Escobar – The Biggest Sound

Whether you wish to call the Escobar sound grunge, punk, garage rock or something else, all flavours involved in its riotous tapestry, there is no escaping that it is one glorious rock ‘n’ roll cacophony. The irrefutable proof is to be found in the French duo’s new album The Biggest Sound, a nostril flared stomp more than living up to its container’s moniker.

Hailing from Limoges, Escobar was formed in 2014 by vocalist/guitarist Remi Lucas (Weird Omen, The Anomalys) and drummer Charly “Kayo” Cailleaud (The Bushmen, Daria). With the release of debut album エスコバルin 2015 and its successor Bird Of Prey the following year, the band was met with widespread acclaim which is sure to escalate through the rousing antics of The Biggest Sound. Such its addictive melodic hook laden clamour, it is easy to expect the album to thrust Escobar into the biggest spotlights as eureka moments go off in new ears to spark a fresh tsunami of lusty attention.

It is impossible to truly pin down the Escobar sound though a fusion of The White Stripes, Nirvana, and In The Whale gives a good starting point. As opener Terrible Man alone shows, the pair create a sound distinct and unique to itself and a temptation which swiftly and greedily infests body and imagination. The first song launches at the listener with urgent riffs, their infectious coaxing the prelude to a surge of flirtatious guitar clang and rhythmic incitement. It all settles into a vivacious garage rock stroll with a Latin-esque temperament as Lucas’ magnetic voice and guitar bounce upon the rhythmic web spun by Cailleaud. As virulent for the senses as it is increasingly concussive, the track simply seduces ears and appetite whilst getting the album off to a stunning start.

That success only builds as the insatiable punk ‘n’ roll of Misbehavior devours ears, again the two protagonists creating a noise clad contagion which sparks body and spirit. As with those around it, the song makes physical involvement a given in its swift but unquenchably boisterous escapade; a perpetual trait across The Biggest Sound in evidence again within Stuck On You. Carrying a power pop infection to its earthy rock ‘n’ roll, the track maybe leaps around with less intensity than its predecessor but with equal adventure as grunge instincts fuel the guitar. It is easy to hear Nirvana bred inspirations at play within the song but equally there are moments which seem nurtured by a fondness of bands such as Rocket From The Crypt and The Vaccines as it lays down another peak in the increasingly mountainous landscape of the album.

There is no time to relax as the outstanding Paradise rampages through ears with its Powersolo meets The Dirtbombs scented bedlam and Salvation teases and tempts with its raw and boisterous rock ‘n’ roll. The first offers a great if undemanding line in melodic dexterity within its noisy canter while its successor melds pop catchiness with scorched noise in its contagious swing and both simply up the ante in a release already fixing its permanent position in the passions.

The album’s title track steps up next bringing its own voracious infection to ears and psyche. The Biggest Sound is as much a declaration of the album’s roar as its own controlled and eager suggestion for hips and vocal chords; an invitation just a little dirty and a whole lot irresistible before Big Town bounds in with a swagger soaked in sonic dexterity to drag the energies into lustful compliance all over again. Compared to some, it too has a rein on its attack, saving it for the grunge bred eruptions which urge greater zeal from song and listener alike.

The psych rock kissed minimalism of Brain Out simply seduces and manipulates straight after; Lucas in guitar and voice a puppeteer as the song sculpts pop rock in its purest form. Slim and forcibly low key its glory is matched by the contrasting creative howl of Changeover. To be fair, the song too has a fine twist in infectious restraint and inventive enterprise but still escalates into a fiery roar which sears as it seduces. Both tracks hit the spot like a rock ‘n’ roll cupid though each is slightly outshone by the throbbing saunter of Stranger In Blood. As across the whole album, Cailleaud creates a rhythmic enticement which lures eager participation and rock ‘n’ roll instincts like a siren. His net is then entangled in the sonic machination of Lucas; the pair combining to beguile and incite without reservation.

The album concludes with the sonic commotion of Dumb Feelings, a slice of voracious punk rock with a whiff of Iggy Pop and the psychosis of Melvins in its seriously catchy riot and finally the irresistibly nagging of Drifting. The song is majestic, its jagged body of riffs and harmonic flirtation a show stealer as it slips through a celestial climate which haunts the senses. A final twist in the creative adventure of the album, the track sublimely and inescapably leaves a longing for more which that play button instantly satisfies.

There is always something new to explore to take us away from even the best records, fresh encounters to assess, but there are a few which make it very difficult to move on from without just one more union, and another….. The Biggest Sound is one of those; a joy which still resurfaces to bring our day to an invigorating conclusion and that is maybe reason enough for all to go explore.

The Biggest Sound is out now through Dirty Water Records (USA), Adrenalin Fix Music, Beast Records, and Strychnine Production and available @  https://escobartheband.bandcamp.com/album/the-biggest-sound

https://www.facebook.com/escobarbandpage

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

The Ugly Kings – Promised Land

With their debut album slated for release early next year, Australian rockers The Ugly Kings recently provided a rather flavoursome teaser for it with Promised Land. Offering two tracks cast in the band’s “power blues” sound, the EP weaves a temptation as atmospheric and haunting as it is bold and fiery, both songs rich in a potential suggesting that forthcoming full length just has to be checked out.

Formed in Melbourne in 2011, The Ugly Kings draw on the inspirations of bands such as Led Zeppelin, The Doors, The Black Keys, Muddy Waters, BB King, Black Sabbath, Dead Weather, and Royal Blood for their sound. It is a mix which brought the band’s mini-album, Of Sons, praise carrying attention in 2015 and now makes a striking invitation within Promised Land.

Though you can quibble whether a two track release is an EP or single, there is no denying Promised Land inescapably grabs ears and appetite with its title track. An opening sultry stroke of guitar courts the imagination though it is the instantly striking tones of vocalist Rusty which really hook attention; his potent presence backed by the imposing drama brooding beats of Andy. As further elements unite, the song raises to yet another level, hitting a majestic stroll which initially is almost predatory before becoming a celebratory fire of energy and suggestion.  Its masterful cycle repeats, increasing its hold on body and imagination second by second; the guitar of Christos creating a web of fiery temptation as the bass of Nick makes a grumbling, almost irritable trespass easy to greedily devour. Imposingly infectious and skilfully manipulative, the track is glorious and reason alone to explore that future album.

Even so, personal tastes just took to companion song, Wash Me Of My Sins, with instinctive lust. Like an aural equivalent of a flickering sepia hued film, the song shimmers with the twang of guitar and those ever compelling vocals. Its slow crawl is a shadow wrapped enticement more rejoice than funereal leading to an energy fuelled, spirit arousing canter which still embraces a reserved intensity in its dark country/psych rock canter. With a harmonic tapestry of voices around the ever compelling presence of Rusty, the song seduces listener involvement and imagination with sublime ease; just stealing best song honours and uniting in suggesting that the next encounter with The Ugly Kings is not to be missed.

Promised Land is out now and available @ https://theuglykings.bandcamp.com/album/promised-land

https://www.facebook.com/TheUglyKings/    https://twitter.com/theuglykings

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

The Jade Assembly – Got My Star

It has been pretty easy to breed a keen and energetic appetite for the sound of UK band The Jade Assembly over the past couple years due to their imagination grabbing singles; a temptation which has gone hand in hand with a rising reputation and acclaim. In a crowded market place for alternative and indie rock bands, it is hard to standout and consistently but a success the Manchester outfit has easily grabbed and accelerated. New single Got My Star can only push things on again, the track a tenacious and rousing slice of rock ‘n’ roll from a band simply commanding attention.

Embracing inspirations from the likes of The Stones, The Who, and Oasis, the Bolton hailing quartet has earned a strong reputation for writing tracks which roar with heart as they infest body and spirit; traits shaping previous plaudit grabbing singles such as One Last Time and Nothing Changes. Got My Star is more of the same goodness but undoubtedly a new flavour in the band’s maturing sound and creative imagination too.

Got My Star instantly has feet tapping as the rhythmic pulse of drummer Andy Watson colludes with the pulsating bass stroll cast by Danny Hayes. It is rich bait across which the spicy tendrils of Gareth Smedley’s guitar lay and which only grows as the striking tones of singer John Foster stroll in. There is a snarl in his delivery, a tenacious energy and power which further ignites an already highly persuasive encounter. With fiery textures from the guitar, imposingly infectious rhythms, and the vocal magnetism of Foster, the song simply sparks in the ears making a strong claim for the best song from The Jade Assembly yet with its imagination and web of addictive hooks.

Released on vinyl as well as digitally, the single offers up a B-side too in the shape of Save One For Me. It is a slice of semi-acoustic, emotionally fuelled balladry with its own lively canter and creative drama. Its organic air and touch simply captivates, the song feeling live as if the band were there by your side as it shines another light on the band’s instinctive ability to write and create heart bred songs very easy to connect with.

In a time when the UK music scene is blessed with some remarkable and seriously exciting propositions, The Jade Assembly once again reinforce their position as one of them with a single which has the body dancing and spirit bouncing like a puppeteer.

Got My Star is released on November 6th.

https://www.thejadeassembly.co.uk/    https://www.facebook.com/thejadeassembly    https://twitter.com/thejadeassembly

Pete RingMaster 27/10/2017

Copyright RingMaster: MyFreeCopyright

The Tranquil – Get Up/ Live For The Weekend

Formed in 2004, Scottish outfit is still a relatively unknown proposition south of the border. Even so they have nurtured and claimed a perpetually growing and intensely loyal fan base over past years from within the West of Scotland music scene, recognition which their new single could tease much further afield to reinforce a growing reputation already on the rise through their shows around the country.

It is fair to say that Get Up/ Live For The Weekend did not instantly grab us, though certainly enjoyment was the reaction to its two prong invitation, yet it and especially Get Up kept nagging away in the memory, drawing ears back and sparking increasing appetite for its proposal listen by listen.

Hailing from the small town of Bellshill, a few miles out from Glasgow, The Tranquil consists of vocalist Campbell Findlay, guitarist Martin Murphy, bassist Chris Ingram, and drummer Jason Hastings; the quartet creating an infectious and emotive indie rock sound as evidenced by their latest offering.

Get Up instantly tempts with a pulsating bassline, its earthy tone aligned to a more volatile guitar melody. Its fiery texture is in turn joined by the lively tones of Findlay, their union still courted by the great bass throb and the swinging beats of Hastings. Swiftly infectious and open in individual craft, the track continues to entice and increasingly so, its instinctive hooks and catchy vitality working away in song and thoughts even once departing ears.

Live For The Weekend does not quite have the same energy or catchiness yet its initial lure of guitar makes for a captivating invitation. As its emotive heart and reflection develops, the song relaxes into a reserved gait which does defuse its potency a touch though it is ignited again for a tenacious chorus. Fair to say, overall the song lacks the spark of its companion and the ability to get under the skin but still reinforces the sense of imagination and craft which has bred two highly enjoyable encounters.

As their double A-sided release plays it is easy to expect The Tranquil to make inroads into national attention ahead, certainly if they can nurture the individuality which Live For The Weekend and especially Get Up suggests.

Get Up/ Live For The Weekend is out now.

https://www.facebook.com/thetranquil    https://twitter.com/tranquil_the

Pete RingMaster 27/10/2017

Copyright RingMaster: MyFreeCopyright

Joe Dolman – Something Beautiful

We all need a warm caress to get through the all too often intense days of life and one rather knowing one comes in the shape of the new single from Joe Dolman, a song which itself looks at “how it can be difficult to get anywhere no matter how hard you try; and that sometimes you need help from something or someone to help you get to where you’re aiming for because nothing you’re doing seems to be working out.” Inspired by his fight trying to make a career in the music industry, Something Beautiful is a melodic hug on ears which needs little time to catch the imagination.

British singer-songwriter Dolman has increasingly drawn keener and broader attention over the past three or so years. The21-year-old from Leamington Spa has independently released two EPs which have taken him to the top 10 in the UK and US iTunes charts, gained support and plays with BBC Radio 1 and BBC Introducing, played the big stage at Hyde Park in 2014 as well as festivals such as Reeperbahn in Hamburg, The Great Escape 2017, and headlined the Acoustic Stage at Godiva Festival 2017. Adding regular jaunts around the UK and dates and tours across America and it can be said that Dolman is winning the battle especially with songs like Something Beautiful in his arsenal.

As soon as the inviting strum on guitar coaxes attention is right there, harmonies adding to the beckon before Dolman’s potent tones take centre stage. Even in verse there is a quick and potent catchiness which subsequently ignites in the chorus, its rousing call sublimely backed by a magnetic melodic hook to further get the appetite fired up.

In many ways there is nothing surprising about the track, the likes of James Bay and Damien Rice coming to mind, yet it does not mean it is not as fresh and vibrant as anything heard this year from similarly styled artists or that it is anything other than one highly enjoyable proposition from an artist on a certain rise within the UK music scene.

Something Beautiful is out now.

Upcoming UK Tour Dates:

01/11 – Rough Trade, Nottingham

06/11 – St Pancras, London

08/11 – Latest Music Bar, Brighton

11/11 – Loft Theatre, Leamington

12/11 – The Kings Arms, Manchester

13/11 – Sunflower Lounge, Birmingham

15/11 – The Fox and Newt, Leeds

16/11 – The Glad Cafe, Glasgow

https://www.facebook.com/JoeDolmanMusic/    https://twitter.com/joedolman96

Pete RingMaster 27/10/2017

Copyright RingMaster: MyFreeCopyright

Exoskeletons – We Are Here To Make Things Better

Two years ago, British outfit Exoskeletons caught the imagination with their first release, the Get Lost EP. It was a striking almost rabid slice of punk infused noise rock which excited as it whetted the appetite for the band’s emerging sound. Since then the band has been in a process of “writing, gigging, destroying and rewriting material in an effort to find something new and more challenging.” The upcoming release of debut album We Are Here To Make Things Better is undeniable evidence in their discovering and exploring that new and individual incitement which most importantly is rather irresistible.

From Kent, Exoskeletons consists of members of Punching Swans, Bear vs Manero, and Houdini; all three bands which has certainly lit our fires in their own rights. Embracing inspirations from the writings of Greg Egan and Philip K Dick, especially on themes of Artificial intelligence, We Are Here To Make Things Better was recorded over 9 months between the September of last year and this past June. Released through Skingasm Records, the album is an adventurous mix of alternative rock with the band’s punk/noise origins which develops a distinct but connecting character over its ten tracks but brings an unpredictable quality and imagination to each.

Face In The Rock starts things off, the track merging from subdued sonic disturbance with beckoning beats and soon after the throbbing lure of bass. As the guitar entangles both with its acidic melodic vines, Greg Webster’s vocals step in, his distinctive tones inevitably bringing a Houdini feel though his guitar and the rhythmic imagination of bassist Peter Bevan and drummer Tom Bonner swiftly sculpt Exoskeletons unique textures and invention. The song continues to pounce and romp on the listener’s imagination, its kinetic gait and lively energy firmly gripping attention.

Even so, it is soon outshone by the following track and new single House Of Disappearing Bricks. It is pure virulent infectiousness, its firmly rapping beats and gnarly bassline instinctive manna to these ears even before the punk soaked attack of chords and vocals add to the trespass. The track’s post punk antics swiftly hit the spot, its noise punk devilry inflaming the passions as swinging rhythms and spiky hooks wake up a lustful submission to their angular bait. It is sublime stuff, pop discordance at its best and surely alone an unstoppable lure into the world of Exoskeletons for a new flood of fans.

Kuiper swaggers in next, again beats and bass casting an enslaving web as vocals across the band infest the psyche within another guitar woven tapestry of enterprise as belligerent as it is psychotic. Kind of like a mix of Shellac and The Mai Shi, the song traps ears in a compelling maze of sound before the more even keeled stroll of In Real Life takes over. In saying that, it pleasingly too has a rhythmic skeleton which jerks around with dervish like agility around which melodies with a caustic hue blossom. Passages of even calmer energy has a great feel of UK band An Entire Legion to them but again what emerges is a track distinct to its creators.

Through the catchy clamour of Crash Symbols and the crunchy prowess of Holes pleasure only escalates; the first, maybe without the striking quirkiness of those before, a magnetic cauldron of sonic imagination and rhythmic dexterity which seals the deal even before the brilliance of the irritable bass and great dissension of the vocals enslave. Its successor is a wonderfully dirty and cantankerous proposal with an addictively contagious swing which continues to infest an evolving landscape of adventure. There is a definite Melvins like ingenuity to the track but similarly echoes of the great music scene in the Medway area of Britain which the band’s line-up has been a major part of in recent times.

Again ultimately, the track is individual to Exoskeletons, a trait all songs process as shown yet unsurprisingly by next up Cicadas which is a more subdued proposition in nature to its companions but one rich in enticing hooks and dramatic ideation. Attention is putty in its hands and a greed for more overwhelming and fully fed by successor Show. It’s almost tempestuous start quickly turns to a bold saunter with another highly flirtatious bassline and spirited beats aligned to Webster’s suggestive guitar weaving and vocal dynamics. It too is low on the aggression of previous tracks but high on imposing enterprise and a flavoursome mix of imaginative post and noise punk tenacity.

The penultimate track is Dust; an expected atmospheric indeed haunting piece of sci-fi bred AI suggestiveness. Minimalistic but very potent, it has the imagination at play before the album reveals its best track to bring things to an enthralling close. Wild Swimmers is simply immense and for personal tastes leaves everything before it, and a heady collection of songs they are too, in its wake. From a distance it flows in with bass and sonic intrigue to the fore; both essences soon uniting with the most delicious hook nurtured melody. Alongside, a nagging tide of riffs work away, always there enticing even as the track twists through its unpredictable landscape. Bevan’s bass is once more manna to ears, its grumbling exploits as eventful and persuasive as the lithe rhythmic craft of Bonner and Webster’s resourceful sonic painting. Add the ever captivating vocal strengths of the band and you have a feast for the ear and a song which suggests we, as the band, have so much more to discover ahead with the Exoskeletons imagination.

Because of the Get Lost EP and the previous exploits of its band members which we previously got hooked on, we expected to find plenty to enjoy within We Are Here To Make Things Better but not to the lustful extent we did. Quite simply the album and band back up the declaration of its title in one of the year’s major highlights.

We Are Here To Make Things Better is released November 10th on Skingasm Records.

UpcomingTour Dates

19/10 – Maidstone – Drakes

03/11 – Ramsgate Music Hall

17/11 – Manchester – Fallows Cafe

18/11 – Leeds – Tbc

23/11 – Camden, London – Our Black Heart (album launch show)

22/12 – Chatham – Poco Loco

http://weareexoskeletons.com/    https://www.facebook.com/weareexoskeletons/    https://twitter.com/weexoskeletons    https://weareexoskeletons.bandcamp.com/

Pete RingMaster 25/10/2017

Copyright RingMaster: MyFreeCopyright

Siberian Meat Grinder – Metal Bear Stomp

A big rabid beast has loomed on our horizons, a hungry carnivore of a proposition ready to devour the senses on the way to the top of the metal landscape. It is Russian fury Siberian Meat Grinder; a band which has been laying the foundations for major attention for the past half dozen years but poised to mercilessly seize it through new album Metal Bear Stomp. A ferocious and virulent fusion of thrash, hardcore, hip hop, and plenty more, sound and release has everything desired to arouse the passions and set the body off on one brutal slam dance.

As suggested Moscow based Siberian Meat Grinder had given notice of their presence and intent through mini-albums Hail To The Tsar and Vs The World which were originally self-released before seeing a reboot upon Destiny Records in 2015. Last year the label gave warning of Metal Bear Stomp with the Face The Clan EP which featured a couple of tracks from the new album; hints more than realised and surpassed by Siberian Meat Grinder’s new irresistible assault.

In many ways there is plenty familiar about the album yet everything is woven into a combination and threat as fresh and individual as anything around. It all begins with the intrusive shenanigans of Ruder Than Thou, vocals and guitars instantly in the face with group shouts swiftly in league with their raucous invitation as rhythms bite. In no time surging thrash bred riffs drive through ears, the insatiable beats of drummer Egor herding the aggression directly upon the senses. The punk assault of vocalist Vladimir becomes the ringleader, the rest of the band’s throats anthemic incitement before the unpredictability of the band shines as the song twists into a just as potent Biting Elbows meets Agnostic Front like incitement before exploding with its thrash instincts once again.

It is a start to arouse the passions swiftly supported by the similarly insatiable antics of Hunt the Steel. Guitarists Maxim and Mihail drive riffs through ears, vocals swinging from their bait as band collusion waits to free an anthemic roar with addictive success. In the midst of the charge the bass of Andrei magnetically grumbles, its brooding presence a thick lure within the growing web of sonic enterprise of the guitars.

The album’s title track stomps around next, the Bear-Tsar of a proposal prowling and striking with the ferocity of an Exodus and spite of a Municipal Waste. Again there is no escaping the addictive prowess of the band calls; physical involvement with that and the neck muscle stretching throb of the track swift as the track tightens the already firm grip of the album.

The predatory stalking of Can’t Stop Won’t Stop is just as compelling, that initial prowling threat the lead into carnal rabidity which in turn blends bestial intent with predacious restraint as the song continues to ebb and flow in creative vindictiveness. Its instinctive rapacity is matched and intensified in successor No Way Back, the song a ravenous tempest of speed and irritability veined by sonic toxicity. Its thrash nurtured, multi-flavoured body is again an unpredictable proposal which twists and turns as tenaciously as the vocal attack, keeping expectations guessing and imagination gripped.

Enter Bearface brings a web of bold rhythms and sonic espionage to bear on the imagination next, its brief but commanding punk rock trespass a sinister infestation before things get all rock ‘n’ roll with the trash thrash roar of No Sleep Till Hell. Its infectious subterfuge is a contagious wrapping to its quarrelsome heart, a merger which ensures a blaze of incendiary rock impossible not to leap on board with.

Through the hellacious escapades of Style, a bracing cauldron of fevered metallic crossover, and the nagging bruising stomp of Get Busy, ears get fully battered and richly pleasured as recognisable traits get a unique Siberian Meat Grinder working over while Face the Clan raids the senses with nostrils flared and unbridled combative contagion. All three bring body and spirit to boiling point, the third especially viral with its mercilessly catchy dispute.

A horde of flavours collude in the outstanding pugnacious punk metal of Eternal Crusade, a track which epitomises the rich diverse sound of the band and its epidemic persuasion, before the album closes on the   adversarial roar of Walking Tall where everything from guitars and vocals to emotion and energy are ablaze.

It is a stirring end to an album which gets more potent and irresistible with every venture into its instinctive devilry. It is technically captivating, infectiously addictive, and a hearty punk infused thrash metal onslaught with a legion of extra goodness which is sure to stomp over all resistance to its glorious might.

Metal Bear Stomp is out now CD, LP and Digital Download through Destiny Records.

https://www.facebook.com/SIBERIANMEATGRINDER/    https://www.instagram.com/siberianmeatgrinder

Pete RingMaster 25/10/2017

Copyright RingMaster: MyFreeCopyright