Shit Tinnies – Point to Prove EP

Deliver the bastard child of The Saints, Face To Face, and I Am Duckeye and in your hands you just might have something akin to Shit Tinnies, a band which has just unleashed one of the year’s fiercely enjoyable incitements in the Point to Prove EP. It is an unapologetic slab of feral rock misbehaviour and mischief hosting seven anthemic tracks epitomising why punk still excites.

Sydney, Australia based Shit Tinnies emerged from a conversation between vocalist/guitarist Brit Jam Moore and Kiwi guitarist Braydin in 2017, its line-up soon embracing Serbian bassist/vocalist Stefan Radulovic and Canadian drummer Ryan ‘Damage’ Powers. Last year saw the release of the band’s self-titled debut EP through, as now its successor, Riot Records (the label part of the Golden Robot Global Entertainment Group) and leaving a potent mark as their live shows on their homeland’s punk landscape. Point to Prove has already stirred attention further afield with acclaim riding the recognition which we can only eagerly add to.

The band’s sound is a mix of old school inspired punk spiced up with just as potent essences of skate punk, metal and ska. It makes for a compelling and unpredictable mix which as proven by the new EP, when aligned to attitude and boisterousness just hits the spot. The opening song swiftly proves the point, 301 enticing with a sonic thread which soon leads to the waiting drama of enterprise and vocal incitement. There is a slight post punk edge to the song initially, Jam’s rap tinged vocals courted by predacious chords and stalking rhythms. All the while the song is escalating its energy and punk inclination though leading to an eruption of sound and dexterity just as potent and fascinating. The cycle repeats with greater intensity, the outstanding song laying out the creative palette which makes up sound and release ahead.

It is a compelling and thrilling start to the EP soon compounded by the belligerent animation of Blah. Old school punk and melodic hardcore entangle in its mischievous shuffle, rhythms an harassment of rousing persuasion as guitars equally mass rich temptation with aggression loaded riffs and nagging hooks. A Stiff Little Fingers-esque spicing adds to the greed stoking incitement we swiftly devoured while next up the EP’s title track saunters in with menace and a ska nurtured gait to similarly grip ears and appetite. There is an echo of The Clash to that ska hue whilst its punk based roar has something of CIV to its ferocity and intent, a fusion which as its predecessor left us voracious for more.

Town quickly feeds that hunger with its rousing stroll, instinct stirring grooves winding its eager provocation and energetic swing. Pop and hard rock ensures yet another shade of flavouring adds to the song and EP’s creative canvas, its anthemic contagion inescapable and lustfully feasted upon before Deadline had the body swaying with its reggae lilted punk raw saunter. Unsurprisingly it is a virulent infection which bursts with punk rock rapacity and another song which had us stomping with its insatiable antics.

There is no let-up in quarrel and spirit within the following Quick, the song maybe not igniting our passions as lustfully as those before it but with its punk bearing reminding of bands like TV Personalities and O’Level it has urged numerous returns while bringing the EP to a thrilling close Hey Man with a similar breath bursts upon the senses with a mix of UK /US punk influenced, pop infused truculence.

It is a formidable and imposingly enjoyable end to one fiercely enjoyable encounter, one we seriously suggest you get close and personal with.

The Point To Prove EP is out now on Riot Records across all digital platforms worldwide.

Pete RingMaster 04/07/2020

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One Life All-In – Letter Of Forgiveness


As maybe for many others, American-French hardcore outfit One Life All-In have evaded the radars here up to this point but certainly now explode on screens with the release of new EP, Letter Of Forgiveness. Unleashing six tracks which rip at the senses whilst inciting ears and appetite, the release is a stirring and striking incitement ensuring the Cleveland based band will be given rich attention ahead.

Back in 2016, One Life All-In was formed as a side project when, after former The Spudmonsters / Run Devil Run vocalist Don Foose appeared as a guest singer on the Seekers Of The Truth album Oldskull Revenge that band’s guitarist Clem and bassist Franco invited him to join them in a new adventure. The following year saw the release of One Life All-In’s debut EP, The A7 Session; praise carrying reviews followed by tours across Europe the result of its success.

Now the quartet, its line-up completed by drummer Kevin Foley (Abbath, Benighted), have returned with the second assault on the senses and imagination, and we for one are now keenly giving them attention. Hardcore tagged, the band’s sound soon reveals itself a richer mix with alternative metal and rock essences entangling with punk within a forceful incitement, as uncaged by the EP’s opening title track.

Letter Of Forgiveness instantly erupts in a harassment of invasive riffs and concussive rhythms, its initial trespass soon a purposeful stride through ears with authority and attitude driving every note and stirring step. Straightway the multi-flavoured character of the band’s sound is an open incitement as too the strong presence of Foose’s vocals and the great earthy snarl of Franco’s bass. In truth every aspect of the track proved a magnet for ears, its fusion of metal and hardcore with a classic rock bent a thick lure we soon eagerly chewed on.

The excellent start to the EP continues with Cold and Struggles, it too an immediate attention grabbing enticement with a vocal holler as manipulative as the nagging sounds around it. The senses swiping swings of Foley allow no escape from a quickly found addiction, nor the hook laden enterprise of guitars and bass matched in tempting by the band’s singular and united vocal incitement. Hungry and inescapable contagious, the song soon took favourite track honours though seriously challenged throughout the release, its moments of Shelter like rapacity that extra telling temptation.

Sacred Heart is next up, a dark tide of riffs following rousing drums the opening gambit for attention, one soon rewarded by the track’s brewing cloud of intensity and lively imagination. Again Foose provides a potent weapon and lure for ears and thought, guitars casting a sonic web around him as rhythms stalk the senses with matching infectiousness. The track is a predator, a threatening arousal as irresistible as it is barbarous, that ruthlessness growing and erupting with contagious hunger as the track evolves.

Melodic invention is just as potent an aspect of the song and again an alluring hue, if less prominent, to the emotionally erratic and creatively psychotic Hey man!, an outstanding track which from start to finish of its brief but dramatic presence aligns provocative control and urgent frenzy in one gripping proposition.

The EP concludes with firstly 83rd dream, a weave of melodic intimation and vocal suggestion which brews its own particular tempest of sound and drama, and lastly Discharge. The penultimate song epitomises the ability and agility of One Life All-In to align contrasts and diverse textures in an equally mercurial landscape of trespass while its successor revels in the band’s dexterity in going for the jugular whilst inciting spirit and defiance upon world ills. It’s anthemic energy and fervour again echoes that of all songs within Letter Of Forgiveness whilst forging its own greedily devoured moment of utter enjoyment.

Letter Of Forgiveness has been described as the best thing to escape One Life All-In yet and with a hindsight listen to its thickly enjoyable predecessor we can only agree. Finally the band has erupted on our radar and left an indelible mark and we suggest, if you have not done so yet, giving the band a moment to score your hardcore appetites too.

Letter Of Forgiveness is out now; available @

Pete RingMaster 04/07/2020

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Catbite/Omnigone – Split 7”

There is something about the bringing together of bands through whatever connection which for us makes split releases one of the most fascinating and so often rewarding propositions especially when it breeds a real treat like the 7” outing between Philadelphia soul-ska outfit, Catbite, and East Bay hailing ska-punk trio, Omnigone. Each band had a remit of sorts to follow and both have uncaged songs which swiftly left an indelible mark on our imaginations.

Inspired and released by California indie label, Bad Time Records, the Split 7” for us was the introduction of a new band to ears in Catbite and the return of one which had already ignited our appetite with the release of their album No Faith last year. Each of the band’s tracks on the new release are covers; one being a version of one of their companion’s songs and the other of choice.

Side one of the 7” sees Catbite leap on ears with their take of Omnigone’s Horizontal Aggression, a track off of the latter’s impressive last album. Straight away the band infuses and twists the song with their ska, rocksteady, and punk bred invention, the quartet of Brittany, Tim, Ben and Chris immediately unleashing aural contagion upon ears. Brittany’s keys and voice flirt and dance within the more imposing nature of rhythms, the track burrowing under the skin like a viral infection in no time. With a touch of The Jellycats meets The Mo-Dettes to its stomp, the song proved swift and unshakeable addiction.

Their second contribution is a cover of White Riot, The Clash classic injected with almost mischievous energy and touches without defusing its feral heart. Instinctively no punk can resist barking and hollering with the song’s call and imbued with Catbite’s devilry here it makes for a lure the body could not idly ignore.

The B-side sees Omnigone get immediately stuck into the Catbite song, Scratch Me Up. Riffs erupt with a growl to their contagion, rhythms a matching trespass even before Adam Davis’ vocals bring even greater magnetism and belligerence to the quickly riveting encounter. The band’s hardcore nurtured instincts only seem to accentuate the virulence of the song as well as its untamed clawing at the senses and more than add to the incitement seeing our baying vocal chords and flying limbs eagerly engaged.

For their second song, Omnigone have picked a track renowned as part of Davis and bassist Barry Krippene’s previous band Link 80 though apparently it actually goes further back to an earlier band the latter was in, Blast Bandits.

Nothing New instantly tapped into instincts with its rhythmic enticement placing an even firmer grip with its subsequent ska punk saunter. With something of a Farse meets Face To Face lining to its stroll, the song quickly became a thick manipulation which had us bouncing and again hollering along. Even it’s more aggressive hardcore hues added to the inherent catchiness of the song, the only downside meaning its inevitable conclusion bringing the end to one great release.

We love checking out a split release here and this Catbite/Omnigone union gives all the reasons why.

The Catbite/Omnigone 7” is available now via Bad Time Records @ and

Pete RingMaster 25/06/2020

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Norm Elliott – The Acoustic SongSmith Vol 1

Renowned as the vocalist, guitarist and songwriter of psychobilly outfit Norm And The Nightmarez, the similarly rocked Mickey & The Mutants before that and numerous other projects over the years, Norm Elliott has just unveiled his new solo album. The Acoustic SongSmith Vol. 1 is a collection of tracks echoing the album’s title, primarily voice, guitar and emotion uniting in one captivating encounter.

A melodic troubadour across fifteen tracks written over many years, Norm openly shares his heart and emotions on The Acoustic SongSmith as well as an appetite for a rich array of musical styles all woven into his individual acoustic prowess. The intimacy fuelling its body is as striking as the character and magnetism in songwriting already established across previous exploits and indeed album opener, The Planets, immediately pulls at thoughts and feelings. The track is a smile and tear of melancholic beauty, that baring of intimacy immediately revealed in word and voice yet tapping into experiences and feelings most will have in their own lives.

It is a captivating start to the album matched by the equally evocative Kaleidoscope Dreams. Again guitar strings and voice cast a mesmeric proposal, a home for longing and reality as it entangles around ears before Rock Me in Your Arms (Tonight) brings its own particular temptation to life. With a Celtic lilt provided by a fiddle like haunting, the song is a folkish sigh aligned to, just like in most tracks, the instinctive rock ‘n’ roll hue which makes up Norm’s creativity.

Seemingly a childhood reminiscence, Windscreen had thoughts and memories warmly stirred next before A Beautiful English Summers Sunny Day added another bright smile to ears and imagination with its holiday-esque stroll. Both songs ignite personal imagery with another wave of smiles tempted by successor, Dr M.J. Rutherford’s Medicine Show. With a great Bonzo Dog Doo-Dah Band tinge, the song is a sideshow carnival of pleasure, Norm’s strings as provocative as his swinging tones, the track proving one of our thickest favourites across the album.

Fair to say though every song caught our imagination and pleasure in varying but strong degrees, the likes of Unwind, Light of the Moon, and Hills of Calm all seducing ears with their respectively earnest realisations and hearts. The melodic caress of each was enough to get under the skin, the lyrical hug of all, especially within the folkish picture of the second and the classic rock ‘n’ roll canter of its successor, a spark for heart nurtured thoughts.

Alongside the album’s opener, A King for a Pawn is one of the most emotional and haunting moments within the album, a song persistently bringing a lump to the throat listen by listen as the strength of Norm’s words and reflections are accentuated by the strokes of his guitar.

You Took My Breath Away with its southern twang provides yet another shade of temptation within the release with next up Lovin’ in the Rain a serenade of loneliness from which again everyone can pluck particular moments in their lives to equate to.

The final trio of songs ensure the album departs as potently and magnetically as it entered, A Thousand Candles Do Burn an eye and thought on the plight of the world’s easily forgotten and easily as potent as the visual eyes our screens provide. In turn Gurkha’s Lament points to another injustice all can see except political gaze before the album finally closes on the lively stroll of Travellin’ On, a song quickly and effortlessly under the skin.

A decade of styles and flavours are hinted at across the album’s library of enterprise, tantalising tracks with that fifties rock ‘n’ roll heart always a core tempting yet as suggested each bringing its own character and heart to the listener. It all makes for one richly enjoyable encounter and companion for ears and emotions.

The Acoustic SongSmith Vol 1 is available now through Amazon and streaming @

Pete RingMaster 04/07/2020

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Die Ego – Culto

Though emerging in 2015, you could say that British metallers Die Ego have yet to encroach broad attention but that might just change with the release of debut album, Culto. It unleashes eight slabs of the band’s heavy metal bred sound but one which is so much more than that simple tag suggests.

Formed by guitarist Diego Fardel and vocalist/bassist Gabe Scapigliati, London hailing Die Ego was finally complete and ready to take on the world with the addition of drummer Dave Grosz. 2018 saw the demo, Songs For The Insanity, released; it a potent seed and lure into the creative trespass now driving Culto. As mentioned the band’s sound is a thick mixture, its heavy metal breeding equipped with essences akin to the feral grooving of Pantera, the thrash ferocity of Metallica, and the senses cauterising intensity of a Slipknot with plenty more to chew upon.

Culto immediately ensnared the imagination with its opener and title track, a piano lighting the intimacy of urban streets before the trio expose the senses to their predacious exploits. As rhythms build their imposing incitement, the guitar weaves a melodic intimation, it all gathering for the track’s subsequent dexterous trespass. Vocals and grooves unite in the imagination stirring intent of the track, fascination especially sparked by the creative twists and turns shaping the darkly shaded metal adventure. A progressive lining equally adds to the magnetism seducing ears, the song a magnificent and compelling start to the album.

The following Anger Is Yours proves just as gripping, its initial start stalking the listener with threat and enterprise before erupting in a more anthemic arousal. Like its predecessor and those to follow, the track carries an unpredictability which erupts in varying degrees but always keep attention and appetite for such adventure well fed. A Megadeth meets Down hues only adds to its hungry lure before Demons Have Demons feeds off nightmares and primal fears for its emerging incursion on the imagination. Again thrash nurtured tenacity is bound in bait loaded grooving, a combination torturous in its addiction and intent as Scapigliati adds additional evil spirit in this great fall from grace intimated encounter.

Across the similarly wired and fiendish Treatment Of Silence and the sinister climate of There Is No Tomorrow fascination with the album only increased; the first a web of melodic intimation and rhythmic predation as infectious as it is fearsome and its successor as seductive as it is minacious. Throughout both, every moment and each twist of enterprise brings a fresh aspect and invention to song and temptation to ears, something again proving so easy to find greed for.

From one big favourite here to another as The Grave rises from its dark bed with a groove seeded in its predecessor but soon wiring a new individual incursion of Die Ego corruption. The song is almost theatrical at times around the thrash seeded core of its compelling body, its presence further enhanced by the sonic and melodic trails left by Fardel’s flirtatious guitar.

Don’t Get Close is another which had us licking our bruised senses and lips, the rhythmic incursions of Grosz alone irresistible but swiftly matched in thick persuasion by the gnarly tones of bass and the multi-styled dexterity of the guitar. Both are an unrelenting tempting on ears while album closer I Promise pours over the listener with venom and malevolence whilst revealing the album’s most twisted and dextrous moment yet.

It is a riveting conclusion to the release, one of its most innovative and thrilling moments which almost alone equips fascination with real greed for the album’s ingenuity. Maybe they were a bit of a secret outside of the capital previously but it is so easy to assume that Culto will open a whole new depth of worship for band and sound with us forcibly adding to the roar.

Culto is out now; available @

Pete RingMaster 25/06/2020

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Bear – Propaganda

Having discovered Bear through their senses ravening second album back in 2013, every new moment with the Belgian outfit has been a momentous moment in our musical year and there is nothing different in 2020 with the unleashing of Propaganda, their most striking trespass of the senses yet.

There has always been an open uniqueness about the Antwerp quartet’s sound but again it has evolved into a whole new beast of fascination within their fourth full length. Described as a fusion of progressive metal and hardcore, the reality is that it is a far richer and diversely woven proposition. Within Propaganda groove and tech metal embroils in death and noise rock, a mixture only further twisted as rapacious imagination cast its weaves. The feral likes of Noumenon and successor /// have blossomed in that creative environment but Propaganda though has simply found a whole new discharge of temptation.

With its heart and breath a roar against the spins which manipulates all our lives, Bear’s new onslaught immediately descended on ears with opener Dissolve Dissipate. Rhythms immediately assault as acerbic grooves entwine the listener, a hungry contagiousness swarming the senses as the track violently devours. The thick growl of vocalist Maarten Albrechts erupts straight into the barrage, spilling further malice and tempting in a fusion only increasing in enslavement; even more so as a contrast of clean vocals rises within the sonic persistence and growing enterprise.  As the track again twists and escalates its lure, all the time soon adding greater lust to our appreciation, it is a superb start to the album and a scene setter of the invention within its body and ravenous dexterity in its realisation.

The rhythms of drummer Serch Carriere and bassist Dries Verhaert perpetually make for a magnetic invitation even as more restraint wraps their baiting of ears as the release’s title track follows. Nevertheless it instantly held attention tight as further aspects add the inescapable beckoning into a waiting deluge of sound and venom. Even that though is aligned to melodic and compelling enterprise, the track a mercurial incitement as savage as it is seductive on body and thoughts. Winding, Guitarist James Falck again weaves vines of sound and threads of grooves around the song’s transfixing length, tendrils which threaten as they lure; the track itself epitomising that feat within its predacious presence.

Obey barely allows a breath to be taken before uncaging its own predatory instincts and sounds, ferocity again interlaced with progressive and grooved imagination which not so much tempers the assail as encourages it and an already well grown addictiveness to the encounter. It is a trait we found with previous releases, a quickly formed and unshakeable hunger for their wares which is soon fertile within Propaganda and only intensified with the following pair of Apollo’s Heist and Red Throne. The first teases ears first, nagging on attention before rewarding such focus with a menacing crawl which was soon burrowing deep; the sinister temptation only accentuated by the harmonics of varied vocals and synth caresses within the ursine confrontation. It provided full enthralment from start to finish which its successor quickly devoured with its far more volatile and grievous exploits. As those before and to come, the track is as unpredictable as it is compelling, leaping with bruising dynamics yet never hinting on its subsequent moments of greedy aggression or dramatic restraints; it all delivered with devious craft and manipulative imagination.

Through the similarly ominous and disturbing intimation of the increasingly carnal Mite and the viscous animosity of Gutter Love the album only gripped tighter, the latter a virulent slab of primeval rock ‘n’ roll while the following Stigmata left its deep sonic mark with rhythmic lashings and dark raptorial fingering of the psyche and fair to say that each track is bound in capricious adventure and skilfully erratic enterprise inventively and imaginatively bred.

The calm dark beauty of The Ram brings a moment to find stability for the senses and suggestion for thoughts though the listener is soon consumed in the cataclysmic invasion of Flares which erupts with Bear’s trademark brutality and imagination gripping resourcefulness as again expectations are never allowed to seed and appetite to lose its greed for the band’s ingenuity.

Engine and Kuma bring the album to a close, the first an infection of sound and intimidation which is as masterfully radiant at times as it is persistently intrusive and truculent throughout and the second an infestation of quarrel and hostility around a groove woven web of harmonic and melodic splendour; both providing a rousing end to the album with the last another particular peak in its lofty landscape.

Propaganda only becomes more potent and magnificent by the listen and imposingly stimulating as its lyrical side stands tall in the instantaneous glory of its sounds. Not for the first time Bear has crafted one of the year’s major and richly enjoyable moments; the continuing welcome ringing in our senses proof.

Propaganda is out now via Pelagic Records.

RingMaster Review 16/06/2020

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Sertraline – Clouded Minds & Silver Lines

The recent release of their new EP has confirmed what many have been thinking and openly saying, metallers Sertraline are becoming one of the UK’s most compelling bands. Their new five track offering builds on all the potential and prowess of its acclaimed predecessor and then lays down its own plateau of craft and invention which simply demands attention.

Emerging from Stoke-On-Trent in 2014, Sertraline has increasingly tempted support and thick praise through releases and a striking live presence which has seen the band share stages with the likes of Voyager, Sumo Cyco, Forever Still, Butcher Babies, Kobra and the Lotus, Skarlett Riot, and VOLA over the years. Second EP, Guilty was a potent moment in their rise up the ranks with its release in 2017 but we expect to be richly outdone in success and plaudits by Clouded Minds & Silver Lines.

Already rich in enterprise and imagination, the band’s mix of progressive and melodic metal has simply grown between releases, its snarl is more intense, melodic radiance growing inescapably seductive while the craft and imagination behind each aural tapestry within the new outing as captivating as the sounds they cast as swiftly proven by EP opener, Inside Out.

The track beckons ears with a melodic weave initially, one soon cradling the warm melodic tones of Lizzie Parry. Suggestive and tempting, it opens up to an even more intriguing and inviting proposition with a more steely weave of grooves emerging. There is something of a Voyager like hue to the song which only adds to its temptation before the predatory instincts and traits of their sound fully erupt. As the track expands Lizzie soon shows her growing prowess of blending guttural and melodic vocals to echo the mix texturing of the sounds around her, they also an evolving adventure in ears as the rhythmic dexterity and predation of drummer Si and bassist Hendo align to the adept enterprise of guitarists Mike and Wilson.

Mean to Me II follows, rising in a sonic breeze to sweep through ears with a sinister breath and magnetic agility. As in the first, the song twists and turns as it fuses contrasts in voice and texture, never feeding expectations but creating a fertile landscape of familiar essences and greater fresh invention while its successor 2205, also emerging from a calm distance, unveils a mercurial landscape as forceful as it is contagious. The song is less volatile than the first pair of tracks but certainly bares its teeth and shares a rapacious trespass within its melodic adventure before Screaming For Sleep similarly crafts a tempestuousness confrontation as infectious as it is imposing on the way to taking favourite song honours.

Isolation completes the EP, its name apt for the times we currently are embracing and also a major highlight rivalling its predecessor with every breath from its drama soaked entrance and subsequent raptorial stalking of ears and devouring of the imagination to its capricious prowl and tempting. It is a superb end to a release which impressed straightaway and has only grown in temptation and stature much like Sertraline themselves.

Clouded Minds & Silver Lines is out now.

RingMaster Review 16/06/2020

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Dead Reynolds – Frontier EP

Having been securely hooked by a pair of previous singles by Dead Reynolds sent our way courtesy of the ever enlightening Emma at Pluggin’ Baby we thought we would bypass the third she pleasured us with and go straight to the new EP it comes from. There you will find four striking and powerful songs which declare the emerging British quintet as one mightily exciting temptation within the national rock scene.

East Anglia hailing Dead Reynolds rose from the ashes of Phoenix Calling and The First, guitarists Dom Greenwood and Luke Reid of the former linking up with the second’s former bassist Ben Knowles. With its line-up completed by former Damage member in drummer Luke Green and vocalist Callum Waterfield, Dead Reynolds have quickly grabbed eager attention and praise since emerging in 2018 through their releases and live shows.

Their alternative rock styled sound is a tonic of flavours with its alt rock dexterity loaded with the snarl of punk and contagiousness of power pop. Frontier is a four track calling card of its potency and immediately had us grabbed and involved with opener By Your Side. The song is that new single we mentioned, an encounter which instantly flies at ears with energy and relish. Its urgent start momentarily calms for Waterfield’s entrance yet continues to tease of another eruption as energy builds and explodes in a contagion of a chorus. Throughout Green’s rhythms land with purpose and manipulation, a persuasion echoed in the lure of bass and web of guitar enterprise gathered around increasingly rousing vocals.

It is an outstanding way for the EP to immediately ignite speakers and attention, being swiftly backed up by the just as potent presence of P.S. (I Loathe You). Maybe less forceful in its invitation than its predecessor it soon reveals a magnetic fusion of rock ferocity and pop punk infection, the band fuelling its anthemic climate with a fusion of flavours and adventurous imagination. Every track within Frontier could be an attention grabbing single, the second a case in point but also epitomising the personal individuality which shapes each song from the character of the next.

Bright Lights is next up and also is relatively gentle in its invitation, Waterfield’s vocals an easy welcome into the growing creative and emotive drama of the song. Knowles and Green provide a persistent rhythmic enticement which, as throughout the EP, only manipulates song and attention alike which the sonic and melodic flaming of Greenwood and Reid breeds further rich enticement upon.

Finally the EP is concluded by Lines, another looming from the shadows to breed an enthralling affair for ears and appetite alike. Catchiness and aggression entangle as the song roars, hook bearing melodies ensnaring senses whipping rhythms and vocal resourcefulness as luring as the sounds they nestle in.

Part trespass and all anthemic persuasion, the track is an arousing end to a thrilling release. Its success was part assumed due to the striking exploits of earlier singles but easily outshone expectations to confirm Dead Reynolds as heading towards being one rather formidable rock band.

The Frontiers EP and new single By Your Side are out now.

Pete RingMaster 25/06/2020

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Hot Nuns – Rude, Dumb & Anxious


The ingredients were all there to spark our intrigue and appetite; bass, drums and vocals only, power punk fuelled sounds and featuring members of outstanding Norwegian outfit Blood Command. Even so it did not stop Rude, Dumb & Anxious from hitting a previously undiscovered sweet spot.

The four track release is from the duo of Sigurd Haakaas and Yngve Andersen going by the name of Hot Nuns. Last year saw the pair release debut EP, Wrong Again, to a potent welcome which has similarly awaited the swiftly acclaimed Rude, Dumb & Anxious if on a larger scale. Though this second EP is our first moment with the band a love of encounters built on the rhythmic enterprise of bass and drums has been an instinctive pleasure nurtured by the likes of MoRkObOt, Big Business, Lightning Bolt, and Royal Blood. Thus a lurking appetite was awoken just by the thought of the make-up of Hot Nuns but still stopped in its tracks by the individual power and captivation of the band’s sound.

Rude, Dumb & Anxious begins with the instantly riveting Can’t Get Over You and closed by its even more compelling title track. The opener breaks silence with a plaintive voice within a calm caress of bass. Swiftly Haakaas’ beats are stamping authority on song and ears as bass riffs deliciously grumble and share just as embittered grooves. The melodic holler and subsequent swing of vocals are a contagion in their own right, together it all making for a song which dances with the listeners inhibitions as they flee the occasion whilst roaring with punk endeavour.

In a kind of contrast the final song controls its urgency for a pungent canter through ears but one again fuelled by virulent infectiousness. The melodies and harmonies in vocals tease yet calm the anxiety in the darkness of the track, a shadowed heart escalated by the mouth-watering growl of the bass, but as in the first song on the EP, it all raucously infests greed gathering ears and imagination.

In between the two major highlights, there is only additional goodness and clamorous pleasure. I Love You Still, I Always Will is another track hankering for love new or lost and also surges at the listener from its first breath, hooks and grooves an invasive trespass of creative fulfilment with an almost carnal hue to the glorious texture of the bass. Vocals once more soon recruit participation as the sounds work with a bouncing body, hungry punk and feral power pop united in one inescapable and addictive proposal.

The other song of the foursome is a great cover of The Boys classic, First Time. Just by their touch and slim down line-up of instruments Hot Nuns re-ignite the track whilst paying homage to its own original raw infectiousness; the song relishing the attitude and inventive muscle of the duo as it sits perfectly alongside the other trio of treats.

No frills and plenty of thrills Rude, Dumb & Anxious is a gem no rocker should pass by.

Rude, Dumb & Anxious is out now via Loyal Blood Records; available @

Pete RingMaster 11/05/2020

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das GHOUL – The Video Nasty EP

Whether through TV or experience few have escaped the beauty of UK city Oxford and the medieval architecture of its renowned educational establishments and of course, university. It must though also have plenty of untapped shadows and a dark breeding ground for the likes of das GHOUL

Recently introduced to the band through its vocalist/guitarist Craig The Plague, das GHOUL is a quartet creating a contagious form of horror punk fuelled rock ‘n’ roll. They are also a group which would not a surprise if found invading mausoleums and graveyards for inspirations for their horror hued, gothic flavoured songs. Last year’s album, Noise Das Noire, was a rousing mischievous adventure through the depraved and creepy, one sound-tracked by a punk hued sound equally as ghoulish as the masks the foursome don. Now the band completed by Bernard Ghoul-Hefner on bass, drummer Mary Ghoul, and the keys of Octavia Von Wakeman, has recently opened up the vault of The Video Nasty EP to again take the listener into a highly enjoyable humour laced dark place.

Recorded, mixed and produced by Steve Bernard, the new EP opens with the outstanding Behind The Cobweb Veil, a brief but manipulative instrumental opening the curtains on the gothic clad show. Keys cast drama soaked on ears and thoughts in intimation, its theatrical breath as intimate as it is gothic picturesque and a captivating start to the release.

The EP’s title track immediately breaks the seduction of its predecessor but replaces it with its own individual rock enticement as the guitar springs classic hard rock hued flames. Soon senses swiping beats land as the dark groan of bass aligns to similarly magnetic vocals. In full stride, the track is a blast of feral rock ‘n’ roll bred on horror punk instincts draped in the melodic suggestion of those gothic dwelling keys.

It is another moment which only held attention firmly though a moment soon eclipsed by the following Formaldehyde Girl. Our favourite track might only linger a few breaths past a minute but straightaway it was under the skin and causing havoc with our eager bodies. Like a fusion of Misfits, Autopsy Boys, and The Adicts, a short shrift on time brought richness in temptation and pleasure before the release comes to a potent close through Porcelain. Another embracing a more classic rock essence to its colourful rock ‘n’ roll without losing that punk abrasiveness, the track hugs ears with the melodic dexterity of keys to spark the imagination and please a now set keen appetite for the band’s dark realm.

Having now flirted with their album and the demos before that, das GHOUL have made a habit of unleashing ear grabbing songs but The Video Nasty EP is their most tempting offer yet and a lure to the kind of attention which will draw them fully out of those dark Oxford shadows.

The Video Nasty EP is available now @

Pete RingMaster 11/05/2020

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