its strolling gait and intensity another reserved but vibrant beckoning with emotive hues lining voice and melodic enterprise. The steely tone of bass holds ears tight from within the hazy but openly textured song, its dark touches courting the melancholically evocative tones of Langley as well as the more sultry strains of guitar. A slice of psych/rock pop, the song has a Forever Still meets Stevie Nicks air to it, and easily casts its spell on attention before Horizons shares it’s more relaxed but no less provocative presence. Quigley again takes the vocal lead, his potent presence nestling compellingly within a landscape which uncages moments of tempestuous energy and sonic voracity. There is surprisingly a touch of The Housemartins to the song and indeed a whiff of Paul Heaton to Quigley’s expression though once more what emerges is a song as distinct to Horse Party as their name.

A brand new song in the shape of For All I Know follows and swiftly has ears engrossed and enjoyment stirred as a solemn mix of guitar and bass suggestiveness wraps the equally mellow vocals of Langley and the magnetic rhythmic enticement of Hope. It is another with fire in its belly though that is held in check for the main even with the thick nudges of Hope’s swings, the drummer as shown throughout the album, able to create anthemic incitement without disrupting the emotive flights of songs.

A hypnotic nagging steers Paydirt into ears next, its persistent jab of beats colluding with scuzz kissed riffs as minimalistic but potent grooves flirt. In full swing, the track is a bracing proposition which sonically sizzles whilst in its more mellow moments it is monotone sculpted romancing of the senses, and throughout, an addictive breath-taking stroll cast in dark emotions and predatory shadows. It just lights up air and ears, melancholy lined vocals a single seduction among many shared by the song before Animal similarly provides a rousing and compelling experience. As Langley’s almost challenging tones align with choppy rhythms, the track enforces quick submission to its expanding lures. Everything about the song provokes with aggressive intent yet only flirtation is felt as Hope harries and bass and guitars stalk and erupt. That tempting is especially arousing in the passage of surf rock seduction which has body and thoughts aflame in a moment, as echoed by the lyrics, which is like the glorious eye of an equally thrilling storm.

The acoustic hug of the darkly lit and captivating October enchants next, Langley alone and in vocal union with Quigley mesmeric within the blues expressed guitar before Money Talks saunters in on a scuzzy lure of riffs. Gentle slithers of guitar and catchy beats align with the initial tenacious draw and subsequently the siren-esque call of the vocals, it all finding extra drama in the occasional bursts of intensity which punctures the highly infectious persuasion.

Essences of noise rock and new wave creep into Rocket Science next; its canter a lively enticing within post punk shadows and blues lit sonic suggestiveness. Predictability is never an element within a Horse Party song, a point tenaciously shown here as volatile textures and energies engage with the outstanding encounter’s absorbing and seductive serenade.

Smouldering surf rock inspired melodies shape the beauty of Looking For Life next, the song an elegant and radiant shimmer of melodies and harmonies around resonating rhythms. It is a bewitchment of ears, a sonic smooching of the senses and quite delicious epitomising of another quality in the Horse Party creativity, that every listen just makes a song more compelling and impressive.

The emotive soothing of Howling At The Sun surrounds the imagination next, the twin vocal seducing as rich and dramatic as the brooding atmosphere and sounds around them whilst Gratitude Falling brings the album to a spellbinding close with its evolving tapestry of beguiling sound. From a single melody, the track courts a thick growl of bass and a sharp guitar jangle, going onto breed scuzzy expulsions of tempestuous sound whilst all the while Langley grips ears with her narrative and magnetic tones.

Horizons is simply one of the year’s musts; an essential invitation not only into the creative arms and charms of Horse Party but to one of the new breed destined to inspire the future of British rock ahead.

Horizons is released on download and CD on April 1st via R*E*P*E*A*T Records and @ http://horsepartyparty.bandcamp.com/

https://www.facebook.com/horsepartyparty    https://twitter.com/horsepartyparty

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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

Skurvi – Get ‘Em In

skurvi_RingMasterReview

Since emerging in 2008, booze and rebellion, belligerence and unbridled fun have been all potent elements to the punk rock roar of UK quartet Skurvi. Equally, inescapable hooks, voracious riffs, and a sing-a-long prowess second to none have shaped attitude loaded songs which nag and incite whilst lending themselves to insatiable partying. Nothing has changed in the Brighton band’s new album Get ‘Em In, though fair to say that every element has been turned up numerous notches for its thirteen tenaciously rousing punk anthems.

Creating contagious brawls of old school punk, oi!, and raw rock ‘n’ roll since day one, Skurvi has earned a potent reputation for their bracing anthemic confrontations and the 2014 released Pints Half Full EP. It has led to strong anticipation for the first album from the foursome of vocalist Jimmy Skurvi, guitarist Perry, bassist Liam, and drummer Craig; a wait quickly made very worthwhile with opener Till We Die. Straight away rhythms and riffs gang up on ears as a swinging hook lays down easy going but potent bait. Led by the rousing tones of Jimmy, the band is soon calling the shots with their gang shouts around as catchy a slice of punk rock as you are likely to hear this year.

It is a spirit inflaming start to the Pat Collier mixed and mastered album; not offering major surprises but commandingly fresh and virulent as it gets the listener to their feet with vocal involvement included and sets the appetite up for things to come starting with Skinhead. UK Subs like in many ways, the street punk toned track jabs and pokes with its jangling riffs and intrusive rhythms as Jimmy vocally challenges. There is no option but to get physically and vocally involved; a submission all tracks draw to be fair and majorly highlighted by the outstanding Snatch Squad with its rolling rhythms and deliciously throaty bassline entangled in more anthemic vocal incitement from across the band. With a ring The Adicts to it, the song as the first track upon Get ‘Em In, becomes a firm favourite with lingering persuasion.

art_RingMasterReviewDrunken Nights whips up attention with its harmonic vocal calls and niggling hook next whilst Alright follows with a great Stiff Little Fingers like character to its full throttle stomp. Both provide choruses which instantly spark eager participation; again a constant success which is just as inescapable in the likes of Isn’t Where It Ends, a seventies scented oi! bred track which might lack the final spark of previous tracks but still whips up nothing less than thick enjoyment.

Skum Rises brings a Spunk Volcano and the Eruptions to it which is no surprise as the track was written by Spunk himself, the only non Skurvi written provocation on the album. With its middle finger forcibly erect, band and song quarrel with ears whilst leaving them greedily satisfied before Better Way bounds in with sinew swung beats and a feisty attitude in sound and word to the fore. Again whether there is anything new in the song can be debated but with its refreshing urgency and cantankerous imagination, there is little care as it continues the album’s unstoppable infection of ears and the passions.

She’s Coming is a straightforward and seriously enjoyable stirring of punk instincts whilst Wanting More has a Crashed Out meets Royal Oi! scent to it; both tracks again only feeding an increasing greed for more though the pair do get outshone by the blistering assault of Geezer. Bruising and imposingly catchy, the song shows that punk comes best raw and without any graces before the closing pair of Work and Her leave release and listener on a breathless high with their own individual punk riots. Hooks and anthemic vocals are as keen and weighty as ever in both, their pairing providing a mighty end to a relentlessly enjoyable rock ‘n’ roll scrap.

Skurvi do not try to reinvent the punk scene with their sound and indeed Get ‘Em In but instead focus on having and giving bruising fun whilst creating invigorating spirit rousing proposals. It is punk rock to the core, boisterous rock ‘n’ roll as it should be, and boy is it fun.

Get ‘Em In is out now via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/skurvi   https://twitter.com/skurviband

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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

Midnight Mob – Honest Brutal Glorious EP

Midnight Mob_RingMasterReview

Showing even more broadness to their rock ‘n’ roll incitement, New York’s Midnight Mob unleash their new rousing proposal this month in the fiery shape of the Honest Brutal Glorious EP. Offering six tracks of multi-flavoured hard rock based persuasion, the release shows another twist in the evolution of the band’s sound and yet another reason to give high praise to the US quintet.

Formed in 2009, Midnight Mob quickly sparked attention with their music and presence, both changing and evolving over time as line-up changes have occurred alongside an organic shift in the band’s sound. A self-titled debut EP in 2011 and its successor Black Moon Rising two years later woke up eager North American appetites for their punk ‘n’ roll proposals, whilst the album These Days in 2014, courtesy of STP Records in the UK, was the spark to stronger global recognition and attention of the band. Funded by fans through PledgeMusic, Honest Brutal Glorious is the next potent step in the band’s ascent into worldwide awareness. Within it, Midnight Mob has blossomed tracks from the hard rock and classic rock ‘n’ roll inventiveness of their sound but still hungrily infuse thick strains of punk and metal  into its attention grabbing and natural sounding progression from earlier releases.

Honest Brutal Glorious opens with the glorious roar of Song for the Damned; a punk ‘n’ roll anthem with the expected defiant attitude and antagonistic growl of the band fuelling its tenacious contagion. The swinging beats of drummer Chris Beatz provide the punchy skeletal frame for the sonic flames and cutting riffs of Mickey Squeeze to leap through ears from. With the distinctive and persistently impressing tones of Blackey Deathproof driving the narrative backed by band roars, the track uncages an unbridled rock ‘n’ roll bellow which has the spirit as inescapably engaged as ears.

Honest Brutal Glorious Artwork_RingMasterReviewThe outstanding start is quickly matched by Run for Your Life. From its first breath bluesy guitar caresses hit the spot, their coaxing soon taken up a notch by the throbbing lure of Carly Quinn’s bass which in turn sparks a fresh wave of agitation in guitar and rhythms. The song’s prime hook has the imagination ensnared just as swiftly, its devilment carrying a great Rocket From The Crypt air to it. Soon though, Blackey is standing centre stage with her great contentious expression and sandy throated tones, as around her melodies infuse an increasing scent of the blues into their and the song’s feistily infectious rock ‘n’ roll endeavour.

Ghosts is just as rhythmically irritable and melodically magnetic, the bass especially grouchy within the quarrelsome mix of punk and hard rock. What takes a strong and highly enjoyable song into being a great one is the surf rock flavoured twists of guitar and the kaleidoscopic colours of invention in the array of gripping hooks and grooves. As with its predecessors, the song simply hits the spot anthemically and creatively; casting rock ‘n’ roll to raise ‘armies’ to.

The second half of the EP sees Midnight Mob pushing their diversity even further with Black Mamba the first to show new areas of diversity to their sound. Reminding a touch of Danish band Forever Still, the song embraces a classic rock seeding with melodic metal scenery. They still uncage their instinctive ability to create a catchy proposal with a raw and grouchy lining, but it is one of many bold colours in the new shade of their emotively driven rock ‘n’ roll.

The same can be said of Swing On, the band again weaving a seriously engaging tapestry from a broad web of multi genre, decades crossing rock ‘n’ roll lorded over by the striking voice and ability of Blackey. As the music is at its most colourful across the final trio of songs so her voice shows its greatest range and potency; her blues soaked tones here irresistible and stealing the show as they do in the glorious acoustic balladry of Stay, a slice of bewitchment to end the EP.

Honest Brutal Glorious is a powerful and thrilling new step from Midnight Mob and though personal tastes continue to greedily devour the band’s punk heavy exploits most, their album still one of the most played here, the band’s new expansion of songwriting and sound is one riveting and thrilling stirring of body and emotions.

The Honest Brutal Glorious EP is released Match 25th across most online stores.

http://www.midnightmob.com    https://www.facebook.com/MidnightMob/   https://twitter.com/MidnightMob101

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Novacrow – Black Syrup EP

Novacrow_RingMasterReview

Giving their own distinct riff driving snarl to hard rock, UK rockers Novacrow are another band beginning to grab attention right now; partly through a sound which grabs the spirit with anthemic tenacity and in many ways through a stage presence, already renowned for its high octane anything goes nature, which promises “an energetic and erection-inducing live show”. Add the recent release of the band’s debut EP, Black Syrup, and it is easy to see a snowball effect on new fans and acclaim being incited by their sleaze coated and blood strewn, rebellion in the belly rock ‘n’ roll.

Formed late 2013, Liverpool hailing Novacrow quickly sparked local attention whilst last year saw an already expanded presence sparking national spotlights as the band played gigs all over Britain and lit up the web with the release of their zombie-spoof horror music video for the track Fight The Horde!!!

Now they are truly introducing themselves with their eagerly awaited debut EP; five slices of raucously melodic rock ‘n’ roll keen to nudge the broader UK rock scene into closer attention. From the opening track, it is a success easy to see; the groove infested Fat Frog getting kicking things off in virulent style. A throaty riff is the first lure, it soon igniting a prowling entanglement of fiery grooves and predacious rhythms with mischief in their creative eye. The sultry flame of Jonyx’s guitar sizzles as it wraps the song’s already established dark hues and in turn the swiftly emerging tones of  Kitty Synthetica (Staunton). There is the air of a temptress and the snarl of a fighter in her expression and delivery; a union rhythmically matched by bassist Federico Spera and drummer Torben Schmidt-Hansen. Continuing to crawl over the listener with spicily enticing grooves within a stoner-esque hued devilment, the track boldly rumbles and forcibly entices with its anthemic irritability and sonic enterprise; the increasingly magnetic vocal presence of Synthetica sitting at the helm.

Novacrow EP 2016 - Blacky Syrup Cover Art_RingMasterReviewFight The Horde!!! engulfs the listener in a voracious zombie outbreak with a tide of hungry riffs from Synthetica and Jonyx courted by Spera’s predatory bass cast bait. Hooks and rhythms catch ears and imagination at every turn whilst the vocals and melodic flames add further magnetic drama. Again the band fluidly mix contrasts of textures and aggression, seducing and assaulting with an eager and accomplished prowess before unleashing the EP’s title track, a re-recorded version of a big fan favourite. This too prowls and stalks ears as flirtatious vocals and winding sonic tendrils almost ooze over the senses whilst rhythms jab and grooves smoulder. Spera’s bass bait is especially grouchy and in turn irresistible, adding a threat around the sultry tones of Synthetica and the similarly suggestive exploits of the guitars. A blend of hard and alternative rock with classic and surf rock hues, the track keeps the impressive tempting and imagination of the release on a lofty high.

Warm melodies and captivating harmonies colour the following Set in Stone, the song a less invasive proposal than its predecessors as it shows another side of invention and ideation to songwriting and sound. It still carries an irritable essence to its riffs and adventurous rhythms though whilst exploring a melody rich tapestry resulting in arguably the most inventive and adventurous song on the EP and definitely one of its most striking and enjoyable.

Closing on the brief evocative instrumental of Colourless, band and EP leave ears gripped and enjoyment full. It is fair to say that the Black Syrup EP might not be embracing major originality as a whole but it has plenty of fresh and exciting twists and turns that suggest Novacrow are on the right path to finding the ingredient which will truly set them apart. Certainly from start to finish, the release is nothing less than thorough rousing fun; the kind of quality which makes a first look at any band standout.

The Black Syrup EP is out now digitally and on CD @ http://www.novacrowofficial.com/ep

http://www.novacrowofficial.com   https://www.facebook.com/novacrowofficial   https://twitter.com/novacrowband

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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

Ghosts Of Social Networks – Love Potion

art gosn_RingMasterReview

A dark seduction for the senses and a provocative adventure for the imagination, Love Potion is the debut single from UK band Ghosts Of Social Networks. It is not always easy to spark real attention with your first offering on unsuspecting ears, but the Manchester outfit certainly have no trouble with their magnetic fusion of post punk, indie rock, and neo-psychedelia.

Produced by Gavin Monaghan (Editors, Scott Matthews, Robert Plant, Paolo Nutini), the song is a dark tale of unrequited love and the use of alcohol as a way of getting close to someone. Embraced by a potent emotive exploration; its provocative narrative is more than match by thick waves of sultry and haunting sound which wash imposingly yet engagingly over the senses. With bold textures and lingering sonic caresses, the track openly bears the band’s inspirations from the likes of The National through to The Jesus & Mary Chain, with Echo & The Bunnymen the overriding scent especially when melodies and harmonies entangle and fuzzily smoulder in a fiery seduction. Despite those colours, the song reveals a distinct character belonging to the band, one which greedily enthrals as it sublimely slips into the psyche.

Love Potion is one half of an AA sided offering; its companion Mockingbirds, a similarly dark and provocative proposal looking at those imitating celebrity culture rather than carving out their own identity. The first side of the single is our first glimpse at Ghosts Of Social Networks though, providing a mystique soaked romancing of ears and imagination within a tempest of emotion and instinctive adventure from a band already suggesting they are going places.

Love Potion/Mockingbirds will be released digitally through all major sites May 6th on Integrity Records (INT 054).

https://www.facebook.com/GhostsOfSocialNetworks

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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