Dearly Beloved – Admission

 

beloved-12_RingMasterReview

It would have been hard to imagine Canadian band, Dearly Beloved majorly outdoing their last album Enduro at the time of its release, it one glorious slice of garage rock inspired sound built on instinctive and striking imagination, but they have done just that with its successor Admission. If there is such a thing as the perfect record, Dearly Beloved come so close with their new offering. Yet again the band recruits and manipulates the imagination with their sonic tapestries, embracing even greater adventure and variety whilst fully uncaging their rock ‘n’ roll instincts. If the last album was glorious, Admission is majestic; quite simply a primal and ingeniously conjured, addiction sparking roar.

As with its predecessor, the Toronto based band leapt upon and recorded fifth full-length Admission in quick time, using up fourteen days at Dave Grohl’s Studio 666. As ever centered around the vocal pairing of bassist Rob Higgins and Niva Chow, the quartet linked up with produced Daniel Rey (Ramones and Misfits) to record the album, using the famed, 70s era Neve 8028 analogue console that spawned Nirvana’s Nevermind. The result is a proposition which grips ears with vice like tempting while taking feet, hips, and rock ‘n’ roll instincts on a ride of their life.

RIP kicks things off, instantly chaining attention and an eager appetite because of previous successes with a grumbling yet vibrant bassline matched by senses rapping beats. A momentary breath uncages a torrent of hungry riffs and antagonistic rhythms, that in turn the prelude for a controlled yet ferocious rock roar. It is a fiery incitement perfectly contrasted rather than tempered by the warm inviting tones of Higgins and Chow, together a riveting lure in the creative storm. More virulent than the common cold, the track is pure dominance, irresistibly enslaving hips and feet as easily as ears and emotions.

The sensational start is more than matched by These Data, it too fleecing the passions with an opening lure of bass, a swinging groove woven coaxing infesting the psyche as a sonic shimmer sizzles around it. Beats dance with creative tenacity around that prime draw, Higgins again vocally captivating with Chow a similarly magnetic support as the track rumbles and grumbles. It is riveting stuff with guitars adding a great sour spicing to the mix as punk and grunge essences join the garage rock natured proposal.

admission1_RingMasterReviewI Tried To Leave brings a lighter poppier tone next though bass and drums still have that enjoyable crankiness as the pair explores a more Jane’s Addiction flavoured adventure. Every twist and turn in its intoxicating blaze brings fresh ingredients to devour, a psych rock invention only adding to a mouth-watering stomp before Who Wants to Know turns the album’s charge into a prowling, dark toned trespass. Vocally Higgins and Chow conjure a bewitching union whilst sonically the song sears the senses as rhythms dance on the debris with ridiculously infectious wantonness. A subsequent passage of relative calm enables a blues laced groan to emerge, its restrained air remaining as the track expands again until its volatility surges through ears as Chow’s harmonic lures beckon like a siren.

Through the kinetic punk ‘n’ roll of Strobe-Dosing and the abrasive funk of Currents, band and release use the listener like a puppeteer, the first as much pop natured as punk belligerent as it courses relentlessly like blood through veins into the psyche and passions. Its successor holds back its instinctive urge to career through ears, allowing its rhythmic heart and harmonic beauty to entice the senses like a raw blend of Shriekback and Ex Norwegian though as ever, a Dearly Beloved song is never slow in developing new detours and twists to enjoy.

The garage punk devilry of Blood In The Water provides the next major highlight of Admission, its dark heart and tantalising slow rhythmic prowl almost crawling over the senses as electronics atmospherically play and guitars toxically simmer. As vocals and harmonies radiate and yet another wicked bassline from Higgins grips, the track moves and burns like gothic lava.

Its startling presence is matched by that of Boxing Days straight after, the song aural seduction from its bewitching vocals and crabby bassline to its harmonic romancing and infectious tempestuousness. From a fascinating simmer it grows into a conflagrant eruption of sound and intensity impossible to evade not that you will wish to.

It is fair to say there are no weak moments within Admission; no times it comes close to loosening its masterful hold and creative success as proven once more by the closing creative outcries of When You Had The Choice and Future Shock. The former is a romping slice of rock ‘n’ roll with an unmistakable Foo Fighters like boisterousness and aggression in its punk heart while the latter skilfully blends calm and clamour in its own garage rock/punk driven trespass, each entwining a host of flavours in their spirit rousing traps.

It is very easy to keep heaping more praise upon Admission but the evidence is in the sound and time shared with it, though Dearly Beloved need little of either to convince and prove themselves one of the most exciting bands out there.

Admission is out now via Aporia Records across most online stores and @ https://dearlybeloved.bandcamp.com/album/admission-2

http://www.dearlybelovedmusic.com/    https://www.facebook.com/TheBeloveds/    https://twitter.com/thebeloveds

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright

Where Fires Are – I’ve Got The Time

where-fires-are-pic _RingMasterReview

As their new EP, One Four Six One waits in the wings to be released, British alternative rock outfit Where Fires Are have unveiled its lead track I’ve Got The Time. The song is a rousing slice of energy and craft wrapped in an imaginative enterprise which ensures it stands out from the crowd.

where-fires-are-ep-artwork _RingMasterReviewThe seeds of Where Fires Are go back to its five members meeting at Leeds College of Music in 2010. The next couple of years or so saw its individuals playing in various bands or exploring solo projects before Nick Banks, James Clegg, Matt Exton, Robbie Gillespie, and Ash Reynolds finally found themselves free to link up for their own musical adventure. That was late 2013 and since then Where Fires Are has established a potent reputation for sound and live presence. One Four Six One is their next nudge on national attention which, if it lives up to the potential of I’ve Got The Time, is success easy to see coming around the near corner.

The song’s first breath brings a forceful tide of imposing riffs and thumping rhythms as electronics sizzle behind them. Swiftly after its force dissipates as harmony backed vocals and warmly suggestive keys emerge to wrap ears. It is a striking contrast which just works as both extremes provide a matching potency and craft, subsequently merging as the track twists and turns through its emotion driven angst and tempestuousness.

The ever changing landscape of the song is seamless with each new turn adding something new for the imagination to ponder and ears to devour. It is rousing stuff which as just commands attention and a quickly growing appetite for song and sound.

Expect to hear a lot more of Where Fires Are!

The One Four Six One EP is released February 3rd.

Upcoming Live Dates:

Thursday 2nd February – Bannerman’s, Edinburgh

Friday 3rd February – Gulliver’s, Manchester

Saturday 4th February – The Plug, Sheffield

Thursday 9th February – The Face Bar, Reading

Friday 10th February – The Underground, Bradford

Saturday 11th February – The Tubman, Hastings

Wednesday 15th February – 93 Feet East, London

Thursday 16th February – Nice n Sleazy, Glasgow

Monday 20th February – The Joiners, Southampton

Friday 24th February – Brudenell Social Club, Leeds

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

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright

Vullnet Neziri ft Curtisay – Someday I’ll be Somebody

VN_RingMasterReview

Following the success and acclaim found by his previous singles, Macedonia born singer Vullnet Neziri has linked up with Jamaican rapper Curtisay for his third outing, Someday I’ll be Somebody.

From giving praise winning performances on TV show The Voice Of Albania in 2013, Neziri has honed his craft and sound over the two years leading to the release of his debut single You Got Me in 2015. Last year he followed it up with Rollercoaster, a song drawing more eager ears his way. Both songs and indeed Someday I’ll be Somebody show a variety in his releases which is sure to make his first album, scheduled for release later in 2017, an intriguing promise laden proposal.

As his debut track, Someday I’ll be Somebody was written by Academy Award and Grammy Award nominated, Golden Globe winning songwriter Diane Warren and was previously recorded by Justin Bieber. Neziri with Curtisay alongside gives the song a fresh identity which makes it far more interesting proposition than with its previous outing. With a warm jazzy lure around the opening vocal licks of Curtisay, there is instant warmth which entices ears. It is only escalated by the distinctly individual styles of both men, Curtisay providing a variety lined revelry against the emotion fuelled croon of Neziri.

Surrounded with a sound just as eager to imaginatively play, Someday I’ll be Somebody is an inviting slice of enterprise for all pop loving fans.

Someday I’ll be Somebody is out February 3rd through Hook and Rhyme Records.

https://www.facebook.com/Vullnetneziri1

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright

High Tiny Hairs – LP

HTH_RingMasterReview

It is fair to say that High Tiny Hairs do not waste too much time thinking about names for their releases, their introduction being called EP and a debut album going by the name of LP, their names the distinction between two self-titled proposals. Where they do centre their attention is on a sound which tantalises and captivates. Creating a compelling mix of garage and psych rock as sultry as it is infectious, the band captured ears and imagination with their first EP, a tempting which has blossomed into something even more beguiling in its full-length successor.

The beginnings of High Tiny Hairs came in the spring of 2014, the band starting out as a solo project for Minneapolis songwriter/vocalist/guitarist Ben Bachman. He recorded and produced the High Tiny Hairs EP soon after before joining US garage rock band Fuck Knights on their European tour prior to its release. It was on the Spanish leg of that adventure where he met Spanish troubadour Cristina Mirica and found a union in music and loves. They kept in touch after his return to America, an emotional bond growing which Bachman put down to the cure to his writers block. Towards the end of that year, he returned to Spain and Mirica, the pair also creatively uniting for what stands before us, the band’s magnetic first album.

Mixed by Ross Nueske, the album opens up with Bcna, guitars quickly wrapping engagingly around ears as the warm serenade of keys flirt with the senses. Seriously catchy from its first breath, the song only grows in tempting as Mirica’s warm tones joins the swagger of bass and crisp beats. There is a surf rock scenting to the track alongside its sixties flavoured garage pop, a mix which has hips and appetite dancing and all warmed up for the just as lively and enjoyable stroll of Upside Down. Hooks and melodies entangle as rhythms bound with an irresistible swagger, Bachman’s vocals and keys sauntering along the infection loaded encounter.

As Night Walking engages ears next it is clear that the punk essences of that first EP have been more or less replaced with a richer wash of variety, the song’s warm and seductive swing embracing psych blues and broader rock elements. There is no escaping getting hooked up in its masterful sway or the seventies glam pop flavoured rock ‘n’ roll of the following Rattlin. With more than a passing nod to bands like Sweet, the song romps along with ear enslaving virulence as Bachman’s guitar weaves a web of melodic enterprise around beguiling vocals.

art_RingMasterReviewRolling Smoke dips back into the seeds of sixties garage rock next while Stained smoulders with psych rock imagination from the same era straight after; both tracks as diverse and unique as they are mutually captivating and creatively stylish. They are qualities which again shape the hazy canvas of My Mind, a track with a whiff of bands like The 13th Floor Elevators and The Electric Prunes to its dark pop romancing.

The album is completed by firstly On a Plane, a humid summer of psych and garage rock with underlying tempestuousness, and finally Sunset. The closer is a riveting controlled stomp of punchy beats, brooding bass, and exotic melodies aligned to just as hazy vocals and steamy keys. It is a delicious end to an album which is just as flavoursome and more as a whole.

With a line-up now expanded by the addition of Coda’s Guillem Gabarró and Raül Romero of Flashback Five, High Tiny Hairs is looking at a rather exciting year on the back of one rather fine release.

The High Tiny Hairs LP is out now @ http://hightinyhairs.bandcamp.com

https://www.facebook.com/HighTinyHairs   http://hightinyhairs.wixsite.com/hightinyhairs

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Kilkovec – Plunge

kilkovec-promo-shot_RingMasterReview

Following up their eagerly praised EP, Sick Of This, British trio Kilkovec make an even louder knock on real attention with its successor Plunge. Again built on the band’s feisty mix of alternative and punk rock, the new EP takes the band’s sound, imagination, and presence to a new level, one demanding that people take notice.

Consisting of vocalist/guitarist Daniel Wilson, bassist/vocalist Matt Stroud, and drummer Tom Longwater, Hampshire hailing Kilkovec emerged in 2012. Hitting the local live scene with relish, they released debut EP Name Your Place to good reactions in the underground scene though it was Sick Of This last year which sparked critical and broader fan acclaim the way of the threesome. As Plunge roars and twists around in ears it is easy to suggest and suspect even greater plaudits hitting the band’s creative shores, praise to match the rich reputation earned by their live prowess which over the years has seen the sharing of stages with the likes of Yearbook, Seething Akira, Flood of Red, Bad Sign, Press to Meco, Black Foxxes, and The Red Jumpsuit Apparatus.

The EP’s brief title track kicks things off, its atmospheric instrumental setting a schizophrenic scene from which the following Change whips out an initial provocative guitar groove swiftly joined by portentous beats and in turn predatory bassline. As much as it carries dark danger, the coaxing has spicy warmth drawing the imagination further into its depths and the potent waiting tones of Wilson. As it develops, raw infectiousness brews and blossoms within the track’s tempestuous punk ‘n’ roll making its irritable charms even more compelling and its unpredictable enterprise pure magnetism.

kilkovec-cover-artwork_RingMasterReviewIt is a great start to the release setting the agenda for the adventure and invention shaping Plunge and next up Just Get Better. Rolling in on great rhythmic agitation with just as alluring tides of riffery, the track quickly grips ears and appetite, throwing itself rhythmically around with muscle and attitude as vocals roar and grooves entangle the senses. Its fiery rock ‘n’ roll takes no prisoners though again its virulent catchiness perfectly tempers the raw aggression.

Somerset Cottage brings a mellower proposal straight after though it’s underlying steel and angst is soon flowing through the song’s creative veins as both sides of its character interact with imagination around the impassioned vocals of Wilson. Again there is nothing predictable about the song and its twists; even if the chorus has a familiar feel ensuring participation with it is easy. Littered with groaning grooves, the track is an increasingly captivating spectacle matched by the more straightforward punk infused rock of 40,000 Leagues and Counting. It may not have the boldness of its predecessors but the track only satisfies with its growling nature, anthemic heart, and melodic acidity.

Constructive Criticism is another short instrumental, creative doodling before the outstanding Go On (and on and on) brings its Fatima Mansions meets letlive. like creative drama to bear on ears and thoughts. At times it is a suggestive croon, in others a caustic brawl and increasingly an inescapable lure for the imagination leaving Here’s to You to close things off with its tenacious mix of engaging melodies, rousing vocals, and barbarous rhythms.

It is a thoroughly enjoyable end to a similarly agreeable release suggesting that Kilkovec are not too far away from getting their hooks into nationwide recognition, if not even bigger spotlights.

Plunge is released 27th January.

https://www.facebook.com/Kilkovec/    https://twitter.com/kilkovec

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Renegade Twelve – Self Titled

renegade-twelve-promo-shot_RingMasterReview

With a character which refuses to be pigeonholed yet openly embraces every flavour of melodic metal and heavy rock you care to mention, the self-titled debut from Renegade Twelve is oh so easy to like. Offering ten rousing slices of rock ‘n’ roll as inventive as they are seemingly familiar, the release is a formidable and increasingly captivating introduction to the British outfit.

Hailing from Suffolk, Renegade Twelve emerged in 2014, formed by long-time friends in lead guitarists Jacob Mayes and Dan Potter, bassist Josh Barnard, and drummer Jack Mcsloy. It was with the addition of vocalist Sam Robson that the jigsaw of talent was finally complete, a union driving the band through over 100 gigs in 2016 alone in support and preparation for the release of their first album.

Recording it with producer Rupert Matthews who has collaborated with the likes of Rolling Stones, Led Zeppelin, The Who, The Eagles, and Black Sabbath, Renegade Twelve quickly unleash their individual and united enterprise with opener Mad Max. It opens from afar, sonic melodies and fiery energy brewing up their engines at a distance until ready to stand toe to toe with the listener. Once in place it is an imposing yet not overtly aggressive proposition, Robson soon leading the surge of adventure with his quickly impressive tones as guitars weave their sonic tapestry around the swinging rhythms of Barnard and Mcsloy. A definite Avenged Sevenfold colouring coats the song but it also offers plenty more to get the teeth into.

Vanity follows with its own blistering weave of melodic and heavy metal, its instinctive roar equally brewed on an array of textures from alternative and groove metal to classic rock. With ease, as its predecessor, it sparks the spirit and energies before Heroes Of Mine embraces ears with its melody rich, almost folk metal spiced enterprise before settling into its muscular melodically persuasive rock ‘n’ roll canter. Though the track is eclipsed by those around it, there is no lessening of appetite and enjoyment already bred by the album especially as the technical imagination of the guitarists dance evocatively on ears.

A carnivorously toned bass growl is just one ingredient in the thickly riveting success of Bipolar, anthemic vocals and raw virulence another as it energetically and at times venomously prowls the senses. It too just misses out on matching earlier heights yet has attention solely in its inventive hands especially when the organic animosity of its heart erupts and fuels a great passage of irritability.

renegade-twelve-cover-artwork_RingMasterReviewThrough the predatory landscape and infection clad swing of the outstanding This Town the album hits a new plateau, the track a boisterous funk lined stomp with a defiant snarl on every corner. Its individual nature adds to the already open variety within release and Renegade Twelve sound, a diversity further stretched by the power balladry/classic metal blaze of War Plane and in turn the epic yet intimate bellow of Somme. The first of the two leaves nothing to be dissatisfied with but is overshadowed by its surrounding companions with the sensational second of the two pure creative theatre with no signs of indulgence or wasteful seconds.

Yeah Boi swaggers in straight after, grouchy basslines and punchy beats joining cantankerous riffs in an irresistibly compelling instrumental unafraid to reveal a Pantera inspired swing bound in spicily toxic grooves. It sets ears and pleasure up perfectly for the fiercely catchy antics of MFC, a blistering sonic ravaging of ears, and straight after the melodic hug of closing track Bill & Chief. From its gentle, acoustically nurtured start, the song catches ablaze with melodic and emotive flames to bring the album to a conclusion as impressive as its start.

Renegade Twelve is a stunning debut sure to appeal to fans of most flavours within the metal realm such its richness of styles. The fact that the band still finds a pretty distinct sound even with its familiar essences is testament to the imaginative writing and unmissable skills of its individuals.

Renegade Twelve is out 27th January.

http://renegadetwelve.co.uk/   https://www.facebook.com/Renegade-Twelve-1393405887586971/   https://twitter.com/renegadetwelve

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Discomister – Cool Is Dead

digi_album_RingMasterReview

In its celebration of “uncertainty, vulnerability, and authenticity”, Cool Is Dead is one of the year’s first mouth-watering surprises. From its first moments and touch, the debut album from British duo Discomister had our ears and imagination ablaze with eager intrigue, sparking lustier pleasure with each subsequent listen of its psych rock ‘n’ pop nurtured adventure.

Anticipation in a great many for the band’s first album had been sparked by a pair of limited edition 7” coloured vinyl singles over the past year, both featuring songs destined to make up part of its magnetic proposal. For us newcomers to the creative imagination of Robin Parmiter and Ian Wilson, Cool Is Dead is an unexpected pleasure which swiftly inspires captivation and an eager appetite to know more.

The York based two open up the album with the outstanding Magical, a tasty slice of feisty rock ‘n’ roll just as tempting in its mellow moments as its fiery roar. A thrust of guitar makes first contact, its squeaky grooves and rousing riffs paving the way for melodic vocals and seductive tone of bass as the song slips into calmer waters. All the while it is secretively prowling the listener though, building its drama and energy for another raw crescendo as infectious as it is raw. Vocal harmonies only add to the potency as too their lyrical dance, the track simply a riveting participation commanding treat.

Feed The Rich quickly follows with its own dynamic tempting, guitars poking at the senses as exotically nurtured melodies mingle with ears. Rhythmically also, the track anthemically picks its spot, jabbing away as it incites feet whilst vocal cries spark the spirit. Lyrically crawling over the state of education, the track is pure magnetism, hips and vocal chords as drawn as thoughts and energies in its persuasive stomp before Dissolve allows a small breather, though it too is ultimately a seriously catchy and compelling offering. A psychedelic tinge colours melodies and atmosphere within the song, its lure carrying a mix of Billy Momo and Rain Parade in its intoxication with further eighties new wave flavouring in its bolder twists.

Thoughts of Billy Momo are again inspired by next up I Am You; though only as a shade in the full melodic palette of the seriously superb slice of flaming pop while The Cool Cowboy takes the imagination on a psychedelic ride through a Doors meets The Monochrome Set theatre of suggestion and sound. Its creative lines are a shimmering, haze soaked beauty, the track glorious and as its predecessor, a proposal which if it connects with personal tastes is manna for the senses.

The gentler caress and romancing melodies of Your Faults charms ears next, its alluring minimalistic body perpetually evolving and brewing broader, stronger adventure and intensity with each of its four passing minutes. Its increasing inner fire is magnetically tempered by again inescapably catchy harmonies before it all sizzles out for the advancing revelry of Let It Roll. There is something indeterminably familiar to the song which only adds to its warm and welcoming acoustic hug, a seduction with its own emerging creative and emotional snarl only adding to the already thickly impressive character and presence of the album.

Middle Eastern spices breed another fresh trespass of the imagination in Kettle, its sultry air and exotic hues irresistible within a landscape as strange and sinister as it is beguiling. Track by track, the band and album twists the kaleidoscope of adventure and invention on offer into new designs, the track and its successor, Traitors & Saints no exception, the latter providing a blend of melody coaxed elegance and rhythmic predation in a slowly burning but increasingly bewitching incitement.

Cool Is Dead closes its journey with its title track, a radiant croon of melancholy with its own spiral of psych seeded mystery and temptation heading towards a dramatic blaze of intensity in a rousing climax. It is a gripping close to a slavery of fun and imagination, Cool Is Dead to the fore of the most enjoyable and impressive encounters in 2017 so far and though we have barely touched the closing walls of January it is hard to see that changing over the next eleven months.

Cool Is Dead is out now via Traitors & Saints Records, digitally on iTunes and on CD @ http://discomister.bigcartel.com/product/cool-is-dead-signed-cd-album-free-between-spaces-ep-download fully signed and in full colour card gatefold packaging with artwork by Rachael Burnett and coming with a FREE Digital Download of the Between Spaces EP, written  by the band during the 2016 Cool Is Dead European Tour.

https://www.facebook.com/discomister/    https://twitter.com/discomisteruk

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright