Ten Cents Short – Major Steps, Minor Setbacks

For us it seems difficult and increasingly so for new pop punk bands to stand out from the crowd but one who is making a potent fist of that is US outfit Ten Cents Short. That is not to say that the Massachusetts quintet is majorly steering away from recognisable and well-worn genre flavours but as their new EP shows, they are certainly adept at conjuring hooks and imaginative twists which sets them apart from the many. Major Steps, Minor Setbacks is a thoroughly flavoursome and highly enjoyable encounter which pretty much reflects its title in sound alone; the array of those striking hooks and an open melodic enterprise lifting them above the flock while familiar but equally appetising recognisable strains take them back a little closer.

Major Steps, Minor Setbacks was recorded with Chris Piquette (Trophy Wives, Lions Lions) at No Boundaries Studios, all except lead single Beggars which was co-written with and produced by Alan Day from Four Year Strong who they met at the 2014 Warped Tour when attending that band’s meet and greet, passing over their CD to Day who a couple of months later invited them to record with him.

The EP opens up with Draw The Line first, and swiftly has ears more than attentive and the imagination grabbed as vocal flirtation beckons behind fiery riffs and a quite deliciously grimy bassline to get things rolling. In no time wiry hooks are adding to the rich and soon irresistible bait, each element evolving into similarly alluring enterprise as the song hits its swinging stroll with the potent tones of vocalist/bassist Aaron Couto to the fore. With the band vocally backing and the guitars of Austin Peterson and Dave Case casting a web of stabby riffs and flowing melodic revelry, the track just hits the spot, those still eagerly sculpted hooks raising the ante with every spirited and spirit sparking outburst

The lively beats of drummer Jonathan Costa are another mighty lure within the song and similarly its successor Higher Powers. Making a far gentler entrance with an acoustic melody holding hands with a steely accomplice, the track soon flicks its own energised switch with riffs and rhythms tenaciously crowding around Couto’s voice. It is the sudden turns into calmer and in turn more boisterous eruptions which lifts an already pleasing proposal and though it lacks the final sparks of invention of its predecessor, which never relinquishes best track honours throughout the EP, it has the body bouncing and a swiftly growing appetite for the Ten Cents Short sound greedier.

The aforementioned single Beggars is next, the song blessed with another gnarly bassline and a slightly irritable nagging of riffs; discontent which seeps into vocals and Jonathan Costa’s senses nipping beats too.   Soaring harmonies and spicy melodies add to the ear striking encounter, its mix of warmth and agitation thick captivation intensified by the matching roar of the track’s vocals and emotive heart.

Setback steps forward next with chugging riffs and scything beats as Couto casts spirited thoughts with equally energy. Into its heated bouncy stride, there is no losing of ears and appetite. In many ways, the song is the least individual upon the EP, weaving familiarity into its roar yet there is a freshness and verve which simply grabs body and spirit and leaves real satisfaction in its wake.

The EP closes up with Make It, an anthemic cry cored by an entanglement of punchy beats and snarling bass wrapped in melodic adventure and vocal animation. As with all songs, it has the body dancing and energies lifted as Major Steps, Minor Setbacks comes to a potent conclusion; that ability on its own a plus in anyone’s book.

Listening to their new endeavour, there is no escaping that Ten Cents Short has that little extra to set them aside; an extra which has the potential to blossom into real uniqueness and greater adventure as the band truly makes a name for itself.

Major Steps, Minor Setbacks is released May26th and available @ http://tencentsshort.bigcartel.com/product/major-steps-minor-setbacks

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Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Moments – Outlast EP

With potential as vocal and uncompromising as their snarl, Belgian outfit Moments release their new EP this month. Containing five hungry and irritable tracks, Outlast is a ferocious attack of hardcore and metal which manages to be a swiftly striking incitement of impressed pleasure and a slow burning cauldron of even richer promise.

Hailing from Tessenderlo, the quintet emerged in 2011 and has increasingly forged and earned a potent reputation and following at home and more recently across Europe with their live presence. They have shared stages with the likes of Bury Tomorrow, While She Sleeps, Our Last Night, and Stick To Your Guns as well as played numerous festivals such as Groezrock, True Spirit Festival, Summerblast, Cerberbrus and Rock Herk to great success. Now they are ready to poke at bigger attention with Outlast, a release declaring the possibility of a new potent force in hardcore town.

The EP makes an instant impact with its outstanding opener What If. As a busy street scene surrounds ears, the sonic trespass of guitars brews, swiftly taking over the landscape with wiry grooves and rapacious riffs. Dries Monsieurs’ vocals are just as quickly invasive and impressing, his ire coated roar supported by equally caustic tones and sounds from across the band. A raw yet infectious scent reminding of The Ghost of a Thousand carries appetite and imagination off into the irritable heart of the track, the hooks and grooves of guitarists Jeffrey Beutels and Kristof Fransen addictive as the imposing swings of drummer Benjamin Hendrickx simply bite upon the senses. It is a stunning start which is never quite matched again within Outlast but tenaciously and enjoyably supported by the likes of next up All It Takes.

The second song harries ears with an initial scrub of riffs, drums throbbing upon impact to match the resonating tone of Gert-Jan Vandervoort’s bass. If the first song it was a lingering threat, in its successor a predatory declaration is made yet with a catchy grooving as enticing as anything conjured by voice and guitar elsewhere. Harmonic backing to the throat scraping attack of Monsieurs is a great contrast to the antagonistic charge driving the song as too the citric melodic enterprise aligning with the sonic trespass abrasing the senses.

As the EP, the song simply grows in strength and enjoyment with each listen, a quality shared by all and indeed next up Crossroads which maybe did not quite hit the mark as fully the first few times around but blossomed to be another definite pleasure. It does not quite have the individual traits of its companions but employs more recognisable hardcore bred threads in a bold and heated metalcore spiced union of harsh and melodic craft.

Our Faults, Our Failures is a bracing tempest of emotion and sound straight after, it’s scalding sonic web as intensive as the rhythmic harassing and vocal animus of raw emotion and displeasure. It too is a grower reaching loftier heights with time whilst revealing open potential of bigger and bolder things with Moments. The band has been suggested for fans of artists like The Ghost Inside and Hatebreed, this track gives all the reasons why whilst still creating its own highly agreeable character again adding to that promise.

Outlast closes as it began, with a track which commands a quick appetite and hunger for its punk and metal quarrel. Riffs and hooks collide with the senses, sonic tenacity further searing the damage as rhythms create fresh bruises with every attack. It is addictive stuff, vocals almost cursing listener and world in tone alone, the bass showing a mutual discontent in its texture and grumble.

Moments is a band on the rise, Outlast a release which leaves a lingering scar and together a pair creating another reason to anticipate hardcore nurtured noise becoming especially exciting sometime soon.

Outlast is released May 26th.

https://www.facebook.com/momentsbe

Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Molehill – Hearts on Fire

It is fair to say that Chicago hailing progressive alt-rock outfit Molehill has more than established themselves on the city’s music scene but broader horizons may soon be in their sights if the qualities found within new EP Hearts on Fire is a regular strength to their music. The three track release is a seriously engaging and emotionally provocative offering which catches ears and imagination with ease while suggesting that greater national spotlights and possibly those from further afield could be watching soon.

The band which emerged in 2008, consists of founders Peter Manhart on lead vocals/guitar and bassist/vocalist Trevor Jones who after beginning to work together soon linked up with drummer Devin Staples and subsequently keyboardist/vocalist Greg Van Zuiden. The following years has seen the band play over 300 shows between the Midwest and Eastern United States as well as help found the Chicago Roots Collective, which was a 10-band collective working together to promote the Chicago music scene and their music.

Their latest adventure for fans old and new quickly coaxes ears and thoughts with its presence, Hearts on Fire opening up with its title track. The song is inspired by the “Euromaidan” protests in the Ukraine, the birthplace of vocalist Manhart’s mother, where the common man rose up to fight an oppressive regime. A caress of vocals makes the first draw, bold rhythms and gentle poetic piano adding their touches soon after Manhart’s voice begins sharing the song’s heart. Quickly it finds its infectious stride, pop essences fusing to its catchy electro rock stroll to grab body and spirit. The track’s landscape is an evolving flight though, reflective calms and progressive turns meaning enjoyable unpredictability comes hand in hand with instinctive catchiness.

It is an excellent start resourcefully backed by the similarly infectious Reverie; its sadness tinged air cloaked in melancholy more grateful than morose. The dark throb of the bass epitomises its character, its resonating weight heavy but with a buoyant swing matched by the vocal expression and heart of Manhart. It is a highly charismatic song impossible not to enjoy and get wrapped up in before Old Soldier completes the release with its haunting tale and presence. The story of a proud, religious soldier living out his last days in a nursing home, with the line “And he sits in a dead room, sterilizer and perfume, and the lights are slowly growing dim.” encapsulating the evocative and striking tone of the song, it too absorbs the senses and imagination. A sonic unravelling and seeping discord adds to the charm and haunted elegance of the piano, their contrasts uniting perfectly to wrap rich words and emotions with at times the song finding a presence something akin to Muse.

It is a stirring and striking close to a release which ticks the boxes on every level. Molehill are working towards bigger successes and after Hearts on Fire those exciting horizons might just be coming their way.

The Hearts on Fire EP is available now on Spotify and iTunes.

http://www.molehillmusic.com/    https://www.facebook.com/molehillmusic/    https://twitter.com/molehillmusic

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Death Blooms – Self Titled EP

Recent single I’m Dead was the hint of a new emerging force in British metal, the self-titled debut EP from Death Blooms is the confirmation. It may be their first full introduction to and nudge on the nation and beyond but the four track roar of ferocious multi-flavoured alternative metal is a wake-up call demanding attention.

We had marked down the fresh breath and sound of Anti-Clone as the future of UK metal but now alongside them we have to suggest will be Death Blooms. It is not that the Manchester/Liverpool bred outfit’s  sound is strikingly unique at this moment in time but everything about it blossoming from their equally potent songwriting is, as the EP, feral excitement and compelling dynamism soaked in the potential of truly great things ahead.

With shows alongside the likes of Dope, Skindred, Raging Speedhorn, and Anti-Clone under their belts, Death Blooms are on a charge which the new EP can only add extra fuel and gears to. The release simply grips ears with its opener Hate:Die.; challenging and thrilling them from its first rabid breath as vocalist Paul Barrow roars over an intrusive trespass of sound. Riffs nag as hooks collect around the primal stabs of bass and Mel Stewart’s swinging beats. Quickly hitting its predacious stroll, the track devours the senses but equally seduces them with melodic flames and unpredictable moments of relative restraint. Barrow continues to snarl from within the web of sonic enterprise cast by guitarist Ad Lucas, the bass of Ben Grimsley as dark and threatening as the backing vocals almost crawling across the psyche.

It is a stunning start to the EP, essences of early Mudvayne, Spineshank, and indeed Anti-Clone coming to mind as it ignites body and spirit before passing its willing victim over to the waiting infectious animus of Last Ones. With a seriously catchy chorus breaking up yet managing to inflame or at least accentuate its ferocious confrontation, the song similarly impresses while recruiting eager involvement in its contagious tempest.

Two songs in and Death Blooms confirm their instinctive ability to align virulent infection loaded temptation with primal animosity, latest single I’m Dead further evidence with its rabid energy and rapacious urgency. Vocals bark and riffs hit the body with spiky endeavour, the bass a primordial flirtation alongside the biting jabs of Stewart and all colluding in a hungry storm of antagonism and flirtatious craft given greater strength by the hardcore hollers of the band. As the opener, the track is superb and easy to understand its success in stirring up real anticipation for the EP and the spotlights already pressing upon the band.

Closing things up in fine style is Sick, another scourge of resourceful metal harrying and arousing the senses and spirit. Its plaintive cries lay earnestly upon the maelstrom of grooves and riffs, every hook linked to a voracious rhythm, each imposing beat bound in sonic coquetry.

It is fair to say that Death Blooms find adventure in every idea and note thrust upon a quickly willing victim to their might and imagination. With a deluge of submissions to be considered by The RR it is hard to find the time to return to many encounters for just pleasure, but Death Blooms and their galvanic treat of an EP has joined that short but potent list; they should be on yours too.

The Death Blooms EP is out now through iTunes.

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Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Triverse Massacre – Hades

Taking the listener by the throat down the five rivers encircling its underworld, Hades is the new EP from British metallers Triverse Massacre and the hellacious outpouring of the potential first bred in their previous releases. Back in 2014, the With Bared Teeth And Truths EP suggested that the band had the wares to make a potent impact on the British metal scene; Hades is that mighty trespass but one still hinting of greater things yet to come.

Bursting from the depths of Carlisle in 2010, Triverse Massacre quickly stirred up local support and in turn within the metal underground crowd with the release of debut EP In The Jaws Of Deceit. It was a growing reputation equally fuelled by their ferocious live presence which has gone on to see the band earn strong praise and share stages since with the likes of Skindred, Raging Speedhorn, Aliases, The Sun Explodes, The Colour Line, Reign Of Fury, and Anihilated and play Bloodstock Open Air last year alongside Slayer, Behemoth, Mastodon, and Gojira. With Bared Teeth and Truths provoked more concentrated attention and awareness of the band and their ravenous fusion of death, groove, and thrash metal; an incendiary mix now truly igniting within Hades.

The release opens up with Cocytus, an instrumental of imposing grandeur and looming shadows creating the climate you would expect surrounding the domain and god of the underworld. Guitars eventually encroach on the deceitful grace of the air creating a link to waiting venomous jaws as the track flows into the predacious animosity and corrosive depths of Styx. As the guitars of James Graham and Chris Kelsall gnaw and taunt the senses with riffs and grooves, vocalist Liam Stark descends and invades with his raw and potent mix of attacks, the frontman as the sound around him openly showing a growth in snarl and dexterity since that last EP. The guitars continue to weave a web of creative deceit, lures of infectious and seductive design woven to violate while the biting beats of Mike Collins and the tenebrific lines of bassist Jason McEwan have nothing in mind except merciless trespass.

It is a mighty and increasingly gripping track still slightly outshone though by next up Acheron. With grooves swinging from its first breath and contagious irritability coating every note and raw throated expulsion, the track unleashes the most virulent strain of toxic rock ‘n’ roll. The band’s sound has fully escaped any confines of extreme metal tagging, the third track epitomising its adventure and maturity and especially its rudely addictive quality forcing full submission to its rancor.

Lethe is simply bestial; a vicious harrying of the senses. Every element of its twisted body and intent is delicious harassment, grooves swarming through ears as rhythms advance with horde like barbarity. Within the tempest though, as across all tracks, there is a melodic prowess which accentuates rather than tempers the pernicious infestation but equally spotlights the instinctive craft breeding the envenomed imagination and onslaught on offer.

The EP closes with Phelegethon, arguably the biggest intrusive nagging of the senses of them all and quite possibly our favourite though that honour is consistently shared with its two predecessors. It is a stirring end though with the guitars a viperish incursion and rhythms a bold and numbing incitement as Stark crawls and lurches over the senses and psyche with vocal glands spilling malevolence in varying shades.

With Hades, Triverse Massacre has presented itself to the main table of extreme metal but as the EP thrills you still get the sense that the band is nowhere close to depleting its creative depths. That suggests very potent horizons for the quintet and for our beleaguered ears alongside them.

The Hades EP is released May 26th @ https://triversemassacre.bandcamp.com/ or http://triversemassacre.bigcartel.com/

http://www.triversemassacre.com/    https://www.facebook.com/TriverseMassacre%20/    https://twitter.com/TriverseM

Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

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Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Codex Alimentarius – The Infinite Growth Paradigm vs Finite Resources (Mk II)

June 1st sees the re-release of The Infinite Growth Paradigm vs Finite Resources, the debut EP from British metallers Codex Alimentarius. Going a big way, alongside their imposingly potent live presence, in earning them an immediately loyal fan base, the band’s introduction has been “re-fired and re-forged” in such a way that it not only commands but simply demands fresh attention. Like a great many we are sure, Codex Alimentarius evaded our radar first time around and indeed with its successor The Hand Of Apophis. Listening to the MK II version of The Infinite Growth Paradigm vs Finite Resources though, it feels more like destiny than annoyance that the Exeter outfit has taken to now to grab ears and an immediate appetite for their melodic death metal nurtured roar, the EP a searing wake-up call to the world of one fiercely exiting proposition.

Formed in 2009 by the quartet of vocalist Stephen Bending, guitarists Stan Kemble and Tim Wright, and bassist Andrew Dicker, Codex Alimentarius were soon making a strong imprint on the local live scene in their first year before expanding the line-up with the addition of third guitarist Elliott Alderman-Broom and drummer Frank Dennis in 2011. The Infinite Growth Paradigm Vs Finite Resources in 2010 only added to their growing reputation and appeal, its release followed by the band going on to tour with the likes of Vader, Krisiun, and Furyborn as well as share stages with bands such as Sonic Syndicate, Malefice, Evile, Revolker, Ted Maul, Demonic Ressurection and many more over the next handful of years. The well-received release of The Hand Of Apophis in 2014 followed the recruitment of Ray Arrell as the band’s new vocalist and the From Hell To Oblivion UK Tour with Enemy Reign the previous year. Despite all that, Codex Alimentarius was still a passing name for many but it is hard to see that remaining the situation as the revamped The Infinite Growth Paradigm vs Finite Resources resets and re-energises the inevitable emergence of the sextet to the fore of the European metal scene.

Mixed and mastered by Alderman-Broom and wrapped in the artwork of Dicker. Mk II opens up with Baptised and swiftly gets down to catching the imagination with nagging riffs and suggestive melodies within an electronic mist. It is an enticing start which does not force attention but teases and seduces it, coaxing intrigue into the venomously lined tones of Arrell and richly toned grooves just waiting to make their impact. Becoming bolder and in many ways even more toxically attractive, the song blossoms in presence and adventure with Arrell the source of animosity and rhythms the seed of imposing trespass; all bound in the simultaneously seductive and predatory adventure of the guitars.

It is a potent and quickly enjoyable start but one soon eclipsed by the mighty proposal of Collapse. It too harries the senses with riffs and flying beats, their rapacious intent matched by the brooding antipathy of bass. Yet there is a swing and hunger to it all driven by almost rabid grooves and gutturally celebratory vocals which simply enslave ears and imagination. With tinges of thrash and folk metal in its dynamic assault, the track is glorious; only growing to greater heights with reserved passages of melodic endeavour and craft woven into a web of senses entangling temptation.

Good Slaves swaps the boisterousness of its predecessor with a more controlled state but still with a heady drama of energy and portentous suggestion. Sweeping melodies add to its dark edge and cinematic climate, grooves and riffs colluding to provide a heart as rousing as it is invasive as the song ignites body and thoughts with ease before passing its success over to the infectious almost envenomed charm of No Return. It feels calmer and physically kinder than those before it yet makes up for it with a tonal animus which infests vocals, melody, and imagination alike. If missing the extra spark of the previous pair of songs, it is a compelling journey through impressing craft and aural discontent; a merger of light and dark, melody and antagonism which heightens an already keen appetite for band and sound.

There is a bait of real catchiness within the quickly persuasive Symbiosis which follows, a devilish grooving which has swift control of body and attitude as the track grows in virulent contagion and emotional jaundice. It is a beast of a tension strapped, malignant stomp providing another major moment within Mk II, a peak matched by the closing mystique cloaked Arise. With Middle Eastern hues flirting with ears and thoughts from within its feudal proposal, the song breeds and widens its tapestry of creative and physical dexterity; guitars weaving a net of emotional and expressive suggestion around plundering rhythms and vocal causticity. It is a gripping affair which though a slow burner compared to earlier tracks leaves the listener provoked in thought and greed to hear and explore more.

With hindsight now available, Codex Alimentarius have not only given their first EP a new lease of life but released and developed its true character as indeed that of their keenly adventurous and eventful sound. Infinite Growth Paradigm vs Finite Resources (Mk II) feels like the moment that the band will truly step out from the shadows or certainly stoke a fire of awareness and attention; the former most likely such the striking presence and also potential found within the release.

Infinite Growth Paradigm vs Finite Resources (Mk II) is released June 1st.

http://www.codexthemasses.co.uk/    https://www.facebook.com/codexalimentariusband/    https://twitter.com/codexthemasses

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright