The Cavemen – Born To Hate

TC_RingMasterReview

It did not take the release of recent single Too High To Die/I’d Kill to stir up eager anticipation for the new album from The Cavemen, that instinct bred by the band’s debut album last year, but it certainly added to the energy of the lustful welcome offered to Born To Hate. Native New Zealanders now UK based within the “grimy streets of London”, The Cavemen is one of those proposals you naturally take to or not, but for raw and uncompromising spirit stirring rock ‘n’ roll, the quartet’s punk driven garage rock takes some beating.

That previously mentioned single suggested a new primal ferocity and trashy tenacity had been bred in the band’s sound, a lascivious urgency which again fuels Born To Hate. In many ways the release is a continuation of The Cavemen’s self-titled debut album; more of the same lo-fi devilry but with this fresh impetus of sonic corruption, the band breaches a new plateau in their salaciously dirty rock ‘n’ roll.

Savage is the first assault on ears, its blues scented impurity a swift involvement of ears and appetite as sixties garage rock puts on its punk pants for a stomping trespass driven by the rhythmic slaps of drummer Jake and the moody bassline of Nick. As with most songs from the band to date, involvement with feet and vocal chords is swift and full, its ease of persuasion just a warm up for the joys to come as I’m A Mess swoops in straight after. A teasing spicy hook starts things rolling, its inescapable lure soon backed by tenacious rhythms and the scuzzy enterprise of guitarist Jack, in turn his great unpolished vocal backing to the punk attitude bred delivery of front man Paul creating a rousing union hard to resist.

swamp-cover_RingMasterReviewI Hate Art romps in next, its raucous hook littered confrontation assaulting and exciting like a fusion of The Sonics and Eddie and The Hot Rods and quickly in control of hips and feet whilst stirring up a litter of trouble before Satan Is Her Name stalks ears and imagination with the same trashy deviancy and demonic wantonness as bound in its centre of attention. Fair to say floorboards bounce when the song is around, its infectiousness enslaving and instantly matched by that uncaged by the corrosive sixties pop bawdiness of In Love With You complete with eagerly chopping riffs and fab four inspired howls.

There is a taste of Motorhead to next up Speed Of Death, its harsh ferocity and virulent antagonism as catchy as anything taunting from within Born To Hate while showing a broader diversity within the familiar Cavemen sound. That variety continues across the album as songs like I Hope They Drop The Bomb On Me bullies and flirts with its sonically befouling seventies punk/power pop inspired antagonism and straight after the crazed punk ‘n’ roll of Ain’t My Baby ignites an even greedier reaction and union between listener and release.

The band drops down a gear for the excellent Dead To Me, its meaty croon though still loaded with muscular energy as it strolls rabidly through ears with its psychobilly laced garage rock before Nasty Girl Nasty Boy whips up the passions all over again with its The Pirates meets The Flys romp. Pure rock ‘n’ roll in its most primordial punk breeding, the track is irresistible; a certain pinnacle though closely chased throughout the album by songs like the psychotic UK Subs coloured C.H.A.R.L.I.E. and the ever glorious I’d Kill (To See You Dead). One of the tracks on the last single, it is a belligerent nagging of the senses carrying a great groan of The Saints and The Lurkers to its grouchy contagion.

Born To Hate is completed by the persistent fingering of Why Won’t You; a song as seventies pop glam as it is punk in its sonically ravaged way, and an inescapable infection to bring a thrilling release to a boisterously rousing close. The band’s songs might and will draw comparisons to others at certain times but every flavour is devoured, twisted, than corrupted again until emerging as part of a riot unique to The Cavemen and right here helping create an album which simply leads you into dirty habits.

Born To Hate is available via Dirty Water Records at https://thecavemennz.bandcamp.com/album/born-to-hate  and http://www.dirtywaterrecords.co.uk/shop/#!/The-Cavemen/c/18119001/offset=0&sort=normal

 

https://www.facebook.com/thecavemennz

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Tirade – Self-Titled EP

tirade_RingMasterReview

With its virulent pop swing, it is hard to say that the Tirade sound lives up to the fierce tone of the band’s name, but certainly it makes a sizeable, attention grabbing impact going by their richly enjoyable debut EP.  Consisting of seven eventful and resourceful tracks, the self-titled release is a feisty and bubbling fusion of alternative rock and pop punk which employs familiar strains and textures in something potently fresh and increasingly enjoyable.

Hailing from Manchester, the quartet of lead vocalist/bassist Jake Tilley, vocalists/guitarists Josh Pearl and Alex Young, and drummer Stevo Somerset draw on inspirations ranging from Lower Than Atlantis, Press To Meco, and Don Broco to We Are Carnivores and Reuben for their praise luring sound and songs. Formed last year, Tirade are becoming the eager whisper on an ever growing wave of lips, a secret we expect soon becoming an open and loud shout as their EP nudges national awareness.

With moments of really striking moments, the EP is a consistently enjoyable encounter opening up with a band. Snakes and Social Ladders quickly has ears and appetite engaged as jabbing beats and nagging riffs collude. Soon the song is boldly romping, springing sonic intrigue and tasty hooks all the while across its body. It does hold its full energy in relative restraint, turning it into a gripping infectiousness as the guitars create a repertoire of sinewy, melodically endowed enterprise further coloured by Tilley’s impressive vocals and equally strong harmonies.

tirade-tirade-front-cover_RingMasterReviewThe great start is soon eclipsed by the following theatre of Punch?, a song which is as unpredictable as it is catchy. From its first breath sing-a-long vocals unite with sonic espionage as the guitars twist and turn with technical revelry and math rock spiced invention. The rhythms of Tilly and Somerset drive the song relentlessly, adding to its infection as the imagination of the band, not always as forceful elsewhere, has a field day.

Knives In Your Eyes entangles ears in another flavoursome hook within seconds, its spice surrounded by fiery suggestiveness before the song settles into a calmer stroll expelling that initial heated drama throughout. As with the last song, there are essences which spark thoughts of Swound!, a spiky invention aligned to the melodic prowess of Jimmy Eat World/ Lower Than Atlantis. From start to finish, the track hits the spot with ease as too its successor We’re Having Fun. As rhythms punch, harmonies shine with a trio of voices that blend perfectly across another slice of real catchiness. Even with its contagious instincts though, there is a bite to the Tirade sound, a creative snarl as bold as anything within this tenaciously captivating stomp of a song.

For personal tastes, the sparks which help its previous songs spark a lusty appetite for the release are less prominent from hereon in upon the EP though there is no doubting the appeal and enjoyment found in Travel Agent for Guilt Trips and the following, increasingly compelling Optimism. Again both tracks are a marriage of thumping rhythms and harmonic warmth bound in ear pleasing dynamics but lacking the stronger inventiveness and snap of their predecessors.

The EP concludes with The World Isn’t On Your Side, another highlight closing the release as impressively and raucously as Snakes and Social Ladders opened it. Cantankerously bold, the outstanding track is the heaviest moment of the release, almost predacious as Tirade reveals another string to their creative bow.

It is hard not to think Tirade as a band on a certain rise after this fine release, and once the potential shown here is realised as something truly distinct and unique in sound and songwriting, that loud whisper just might become a raging roar.

The Tirade EP is out now @ https://tiradeuk.bandcamp.com/album/tirade

https://www.facebook.com/TIRADEbanduk    https://twitter.com/tiradeband?lang=en-gb

Check out the video for We’re Having Fun @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

From Rust – Lost Sense Of Life

from-rust-online-promo-shot_RingMasterReview

British metalcore outfit From Rust have just unleashed debut EP Lost Sense Of Life, a release which makes up for what it lacks in real surprises by breeding an attention luring character bound in a ferocious tempest of sound.  Fair to say it is a promising, potential loaded introduction to the Somerset hailing quintet which has installed itself as one of our current persistent listens.

Created in 2014 by long-time friends, vocalist Jake Searle and lead guitarist Camden Gibson, From Rust has taken their time to emerge. With a line-up finally completed by rhythms guitarist Tom Waters, bassist Sam Elswood, and drummer Sam Kellaway, the band spent numerous months creating and honing their sound, its raw and pungent creative roar making a potent impact once the band hit the live stage towards the end of 2015. Since then they have shared stages with the likes of Despite My Deepest Fear, Thrones, Values, and Materia while hitting the studio earlier this year to uncage the fury fuelled Lost Sense Of Life.

Inspirations to the band are said to include bands such as Parkway Drive, Northlane, and All That Remains; essences which do not hide within the EP and opener Whispers but it is fair to say adds to the storm rather than drives it. The first track coaxes with a fiery groove initially as rhythms and riffs collect in the background before consuming the senses and shaping the blossoming assault. They align to rather than devour that initial enterprise, melodic flames and scything sonic spears joining the potent ire and variety in Searle’s vocal trespass. As atmospheric throughout as it is venomously fierce and relentlessly vicious, the track is a strong and engaging start but soon outshone by its successor.

from-rust-cover-artwork_RingMasterReviewInside Out is superb, from the sonic web slung out there by the guitars at the start exposing itself as a ravenous beast of raw and inventive temptation which burrows itself into the imagination and psyche. There is a swagger to that initial tapestry of guitar matched in the prowling beats and threat loaded bassline of Elswood; all luring and baiting the senses before entangling in a rabid onslaught. Twisting through those varied attacks and more across its inventive body, suggestive intrigue soaked melodies and varied metal strains circling ears, the track grips and enthrals taking best track honours whilst uncapping the potential of real uniqueness within the band to hopefully emerge ahead.

If the previous track is predatory, Predictable Pain is bestial as it stalks the listener, all the time jabbing away with its salacious rhythms as guitars and bass weave a mercurial tapestry of sound and imposing emotion further shaped by the raw throated intrusions of Searle. With senses wilting breakdowns and rapacious vocal squalls within the net of sonic enterprise, the track is certainly a centre of attention if lacking the final elements which ignites its predecessor and indeed the following Grey World. With Searle using his range of attacks, to great effect, the track is a cancerous yet infectious abuse cast with an invention and imaginative boldness hinting at greater things ahead as the band develops in sound and songwriting.

Final track Gone Forever is just as intensive and enjoyable, epitomising the release in many ways as recognisable essences are embraced by the band own keen invention and readiness to be bold and try to be different. It is that element which really helps Lost Sense Of Life command the senses and suggests that once From Rust really go for it, they could be one of those taking British metal boldly forward.

Lost Sense Of Life is out now on iTunes.

https://twitter.com/fromrustoffical    https://www.facebook.com/fromrust/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Scott Swain – Oil!

scott-swain_RingMasterReview

By his own words, “This track is what you get when you cross the film There Will Be Blood with Johnny Cash“. That description sums up Oil!, the new single from Scott Swain perfectly; its flavouring and emotive atmosphere encapsulated in those few words and living up to hopes equally raised by such a suggestion. The song is a swarthy slice of melodic rock within a country/mariachi spiced cinematic climate of suggestiveness which swiftly captures attention and imagination.

Having played in bands for almost a decade, supporting Biffy Clyro among the highlights, Swain decided to explore his solo side when his main bands, How to Dress a Monster and Fire at Night, took breathers earlier this year. Drawing on inspirations ranging from Elliot Smith and Mark Lanagan to cult cinema, he soon ventured onto the live scene with just his voice and acoustic guitar. As Oil! shows, in the studio Swain expands his sound and emotive adventure with the help of others but without losing that organic raw character and texture luring increasing praise.

Inspired by There Will be Blood, with Swain lyrically examining “the relationship between wanting to be ambitious and the things which can be sacrificed in the process”, Oil! is a natural seduction of ears and thought. From its first melodic strum and metronomic lure of beats it has ears gripped, ambling in with purpose before hitting an even eager stride as guitars and bass unite around warm harmonies. The country kissed twang of guitar and melodies hold a myriad of pictures for the imagination to conjure while feet and hips are employed by the gentle but keen swagger of the infection loaded song and its lively gait.

Managing to smoulder in emotion and atmosphere while providing a tenacious canter to get involved in, the song is pure magnetism which lingers long after taking its leave and increasingly impresses with subsequent listens.

Oil! is out now via iTunes, Spotify etc.

Upcoming Live Dates:

06.12.2016 Apples and Pear Bar, Brick Lane. London

14.12.2016 Fu Manchu Bar, Clapham. London.

22.12.2016 The Bricklayers, Hitchin.

http://scottswainmusic.com/   https://www.facebook.com/scottswainmusic

https://twitter.com/scottswainmusic

Check out the video for Hitman from Scott Swain @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Rip and Roll; exploring the snarl of Tarah Who?

tw_-tarah_RingMasterReview

Tarah Who? you may ask; and the answer is a band which takes a bite of the senses while igniting the imagination with their punk infused and inventively hungry rock ‘n’ roll. The project of French born and LA based vocalist/guitarist/songwriter Tarah G. Carpenter, Tarah Who? is a band really beginning to entice wide spread awareness with a sound which simply demands attention. We had the pleasure to chat with Tarah (TGC), bassist Matt Peltcher (MP), and drummer Paul Costanza (PC) about the band, its beginnings, inspirations, their latest release and more…

Hello guys and thanks for taking time out to talk with us.

Hi! Thank YOU for your interest in Tarah Who?

Can you first introduce the band and give us some background to how you all came together?

TGC: I started writing songs when I was 15. It was not something I thought of doing seriously, I enjoyed playing the drums or bass in different bands better. As I moved to the States, it became more personal, I started writing more and more and taught myself the guitar.

Over the years, the writings became songs. I recorded a few demo songs, playing the drums, bass and guitar. Met people that were interested in the project and helped record my first album more professionally. Then I looked for musicians to play those songs with, and it became Tarah Who?

I have played with a lot of people, in France and in the US. I met Paul through a friend, and Matt through an ad.

MP: Well I met the band after answering an ad. I loved the music and we hit it off.

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

TGC: Yes I am always playing drums or bass on different projects. I also like to write other styles than for Tarah Who?

Playing for other people or in different bands is like taking a little break. I don’t like to play in bands that sound similar to Tarah Who?. It stays in the genre of Rock but it’s usually a different type of Rock.

PC: Nope, this is my first band.

MP: I have been in other bands and I guess the continued love of playing music inspires what I do now.

tw2_RingMasterReviewWhat inspired the band name?

TGC: The band name is an accident. It was the subject of an email I had sent to my band mates at the time.

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

TGC: I am very picky with my musicians. I didn’t mean to be a three piece band. It just happened. I am looking for a guitar player, but it is not a priority. I think we sound good as we are, and until we find someone who fits to our sound and personalities, we don’t have to rush things.

I like our sound to be simple, raw, and full of energy. Plug in and play.

Play with our emotions, more than a bunch of different sounds and effects. It is important that the musicians i play/work with, understand the emotions/story behind each song.

Do the same core essences still drive the band?

TGC: I have grown as a writer; I have been inspired by different events and people, so I think our music has changed a little. We are “angrier” in sounds.

When I started recording, I was influenced a lot by “producers” or other people I have worked with. I didn’t dare to say or talk about ideas I did not like or directions I didn’t want to take. Today, I do it all on my own, which makes everything easier and more satisfying. 🙂

PC: The sound has gotten a lot more angry.

TGC: True…

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

TGC: I don’t think this far. I write the songs and arrange them until I like them. I do it for myself and because it makes sense TO ME! I don’t follow structures or anything like that.

I write a song. If I like it, I keep it, if I don’t I move on to something else. It is as simple as that.

If I try new things, it is an accident because I am not into effects and new technologies.

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?

TGC: Yes. I don’t remember if it was an interview that I have seen or read about The Distillers, but Brody has mentioned once that The Distillers wrote albums in two weeks. (I hope I am not distorting her words) Anyhow, that is what I remember.

We all have different ways of expressing ourselves through art, some people take months to write or paint others just do it.

I don’t think there is ONE way to do things, and I don’t think there is a formula either. When Brody said that about the Distillers, it resonated in me because I have never experienced the whole “writing for ever” thing. If anything it supported my way of writing or making art. I have noticed that a lot of people don’t know when to stop while creating. Most of the time, the simplest songs are the best songs.

Is there a particular method to your songwriting?tw-art_RingMasterReview

TGC: When I write, I feel inspired. It is really hard to describe but it is almost like I am somewhere else. (I don’t get high!) This feeling usually lasts a few minutes (maybe 10-15 min) when it is gone, I am done. I can’t go back to it. This is where my writing (or painting) is done. I don’t read back or I don’t paint back on it ever again. I don’t push my writing either. I believe in emotions, not perfection.

PC: I don’t write anything. Tarah writes it and I play it.

MP: Tarah writes the songs and we just basically hammer them out in the studio until they sound just right.

Where do you, more often than not, draw inspirations for your lyrics?

TGC: Events, people, my perception of situations, imagination.

I often look at a situation and just reflect on it on a piece of paper and that is the song!

My lyrics are just ideas and or emotions I need to let out.

Can you give us some background to your latest release?

TGC: Let’s see… Our latest EP is called Federal Circle of Shame. It is available on ITunes.

What I love about this EP is that it is as RAW as it can get!

The drummer Jo Ko, is just a beast behind the drums, Nicolas Bazin played the Bass VI which is an instrument I own that I literally just put in his hands and said “Figure it out!”, Ash played the bass and did some backing vocals, my really good friend Angie (Under The Skin) improvised some backing vocals and I played the guitar and sang. The sound engineer (Titi) and I got along really well, which made everything go really smooth. We recorded five songs in one day, live.

It was my best recording experience so far. Everyone was really into it, focused and just very talented!

We improvised a lot and had a great time!

Please give us some insight to the themes and premise behind it and its songs.

TGC: There isn’t one theme. Due to the lack of time and finances, we couldn’t record the full album. I picked 5 songs out of the 13 that I wanted to record. We practiced them for a couple weeks until we were ready to go in the studio and record them. I could only afford one day of studio. so we HAD to make it happen!

Cough Drop is the realization that we take everything (including our health) for granted.

Someone Else Will is about letting go of the feelings you have for someone who doesn’t see you the way you see them.

Kids of Ireland: on my last trip to Ireland, I ran into a lot of young adults that were either really high or begging for money to get high. It made me really sad.

Bitchcraft: talks about obsessing over someone you don’t want to!

14 Months is about the media, and a specific headline about a mother drowning her 14 months old baby.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

TGC: I pre-record the album a couple times before I go in the studio, to make sure I know what to play and what I like.

I have never been in the studio for more than a week, so I usually don’t have time or money to develop or try anything new!

I like to come prepared.

In a different project, I wouldn’t mind, developing or exploring. I don’t think Tarah Who? is that kind of project. There is always a little bit of improvisation in a way, with drum fills, or for instance Nicolas that I just let free to play whatever he wanted with the Bass VI or Ash and Angie who didn’t even know that they were going to sing that day! I gave them the lyrics and told them to go out there and sing! So in a way we developed that on the spot, but the songs were structured and already recorded.

tw3_RingMasterReviewTell us about the live side to the band, presumably the favourite aspect of the band?

MP: Playing live is the best high energy fun you can have. Our fans get really excited about our live performances.

TGC: Live shows are always really fun…especially if our fans know the songs and lyrics. I love to see people let go and dance! We like to entertain, so when we see that people are having a good time, we are really happy.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

MP: Absolutely nothing is easy but there is nothing I’d rather be doing. Hard work and tenacity is the road to success, don’t sweat the small stuff. There are always opportunities especially in “our neck of the woods”.

TGC: Playing live is easy. Anyone could play live if they wanted to. What isn’t easy is getting the attention for bigger, better and more.

There are a lot of opportunities. You’ll find in time which ones fit your project and desires. We don’t all want the same things for our music careers. The opportunities are there, look where it fits you.

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

MP: Consistency is the key to making social media work for you. It’s definitely an advantage to reach out to your fans with a click.

TGC: Social media is great to make new contacts, keep updating our fans, meet more and new fans etc… I think it is definitely increasing our success as we can book shows in different cities and expect people to show up, because they follow our Instagram, Twitter or Facebook page.

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

Thank you!

Yes, check out our new music video and stay tuned for the upcoming album!

https://youtu.be/tEijrptM2aU

https://www.facebook.com/Tarahwho    http://www.tarahwho.com/

Pete RingMaster

The RingMaster Review 25/11/2016

Copyright RingMaster: MyFreeCopyright

Born to Burn – Welcome To Reality

btb_album_2016_RingMasterReview

Savaging the ills of the world we live in as well as the senses, French antagonists Born to Burn have just released their debut album, an encounter which challenges and impresses in equal measure. Welcome To Reality is eleven raging trespasses born from a fusion of 90’s hardcore and various metal bred influences. It is also a persistence of aggression and animosity bound in a sound which weaves familiar textures into the band’s imaginative invention in an encounter which only and increasingly grabs attention and an eager appetite for its ferocious presence.

Formed in 2013, the Tours hailing quintet release their first demo the following year, which with their intensive live shows soon placed Born To Burn as one of the vital ingredients in the local metal/hardcore scene. Linking up with Dooweet Agency earlier this year for its release, the band have just unleashed Welcome To Reality to further their presence and reputation across their homeland and into wider shores. Such the raw power and creative tenacity of the album alone, it is hard to see the band failing to ignite wider and keener interest in a sound which rampages through ears while despoiling and exciting the senses with extreme bearish irritability.

The album opens up with Welcome and waves of warning sirens, their portentous calls sending clues to the threat to follow. All the time building in intensity and drama, the track eventually breaks into a predacious prowl with its instrumental intrigue and danger leading the listener into the waiting trap of Who Are You. Initially the song carries on with the restrained but imposing nature of its predecessor but eventually uncages its muscular venomous intent while still continuing to stalk the senses and imagination. With open distrust and ire in the imposing presence of the great vocal growl, a character matched by riff and rhythm, the track invades and persuades with an easy to embrace potency; winding sonic enterprise and toxic grooves a delicious topping.

btb-wtr-front_RingMasterReviewHammer quickly takes over and soon reveals a bolder tempestuousness and urgency in its attack as thrash scented riffs collude with rhythmic spite whilst vocal and lyrical causticity bears down on thoughts. As bullish and adversarial as it is, there is a swing to its gait and catchiness to its design which makes the punishment so easy to devour whilst revealing more of the swiftly showing invention in the Born To Burn songwriting and imagination.

Its inescapable qualities are matched by those of the blunt force trauma that is Seven, a track punching and jabbing its way with raw brutality but exposing subsequent wounds to another array of invasive but captivating twists and turns. The guitars spin a web of melodic and sonic adventure throughout, never diminishing the force of the attack but giving it additional striking appeal before Finish Him offers its own predatory sonic conflict with a rhythmic violation of scything beats and bestial bass which almost single handed ensures a greedy appetite. With threat loaded vocals and biting riffs bound in the inventive tartness of the guitars adding to the rancor, the track is irresistible as too successor The Shield which from its opening darkly alluring bassline just increases the enslaving enticement layer by imaginative layer.

Through the acrimoniously infectious storm of Pigs, with its more classic heavy metal spicing, and the rapacious tapestry of Warm Up, the album only tightens its grip on ears and appetite. The second of the two is an unpredictable and eventful fusion of punk and alternative metal wound in fiery grooves and dirt encrusted vocal harmonies. It is constantly evolving and exploring dark shadows and boisterous ideation before Dark Walk and its shamanic quarrel envelops the senses to relentlessly bewitch and bruise. All the time though it’s hardcore heart is blossoming, subsequently taken control and driving the still relentlessly contagious tempest.

Welcome To Reality is concluded by firstly Loud, another creative predator at ease prowling or savaging the listener and lastly Mars which entangles ears in blissfully corrosive grooves from its opening breath and only proceeds to turn that pleasure more lustful with every passing adventurous incursion.

The way the album is set up, with each subsequent song it becomes bolder and more inventive, in turn unique with the potential of greater things to come just as open. Born to Burn has something different about them which is already marking them out as a very promising proposition but once further realised there could be no stopping them becoming a major violation and treat on the senses.

Welcome To Reality is out now across most online stores.

https://www.facebook.com/btoburn

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright

The Bottom Line – Pull Me Out

the-bottom-line _RingMasterReview

Ahead of their new EP, I Still Hate You due for release at the beginning of 2017, British pop punksters The Bottom Line have released a rousing teaser in the shape of their new single. Pull Me Out is a seriously catchy and boisterous affair which tops off a rather eventful and successful year for the London band.

Formed in 2011, The Bottom Line has increasingly made their presence known within the UK pop punk scene with the past year seeing the outfit release two well received singles in Insecure and the-bottom-line-i-still-hate-you-art _RingMasterReviewPlaylist, open for Bowling For Soup in Ireland, play Facedown, be part of sold shows as main support to Room 94, and venture through fourteen countries alongside Simple Plan. Now to end the year on a high, we have Pull Me Out, a track which takes no time in accosting ears with spirit raising enterprise.

From its first breath, melody bound riffs and rampant rhythms enjoyably impose, their instant catchiness just the prelude to the song’s broader body of feisty textures and inescapable infectiousness. With strong vocals egging on and potently sharing the eager heart of the song, it is soon a tenacious union of sinewy basslines, swinging beats, and a host of tempting hooks and biting riffs.

It is probably fair to say that the song weaves its body with familiar spices and textures, their recent French-Canadian tour mates springing to mind with ease, but there is a freshness and distinctive zeal to the encounter which reeks of more distinctive promise and simply sparks an inquisitively hungry appetite for the band’s sound and future propositions, starting with the upcoming I Still Hate You EP.

A foot to the floor rocker of a track, the single is the sign that 2017 may very well exceed this in the band’s rise.

Pull Me Out is available now.

https://www.facebook.com/thebottomlineuk    http://thebottomlineuk.com/

https://twitter.com/thebottomlineuk

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright