Tirade – Nothing Dramatic EP

Back in 2016, UK rockers Tirade unveiled their self-titled debut EP, a release suggesting the potential of “something truly distinct and unique in sound and songwriting” whilst making for a rather pleasing and infectious introduction. Three years on and the Manchester hailing outfit step forward again to realise much of that promise within the Nothing Dramatic EP, a collection of contagion loaded tracks which argue the intimation of its title.

Whether Tirade has brought the full potential heard in that first release to life in Nothing Dramatic we question as while getting caught up in the individual creative webs of its songs it is easy to feel there is still plenty more to be discovered within by the quartet but there is no escaping the new wave of imagination and craft let alone instinctive catchiness fuelling five ear grabbing, appetite sparking encounters.

Nothing Dramatic opens up with its title track and immediately had ears pricked with its initial spindly riff, a hook even more enticing as a mass of noise bred temptation brews up around it. Straight away an infectious coaxing is at play, becoming even more mischievous as the band’s alternative rock bred sound erupts with a devilish swing and melodic tempting. The vocals of bassist Jake Tilley are just as magnetic as the enterprise around them, his and drummer Stevo Somerset’s manipulative rhythms caging the inventively magnetic exploits of guitarists Josh Pearl and Alex Young. Blending muscular and forceful textures with more poised and seductive hues, the song sets a high bar for the release and a moment which remained our favourite though closely nudged throughout the EP.

No Time follows with a moodier temperament though swiftly boisterous energy steers its controlled but eager stroll as vocals, harmonies and emotive melodies wrap a darker rhythmic breath. That instinctive contagiousness to Tirade songs again needs no invitation to make its persuasion as a diversity of hues and imagination continue to shape the mercurial landscape of the ear hooking track.

Similarly To Be Honest brings a tapestry of ideation and flavours to court the imagination, the song twisting with individual craft and turning with united adventure before Burned Out springs an almost punk/new wave like dexterity upon its pop ‘n’ roll canter. Both songs simply grabbed ears and appetite, the first with maybe less imposing invention than within tracks around it but with ease none the less while its successor uncaged a virulent and resourceful proposition come trespass of creative audacity to set another major moment within Nothing Dramatic.

The closing Well Spent proved just as sharp and ambitious, familiar and openly new threads of imagination woven into another seriously infectious snare of sound unafraid to reveal calmer melodic caresses within a landscape of enticing drama and angular temptation. It is a great and striking end to a similarly impressive release which only left us wanting to hear more.

Tirade themselves admit the likes of Lower Than Atlantis and Don Broco provided an inspirational seed to Nothing Dramatic and definitely there are strong hues of both to its rousing holler yet again the band’s sound has an even stronger voice of individuality which if still not in full roar is heading the right way as suggested in their definitely and highly recommended encounter.

Nothing Dramatic is released August 30th.

https://www.facebook.com/TIRADEbanduk/    https://twitter.com/tiradeband

Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Destroy Planets! – Mass X Gravity

Though only emerging this past February UK metallers Destroy Planets! have made a striking introduction to themselves with debut EP, Mass X Gravity. It bears all the hallmarks of a craft and imagination which has been brewed over time, indeed the band has a sound which has been two years in the shaping and honing, but equally has an unpolished breath to it which only breeds pure pleasure and the potential of greater exploits to come.

Manchester hailing, Destroy Planets! draws on an array of metal seeded styles and muscular rock flavours for the individual confrontation which surges through their first EP. Raw edges meet with ferocious trespasses whilst both collude with melodic temptation and bold imagination; a tapestry of invention and tenacity which needed little time to intrigue and seize attention. Equally Mass X Gravity is a savage and resourceful force of unpredictability which continues to surprise by the listen as its depths expand to devour greater attentiveness.

As quickly shown by opener Ikon, pinning down the sound of Destroy Planets! is a pointless task, its voice as varied and mercurial as it is uniformly striking. The first track itself immediately sparks ears with industrial metal eruptions across its dark brooding but as quickly springs groove and death metal hues upon the senses; an Enter Shikari meets Machine Head meets Cryptopsy like corruption swiftly igniting keen attention and appetite. By the second though its sound is evolving and growing more fascination, a quality just as potent within the vocals of Tanya Wilson, her multi-flavoured and dextrous tones sheer magnetism in the thickly compelling tempest.

It’s fiercely testing and alluring twists and turns are echoed in next up Stars, the track shaping them in its own creative image as electronic and metal bred trespasses unite in a similarly gripping exploit. Wilson casts throat raw and melodic lures with equal captivation as the grooves and riffs of guitarists Aaron Pettit and Nathan Arif intrude upon and bound the senses. Providing a confrontation as feral as it is carefully woven, the track is a contagious predator with individual and united enterprise as well as its distinct imagination matched by that within the following Immortal. The third track instantly casts a Korn/Slipknot-esque shadow over the imagination though it is soon scavenging the senses with its own particular psychosis of sound and emotion. The whipping beats of Adam Tyree again incite as they punish whilst the dark, voracious grumble of Brad Crane’s bass is a perpetually unwavering lure in the creative tempest and especially goes to make one addictively memorable moment within the song and EP when it singularly courts the nightmarishly haunting melodic tempting of Wilson.

Absolution instantly consumes the senses with grooves and toxic ferocity, fellow Brits VNDTA coming to mind not for the first time but again swiftly band and sound casts their own unique creative character to prey upon and feed the imagination. Arguably the most infernal, vicious, and untamed track on the release, the song just compelled keener attention during its length and subsequent revisit while Bed Of Lies hooked equal greed with its calm melodic beginning and subsequent sonic squall; the latter woven in heavy metal threaded spirals and coated in extreme metal animosity as melodic virulence brews and eventually erupts in voice and sound.

The EP concludes with Save Yourselves, a closing inferno of sound and enterprise that descends with venom and ruthlessness but once surrounding the listener treats them to a myriad of textures and melodically seeded endeavour without losing its crushing intensity. It is a song which epitomises the Destroy Planets! sound and craft and its rich fuel of unpredictability which can only lead to greater adventures ahead.

Mass X Gravity is a challenge, a threat and another of the year’s unexpected but true pleasures.

Mass X Gravity is out now.

https://www.facebook.com/destroyplanetsband/   https://www.instagram.com/destroyplanets

Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Eva Bartok – Self Titled EP

Clamorous, aggressive, and unapologetically abrasive, the sound of Welsh outfit Eva Bartok is a tempest of intensity and emotion yet an unapologetically contagious assault which makes their self-titled debut EP one impressive trespass. Offering four tracks which infest their surroundings like a primal storm, the release is a punk, metal, and noise bred cauldron of enterprise as virulent as it is cacophonous.

Eva Bartok breeds their tracks from the dissonance which shapes the world today, personal and broader issues from mental health to politics sparks to themes explored. It makes for a breath alone which takes no prisoner, defiance and resolve echoed in the tempest of sound joining the creative emprise.

The EP opens up with Lies and Trickery, the song almost taunting attention as Chris Hampson’s guitar wraps sonic wires around the waiting to erupt but still potent rhythmic presence of bassist Rob Pascoe and drummer Mikey Brown. Within another breath they do, a rousing and concussive mix as skilfully induced as the web of sonic discord and imagination around their forceful incitement. Hampson’s vocals are just as invasive and rousing, the track a swiftly tempestuous harassment of the senses as unpredictable and inventive as it is an ear crowding predator.

Chess Club is next up and immediately ensnared the appetite in its mesh of guitar borne threads and unscrupulous rhythmic manipulation. There is order in its disorder, vocals again a voracious antagonist within similarly bred sounds and all together making for an invasion of temptation and feral catchiness.

There is no escaping thinking of bands such as Converge, Every Time I Die, Refused and at times At the Drive-In across the EP but as shown by Mexico, Eva Bartok’s sound is unmistakably distinct and individual to them. The third track lingers back slightly as it brews its textures and sounds, subsequently launching at the listener in a rapacious clamour again craftily composed and venomously unleashed. Twists and turns come with relish and pass with lingering impact, the whole bullish storm a rousing incitement and as all tracks revealing the depth of the invention behind it by the listen.

Concluded by the caustic but welcomingly flirtatious squall that is Houses, another song which dances with the senses as it devours them and ignites the imagination with its entanglement of almost spiteful ideation and fevered enterprise, the Eva Bartok EP more than realises the promise of the band’s previous songs and sets a whole new agenda in reputation and spiky adventure.

The Eva Bartok EP is self-released on August 23rd.

https://www.facebook.com/evabartokband    https://twitter.com/EvaBartokBand

 Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Overt Enemy – Possession

Thrash metal is a genre which as a whole still seems to be happy settled within its original skin but there are numerous bands which carry the intent to at least push and break through its particular hull. Texas hailing Overt Enemy is one such proposition. Initially formed in 2013 as a Slayer Tribute band by vocalist/guitarist Leo Ortiz and drummer Jaime Ayala, Overt Enemy openly embrace the traditional sound and breath of thrash metal and indeed just as unapologetically weave the rich inspiration of the Californians into their own sound yet as proven by their gripping new EP, there is plenty of their own character and imagination to thrust a fresh and adventurous incitement upon the scene.

With a line-up completed by guitarist Rob Hahn and bassist Laura “Slayerella” Ortiz, Overt Enemy has already stoked a potent reputation for themselves as they have grown and evolved their own songs and sound from those early days, one only cemented by their acclaimed live presence. Debut EP, Inception, made for an attention nudging release last year, grabbing even more ears with a re-release earlier in this; the potential and craft fuelling its stirring introduction to the quartet now uncaged and further realised within its successor, Possession, and so much so that it is easy to see Overt Enemy being the centre of much bigger and eager attention.

Possession opens up with its title track and an ear harassing riff, a guitar almost teasing the senses knowing a barrage of intensity and sound is close behind. Once landed, the rapacious wave springs a Pantera-esque groove and in turn a delicious discord woven lure as all the while Leo’s snarling, throat grazing clean vocals provoke and direct. In moments the track unleashes a tenacious assault of ire, defiance, and craft, rhythms continuing to harass and arouse as guitars and vocals strike and enjoyably agitate, the outstanding encounter alone thrusting Overt Enemy firmly on the radar of appetite and pleasure.

The following Pray for Death stalks the listener from its first imposing breath, rhythms again an uncompromising yet virulent trespass only matched by the predacious instincts of the guitars. Once it has surrounded and trapped the senses with swift ardour for its outstanding start sparked, the song twists into another thrash hungry charge. As in all tracks it brings familiar essences yet with its nagging infestation and anthemic clamour, there is nothing but tempting and galvanic fervour exclusive to Overt Enemy.

Equally individual prowess is an open book with it and its companions, next up Blood God echoing that particular attribute as it prowls and subsequently besieges the senses with increasingly contagious grooves and intoxicating exploits. Once again an anthemic instinct wraps the impressive ambush, every groove a thick lure and every melodically bred hook an appetizingly intrusive but tempting incursion.

Truly it is hard to pick an outright favourite track within Possession but In The End We Died provides perpetual thought as it marches forward next, every rhythm and note united like a legion of thrash bred warriors intent on subjugation; a success quickly earned and welcomed. Once slavery is ensured, the track launches itself with nostrils flared and agitational aims in full blaze, the band’s flavoursome mix of sound within that thrash breeding again proving effortlessly magnetic.

Overt Enemy conclude their EP with a cover of Slayer’s At Dawn They Sleep. The band does not fiddle with it too much; the personality of their own sound the only real difference but it still makes for a great version of a classic track and a potent end to a release and we found a real hunger for to go with that for its creators.

The Possession EP is out now through Confused Records; available @ https://overtenemy.bandcamp.com/

https://www.facebook.com/overtenemy   https://twitter.com/OvertEnemyBand

Pete RingMaster 21/08/2019

Copyright RingMaster: MyFreeCopyright

The Strays – Drop Out Zone

With a description of “No Doubt meets Imelda May”, it was hard to deny an urge to go explore those it has been applied to. The fact that the protagonists in question’s debut album has caught the imagination of and been released by Western Star Records only added to that instinct. What we found was one rousing stomp of a release in the shape of Drop Out Zone from a band in The Strays which had us bouncing from start to finish with a highly appetising mix of rockabilly, garage rock, and fifties inspired rock ‘n’ roll with plenty more involved.

Cheltenham based, The Strays have already been teasing proper attention with the release of their first EP, Wham Bam, Thank You Ma’am, in 2017. It was an introduction of sound and potential potently reaffirmed by its successor Brand New Day the following year while the two records union together as Brand New Ma’am! earlier this year provided an ear grabbing tease for the upcoming adventure of Drop Out Zone. Of course some of us are only coming to the British quartet through the album but a look back shows The Strays an already captivating proposition with a sound to match but their new release sees the band at their most imaginative, adventurous, and striking yet.

With songs inspired by the band’s decision to quit their full-time jobs and focus on music and the struggles it brought and they conquered, Drop Out Zone quickly, hungrily had ears on board with the opening canter of first track, Hey Little Lady. Straight away the throaty lure of Kris Jakab-Hall’s bass colludes with the crisply landing swings of drummer Gary Chamberlain; their collusion instantly firing up attention and physical response before the spicy threads of Sam Cordery’s guitar added to the animated bait. The song’s subsequent potent stroll sees the magnetic tones of Stella Sonic complete the temptation, the spring in its step and grin on its face across as good as four and a half minutes setting the tone for the fun and enterprise fuelling the release.

Things only grow more compelling and contagious as 2Fives and Twos sets its creative trap, it too another song which needs mere seconds to grip ears and appetite as Cordery winds addictive melodic wires around both. Punk and rockabilly soon converge on the rock ‘n’ roll instincts of the song, its tenacious gait and contagiousness a quick infestation of body with the Pauline Murray-esque tint to Sonic’s voice icing on the delicious cake.

Night Time Is The Right Time grabs its portion of ardour next. Again the guitar casts a highly tempting lure to gets things boiling before, with matching flavours to those entangling within its predecessor, the track weaves its own individual boisterous romp. Sharp hooks and alluring harmonies go to highlight the inventive come-on before Oh Baby No opens up its jazzy arms to a seductive surf lined midnight stroll through rock ‘n’ pop drama. It is one of those tracks where it is easy to see where those No Doubt, Imelda May and for us Wanda Jackson references are bred.

The Strays certainly know how to kick a song off, each sparked by imaginative and irresistible leads and no more potently than that springing Get Out Of This Town into life. Guitar and rhythms surround ears with intrigue and salacious intent, nagging rhythms and a hooked loaded guitar groove taunting and dancing with attention before the song opens up into its swing-a-billy saunter, dragging the body easily along for the ride.

The album’s title track allows a breath to be taken though it too is a buddle of energy and infectiousness with its pop toned amble refusing to be ignored; Drop Out Zone proving increasingly manipulative by the second and chorus. It’s easy to ride contagion is soon eclipsed though as the psychobilly wired Can’t Get Through To You preys on ears with its Hillybilly Moon Explosion like predation and feral catchiness though it too is slightly outshone by its successor. Fire and Ice is a glorious fusion of hooked swamped rock ‘n’ roll flavours, a real temptress of a song soon ripping favourite track honours from any of its companions hands.

The intoxicating fifties country blues soaked nurtured rockabilly of Twelve Bar Booze, thoughts of Wanda Jackson again sparked by the great addition to the pleasure, and the heavy hard rock spiced rumble of Break Me Down effortlessly keep the album roaring in body and spirit, This Life following suit with its deviously persuasive foot stomping fusion of swing, garage punk, and rock ‘n’ roll, a full pleasure sounding something akin to The BeauBowBelles meets No Doubt meets The Creepshow.

Just Another Day completes the album, its fiery rock breath and instinctive rhythmic pulse swagger an unapologetically tempting canvas for the ever tasty tones of Sonic and the virulent craft and endeavours of the band. It is a fine end to an album which just got under the skin in swift time and devilishly nestled there thereon in; The Strays providing another of the year’s real pleasures.

Drop Out Zone is out now through Western Star Records.

https://thestraysmusic.co.uk/   https://www.facebook.com/TheStraysLive/   https://twitter.com/TheStraysMusic

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Exes For Eyes – Of Strength And Sorrow

Since the release of their previous album in 2014, Canadian metallers Exes For Eyes have been on a hiatus of sorts but now they have returned with a new collection of tracks which not only enhance their established reputation but push it to a loftier height. Of Strength And Sorrow is a fury of bold adventure and eager enterprise, a release also relishing a greater diversity and imagination in the band’s sound whilst making for one striking encounter.

Ontario hailing, Exes For Eyes was borne from the musical vision and creativity of Dave Sheldon (ex. Man With Target, Annihilator) and the lyrical conception of vocalist Big James (Stab.Twist.Pull, Endast, Authors). Previous well-received releases proved an enticing cauldron of multi-flavoured metal endeavour with a progressive bent but the time between the previous Tongues Like Figure Eights and Of Strength And Sorrow has seen it grow, mature, and immerse in greater imagination without losing almost feral instincts.

Their new album opens with the outstanding Build, Work, Dream, Create; a track which if standing alone in major temptation would have brought the full-length strong praise. One of our favourite moments of the year so far, the song immediately launches itself with an irresistible groove within a barbarous but effortlessly contagious surge. It is eager enticement which continues to tempt and manipulate as vocals expel their intent and prowess with raw emotive discontent. The track is superb, groove and death metal essences colluding in its tempestuous roar, every second a cauldron of virulent enterprise and ferocity.

It is a thrilling start which Memories That Last follows and backs with its own inferno of rapacious sound and ear grabbing imagination. More uncompromising by the minute the track provided a quickly testing and swiftly rewarding proposal as imagination fuelled its every invasive throe before the song drifted away and the predatory presence of The Metal forcibly prowled. It was an initial stalking which subsequently erupted into a ruthless trespass, its stroll continuing to menace and bully as the band’s imagination flourished and shaped one enthralling assault marked with individual prowess.

Nothing Ever Satisfies in contrast provides a calm but just as enticing invitation, at least initially as the guitar’s melodic coaxing soon becomes a cyclone of resolute sound and voice around another irresistible collusion of grooves and hooks. A rival for the opener, the track continued to enthral and arouse as its turbulence fed off the mercurial volatility in its heart and roar; submission to its creative appropriation willing and inevitable.

Featuring Trey Xavier of In Virtue, The Fire Inside My Head entangled ears in another spiral of wiry grooves and rhythmic motivation straight after. It is an opening which intensifies by the breath, vocals adding to the attention grabbing pestering before the sonic wind drops and the bass brings its funk instincts to bear. That is just the invitation to a new progressive sigh of imagination laced with a slight Hed(PE) hue and another alluring aspect to the fascinating encounter. With keys providing perpetual intimation throughout, the song’s tempest ignites again; the cycle repeating with richer temptation.

Through the fierce yet melodically elegant Set It All On Fire and The Savage Self with its savagely contagious trespass, album and band only accentuated their expectation squashing prowess; both songs relishing the progressive bent in the songwriting and imagination of Exes For Eyes. It is also fair to say that both songs as most around them flourish with closer and continued attention, new textures and layers of enterprise emerging from within their masterfully sculpted furores, next up I Miss My Friends (Too Many Of Them Are Dead) reaffirming that quality as its solemn and melancholic beginnings inspire a melodic pyre of dexterity and guile within a voracious if mercurial landscape of uncompromising encroachment.

The likes of Hold On with its two chaptered proposal, the first as respectful and catchy as the other is invasive and confrontational, and the resourcefully animated True Self Reckoning ensure the album’s grip remained tight, their successor, Love, with Pepe Poliquin of BornBroken guesting matching their strengths with its own contemptuous strike, one which at times is melodically seductive and progressively illuminated.

Of Strength And Sorrow concludes with firstly Get The Fuck Out Of My Head which as keys haunt from its first sigh while rhythms simply enticed, both continuing to enthral as emerging drama and dark deeds rise, emerged another excellent track within the album. Methuselah follows one stirring moment with its own rousing presentation of invention and imagination, in many ways summing up the variety and adventure of the band’s sound in its own capricious multi-flavoured and dramatic body.

Though Of Strength and Sorrow had us hooked from the start it is right to say that the depth, layers, and expanse of its qualities and persuasion was only greater tapped with subsequent ventures into its increasingly and imposingly impressive body. Quite simply, Exes For Eyes are back and creatively deadlier than ever.

Of Strength and Sorrow is out now and available @ https://www.exesforeyes.com/

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Skylephant – I Am The Ghost

In close quarters to the release of a seriously captivating debut album in Songs For The Fragile Collective, Skylephant have the I Am The Ghost EP ready to tantalise ears and lure the imagination. With its lead track taken from that critically acclaimed full-length it is a mighty teaser of that triumph but also an inescapable invitation for newcomers into the unique world of the UK project.

Skylephant is the solo project of singer/songwriter/ musician Mark Applin, an artist who locked “locks himself away in his small home studio for three and a half years, to pour himself into an album of self-penned songs.” It was a ‘solitude’ which bore a striking encounter and now a just as irresistible EP.

I Am The Ghost opens up with its title track, the song gently introducing itself with a harmonic sigh, melancholy and a sense of loneliness wrapping its opening melody. The coaxing intensifies as keys and enthralling vocal intimacy lend their magnetism to the blossoming track. Like a shadow in the shadows, Applin’s vocals continue to entrance as potently as the web of just as sadly pensive sounds around him, it all leading to a similarly calm but addictively infectious chorus. The track is superb, an enthralling and haunting twilight to happiness and isolation.

Home Alone follows; its sepia harmonies and sighs a familiar caress before electronic animation breeds a seduction of voice and melody. Once more there is an instinctive catchiness working away within the synth pop serenade, that sense of loneliness as much a kiss on thoughts and senses as a venture into sadness. Even more haunting than its predecessor, the song swiftly spellbound ears and imagination before departing on an emotive shimmer of an echo for its successor to step forward.

The EP’s final song is the Johnny T Remix of She’s Alright, another offering originally from within Songs For The Fragile Collective and a song which with a mere breath is infecting feet and body with its contagion loaded enterprise. Already a rapaciously infectious proposal, the new take leads it straight onto the dance-floor with an eighties fuelled rapture in its eager motion and lively animation.

The sound and songs of Skylephant are one of the most individual propositions out there. Applin with his heart bred and fully rounded songwriting does have something of Colin Vearncombe (Black) about him and the pop catchiness of his tracks remind a little of that conjured back in the day by Paul Haig but his own uniqueness is what makes Skylephant simply an essential pleasure.

The I Am The Ghost EP is released August 16th via Musical Bear Records across most stores.

https://www.facebook.com/Skylephant/   https://twitter.com/skylephant

Pete RingMaster 16/08/2019

Copyright RingMaster: MyFreeCopyright