34 – Self Titled EP

34 Promo Pic  _RingMasterReview

Grouchier than a stoked up hornet nest and just as damaging, the sound of Kansas City hailing 34 leaves no hiding place for the senses and imagination on the band’s debut EP. The five-track self-titled offering is a rabid and ravenous fusion of hardcore, noise, and metal, all honed into an assault with a sonic sting just as merciless as its rhythmic and vocal bite, and both incidentally constantly veering towards irresistible.

Formed in 2015, 34 features current and former members of bands such as Sisters Of…, Eighteen Visions, At The Left Hand of God, David Hasselhoff On Acid, and Maps For Travelers. It has taken little time for the band to make a potent mark, their live ferocity acclaimed and devoured with shows alongside the likes of Black Breath, Motograder, 68, and Norma Jean adding to the quintet’s rising reputation. Now it is the EP preparing to stir things up further, a success hard to see failing with its impressive and seriously solid introduction to a wider landscape to the band.

The release leaves a lingering and memorable mark with its first two confrontations alone; the EP’s best tracks setting the tone and creative stature of the release with Alpha Blade starting things off. Fair to say we were hooked straight away by the dulled yet anthemic lure of drums which opens up the track. Their flat and compelling resonance easily has ears and appetite attentive, both further gripped as the wiry grooves and sonic animosity of the guitars winds around the senses before allowing the pulsating bassline of Erich Thomas and Jason Shrout’s increasingly addictive beats to lay their magnetic bait. With the throat raw snarls escaping vocalist Brett Carter taking their share of attention too, in no time the song shares a raw magnetism, showing itself a belligerent and aggressive beast with sinews sculpted in virulent noise and biting hooks. Like Unsane meets Pigs with the caustic catchiness of a Coilguns or Shevils, the tracks seduces as it corrodes the senses, every twist and turn within its unpredictable body enjoyably toxic.

34band_LOGO _RingMasterReviewThe following Stick Em Up is just as imposing and thrilling. It opens with chunky scarred riffs which need little time to persuade, their hint of repetitive temptation soon revealed to be one riveting texture in the grooved and rhythmic provocation of the track. As with the first though, things are soon evolving and shifting as melodically fiery and sonically scathing passages entwine with adventurously bruising endeavour within the track’s rock ‘n’ roll. The guitars of Phil Wolf and RL Brooks persistently nag and entice, stirring up the imagination and psyche as Carter vocally and lyrically savages with the backing of the similarly aggressive and potent tones of Brooks.

The final trio of tracks within the EP do not quite live up to the first pair, such their might, but with T.S.Y.T first, all only add to a thickly enjoyable and striking introduction to 34. The third track is as irritable and uncompromising as those before; bullying and arousing the senses with spiky grooves and predacious rhythms as vocals blaze while its successor, Flatliners, springs a Quicksand spicing across its scorched canvas and in its sonic causticity. The song is probably the most adventurous of the five, exploring different creative scenery which swiftly comes and goes, then returns with greater dexterity and imagination as new ear exciting twists become involved.

The EP closes with Machines, a furious tempest and web of emotional and sonic tempestuousness riding on the whiplash effect of Shrout’s and Thomas’ predatory rhythms. It is a forceful and fiercely satisfying end to a great first look at 34. It is easy to see and hear why the band has made such a potent impact already, and to expect, as their sound and imagination grow bolder, they are going to be a potent force in the driving of hardcore/noise ahead.

The 34 EP is released digitally and on limited edition clear red vinyl May 20th via Fountain City Records @ https://34kcmo.bandcamp.com/releases

https://www.facebook.com/34kcmo    https://www.instagram.com/34kcmo/

Pete RingMaster 20/05/2016

Copyright RingMaster: MyFreeCopyright

Sonny Lanegan – Coma

cover_RingMasterReview

The Coma EP is the first offering from the solo, self-titled project from Sonny Lanegan, a release offering six rousing slices of alternative/industrial post rock which command attention and spark the imagination with drama and craft. All offer an adventure bringing a familiar and distinct invention to the ear which does not always surprise as it might but any moments when expectations are offered a recognisable but still tasty morsel, the individual character of Lanegan’s sound ensures there is plenty of fresh imagination on offer

Lanegan is an Italian born singer-songwriter and multi-instrumentalist better known so far for his former band White Pulp and as one half of the duo The Dead Good with vocalist Isabella Knight. Through his many projects, the now Los Angeles based Lanegan has played hundreds of live shows and been part of numerous international album releases. Now it is his solo project beginning to stir up eager attention, it providing a new vehicle for his renowned creative and stage presence to blossom into new areas of sound and adventure.

Released worldwide at the beginning of May and to be backed by numerous live shows across the summer, they to be followed by a national tour, Coma seizes ears and appetite straight away with opener And No One Ever Gave A Fuck. Its dark atmospheric beginning swiftly has the imagination intrigued, the quickly following predation of hungry riffs and spiky beats taking care of ears with the attitude soaked tones of Lanegan leading the way. Quickly a tribal, shamanic like tempting and tenacity infiltrates sound and vocals, its contagion an inescapable lure alongside similarly potent electronic and industrial metal enterprise helping shape the rousingly infectious and increasingly volatile tempest.

It is a tremendous start to the release quickly revealing the variety and diversity to be found in EP and sounds ahead, its suggestion confirmed by the following Down and Dirty. More whispers in its predecessor, Marilyn Manson meets Society 1 like hues make a thicker colouring to the fiery and dynamic body of the second track. It has certain irritability and almost predatory aggression to its tone and incitement too but it is an intimidation tempered by the great electronic exploits and their listener involving catchiness.

A broader rock landscape accompanies the electronic revelry of Loaded and Crooked next, the song an eagerly catchy proposal almost dancing in ears even with a feisty nature to its creative cavorting. It is not the best track within Coma but it has to be said that the spirit raising encounter has single written all over it before making way for the more carnivorous tone and challenge of Love Will Never Die If You Spice It Up With Narcotics. With a touch of glam and grunge to its industrial booty, the song rumbles and blisters on the senses as vocals and sounds create a fascinating and invigorating clamour. At times it is a muggy maelstrom and in other moments a provocative slimline rock ‘n’ roll roar, and persistently an encounter which keeps ears and thoughts enjoyably busy.

The salacious tempting of Foreplay comes next, its pulsating rhythmic resonance and electronic flirtation a bold seduction egged on by the ever inviting tones of Lanegan. The repetitive nature of its beats and the stalker like enticement of its grooves acts like an excitable drone, leading the listener towards some explosive climax, every beat and sonic nag like a countdown. That kind of a finale never arises but its absence just caps the drama of the song off perfectly.

The EP is closed by the sultry smoulder of What If, though it is a lively simmering which electronically and sonically bubbles and froths over its brief length, subsequently immersing the senses in a lava-esque wash of body rousing temptation. Its infectiousness brings the EP to a memorable and richly pleasing conclusion, adding the final potent bait to a release which, as suggested, might not be the most unique in some ways but leaves little more of it to be desired. If this is a sign of things to come, Lanegan’s solo adventure might be his most fruitful yet.

The Coma EP is out now @ https://sonnylanegan.bandcamp.com/releases

https://www.facebook.com/sonny.lanegan/   https://twitter.com/SonnyLanegan

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Attack The Day – Felons EP

Pic Michal Spigiel

Pic Michal Spigiel

Attack The Day is another of those bands with a sound which defeats exact tagging due to its nature and eagerness to weave in a host of diverse flavours. The Northern Ireland hailing quintet, though it might be that they have lost a member since recording their new release,  are generally classed as alternative metal/rock but as Felons shows, they have the snarl of punk, the rousing tenacity of raw metal, the swing of funk, and the unpredictable character of post rock in their invention. The band’s second EP is an ear pleasing, imagination sparking encounter which captivates more and more with every listen.

Formed in Enniskillen in County Fermanagh in early 2012, Attack The Day soon developed a hunger to play live and soon had their local scene won over. Inspirations come from the likes of Sum 41, Mallory Knox, Maximum The Hormone, Slipknot, The Blackout, Gob, and Korn which alone gives you a hint to the variety in their sound. Last year saw debut EP This Is How It Ends released, its singles finding play and support on various radio stations such as IUR FM and RTE 2XM. 2015 also saw the band touring Ireland and play support to Suddenly Human. Now it is Felons poised to stir up further attention, a success easy to assume with its creative step on from its predecessor.

ATD - _RingMasterReviewFrom its opener, the EP shows a new expansion and invention in the Attack The Day sound as We Are The Change grabs ears with a sonic clamour and a tide of group roars. From there the lead vocal of Dáithí Murphy steps forward within a busy hustle of riffs and firmly jabbing rhythms which is part punk, part heavy rock, and quickly infectious. There is no mistaking the appetite sparking attitude soaking the song, but a challenge bound in spicy grooves from guitarist Mark Cadden as Ciaran Fitzpatrick’s bass throatily prowls the intimidating beats of Shane McGovern. Not for the last time, the punkish hue to a song within the EP, hints at a Stiff Little Fingers like growl to add further temptation for ears to embrace.

It is fair to say that the first song is a relatively and enjoyably straight forward slice of raw rock ‘n’ roll, something its successor Bridges I Burn certainly embraces while revealing the more off kilter imagination of the band. Its relatively mellow start is soon a lively funk fest of grooves and energetic rhythms, but a revelry which in turn sparks vocal animosity and imposing metal bred intensity. It is a passage of invention which repeats with increasing potency, every round revealing a fresh essence and spice within the adventurous exploits.

Epidemic follows that compelling proposal, bringing its own creative captivation with elegant melodies and suggestive beauty, the instrumental a warm yet melancholic caress of the imagination and senses before Part To Play springs its irritable metal and post hardcore causticity on ears. The slightly dour tones of Murphy work a treat against the fiery nature of sound and the band’s bullish harmonies, but the unpredictable character of the song soon has ears and thoughts buzzing in other ways. Slips into ska seeded swings and atmospheric caresses are great moments matched by the contrasting and corrosive winds of sound and intent which also wash across the senses, each providing a fascinating and successful piece in the inventive jigsaw of the track.

The EP is concluded by the boisterous rock stomp of Who We Are, a song emulating the first in providing an anthemic punk ‘n’ roll charge which just hits the spot. It is a great end to a thoroughly enjoyable second encounter with Attack The Day. Fiercely agreeable on the ear, the release also highlights the potential within the band, a promise and quality hard not to see making a bigger impact on the British rock scene ahead.

The Felons EP is released 20th May, available @ https://attacktheday.bandcamp.com/releases

https://www.facebook.com/attackthedayband/   https://twitter.com/_AttackTheDay

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

The Sideline Haters – Who Shaves The Barber?

TSH_Band_RingMasterReview

The French metal scene keeps throwing up new encounters which just spark the appetite while fiercely pleasing ears; the debut EP from The Sideline Haters another thoroughly enjoyable example.

The Paris hailing death metallers were formed in 2014 by guitarist Allan “M-Slay” B. and bassist Elodie “Ch!ng” G, both former members of progressive death metallers Aenomy. Within a few weeks, the band’s line-up was complete with the addition of vocalist Florian M. (ex-ADM) and drummer Guillaume “Will” C. (ex-Hyperdump). From then until now, there is little we can tell you about the band’s time but Who Shaves The Barber?, their first EP tells all you might wish to know anyway.

cover_RingMasterReviewProduced by the band’s Allan Bravo, who also created the EP’s excellent artwork, Who Shaves The Barber? opens with The Sideline Effect, a track which quickly winds toxically sultry tendrils of guitar around ears as intimidatingly heavy rhythms prowl. It is not an over imposing or surprising first moment with the band but a setting down of the antagonistic terms the track offers before upping the ante in hostility and intensity. Once in position, raw throated vocals carry deep seated rancor in every syllable they share whilst the bass backs up that menace with its own cantankerous presence. Things become increasingly more enthralling with every passing minute, the track emerging a potent slab of death irritability and craft, making up for it’s sometimes less than surprising exploits with some mouth-watering hooks and slithers of spiky grooving.

The strong start is quickly matched and surpassed by the crawling almost pestilential demands of Tasty Cull. Straight away the song has a creative air and character wearing the scent of unpredictability, those twists coming out through the spidery enterprise of the guitar and the senses spotting suggestiveness of keys. The fact that those latter imagination sparking elements are pushed too far into the background of the tempest is a small issue, but just a minute element with a track which is as compelling as it is ravenous.

The EP closes with its title track, Who Shaves The Barber? going straight for the throat from its first breath in a hellacious tide of riffs and fearsome rhythms. That initial torrent of aggression and intensity barely wavers across the rest of the death metal bred rock ‘n’ roll of the track, its moments of taking the foot slightly off the throttle embracing a delicious weave of winy grooves and psyche piercing hooks. The track quickly steals the show, alone ensuring that The Sideline Haters is firmly placed on the radar of keen interest hereon in.

The Sideline Haters show they will be more than a passing flirtation with attention through Who Shaves The Barber?, an accomplished and increasingly imaginative proposition soaked in a potential which excites. It is going to be interesting to see how they develop and great fun on the evidence of their first trespass on the senses.

The Who Shaves The Barber? EP is out now @ http://thesidelinehaters.bandcamp.com/releases

https://www.facebook.com/thsidhate

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Bluesness – The Last Valley Of Jupiter

Bluesness - The Last Valley Of Jupiter - cover_RingMasterReview

Bluesness comes from Porto in Portugal, a quartet with a sound living in character up to their name. Their style of blues is a flavoursome mix of modern and traditional embracing an instinctive catchiness which grabs ears with swift success. The Last Valley Of Jupiter is the band’s debut EP, and a highly accomplished ear pleasing introduction to a band it has proved to be.

Formed last year, Bluesness consists of vocalist Sara Jimmy, guitarist Ricardo Marques, bassist Vasco Pereira, and drummer Rúben Fernandes, a foursome bringing almost a decade of live and studio experience between them to the band. It is easy to hear that depth in experiences and know how within The Last Valley Of Jupiter, a strength on show straight away with opener My Kind Of People. Quickly maturity in songwriting and sound entices yet equally there is the hungry essence and bold imagination which comes with any new project. The track’s laid back start is a coaxing soon draped in sultry grooves with a fiery touch to their seductive tempting. The slow swing of the bass is just as welcoming, it providing great company to the instantly attractive and similarly delivered vocals of Jimmy. With the craft of Marques leaving trails of sonic flame behind his solo for extra spice, the track is a rich start to the release.

The EP’s title track saunters in next with the guitar spinning a web of enflamed grooves and smouldering melodies straight away as rhythms again share an inviting slow swing. Like a controlled fire, the song gently burns with emotive suggestiveness and sizzling flames of individual invention, it never quite finding the spark to match the energy of its predecessor but still captivating to the same degree before the southern rock spicing of Way Down meanders in on another seductive melody. There is a touch of My Baby to the song though Bluesness stays away from the more delta inspired textures of the Dutch/New Zealand bred band whilst serenading the ears.

Closing with the feistier canter of Dis-Connections, a piece of evocative rock ‘n’ roll as much a romance on the ear as it is a tenacious incitement on hips, The Last Valley Of Jupiter is a quickly and increasingly pleasing introduction to Bluesness. We cannot say that the blues is our forte here, but we know what we like and The Last Valley Of Jupiter easily fits the bill.

The Last Valley Of Jupiter EP is out now @ https://bluesness.bandcamp.com/

https://www.facebook.com/BluesnessBand/

Pete Ringmaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Hells – Paradise EP

Hells_RingMasterReview

Corrosion is generally a gradual often unstoppable process but in the hands of US fury Hells, it is the swiftest undermining of the senses and emotions. Their attrition comes courtesy of their savage hardcore blend, a voracious sound making the band’s new debut EP, Paradise, one of the most punishing and thrilling things to hit the year so far. At the opposite end of the spectrum to the impression of its title, the six track release is aural and emotional dissonance fuelled by voracious anger and sonic spite. It is also a virulently addictive and rousing assault which asphyxiates and intoxicates the senses from start to finish.

Formed around two years ago, the Philadelphia hailing quartet of vocalist Larry Ragone, guitarist Brad Wallace, bassist Scott Signorino, and drummer Steve DiCicco, former members of bands such as Orchid, Transistor Transistor, Brain Dead, Wolves, Sore Saints, Psychic Teens, and Heathen Reign, soon earned the reputation of being one hellacious live experience. November of 2014 saw the release of a three track demo, a well-received platform for what now violates and thrills ears through Paradise.

The EP opens with its title track, Paradise an immediate wall of sonic and vocal abuse driven by vicious beats and an instinctively swinging groove. It has to be said that for all the punishing and creative antipathy conjured throughout the EP, it also has some of the most addictive and lively grooves and hooks heard in a long while. The outstanding track continues to ravage and incite as the rhythms become more imposing and tenacious with Ragone’s throat spilled scowls even more belligerent as they hang on twisted and venomous tendrils of guitar.

Paradise_RingMasterReview1-800-Shitfit shows itself just as intensive and irritable as it unleashes its emotive and creative animus next. A slab of barbarous punk ‘n’ roll, it grumbles and thrashes across two minutes of aural antipathy with the guitars as angry as the vocals and their roared words, while the bass is as anthemically pissed off as the scything trespass of DiCicco’s beats. Its savaging quickly makes way for that of Weather Report, which from its first breath again leaves nothing in the locker as it lashes into the listener. Grooves flirt and lacerate the senses as rhythms threateningly impose, Ragone’s raw squalls spilling irritancy with every ire drenched syllable; a combination which again simply ignites ears and an eager appetite for the threat.

As gripping and invigorating as things have been to date, the EP hits another plateau of tempting with firstly Tribute. The track is a cauldron of emotional and sonic animosity bound in the most salaciously catchy acidic grooving aligned to predatory riffs with matching rhythms.  It nags and badgers with a venomous glint in its creative eye, living up to its threat yet creating a maelstrom which is littered with the most addictive bait.

It is no different with Bad Apple, the track creating its own individual breakdown of the senses with a fluid blend of intensively assaultive and scavenging tempos around an equally unpredictable rhythmic gait stalking the listener from beginning to end. There is no escaping the hate of the song, or a wish to, though it is soon overshadowed by the brilliant EP closing enmity of Night Creeps. From its initial drone nagging of the senses, the track is rancorous alchemy, a bad-blooded proposal to brew thick lust for. Within that initial sonic niggle, DiCicco’s sticks rise to create a rousing shuffle before settling a touch as short grooves and melodic toxicity joins Ragone at his least hostile on the EP, though there is no mistaking the bitterness lining his prowling delivery. The song is hypnotic, a stylish yet bestial challenge which grinds down the defences while creating webs of contagious enterprise. At the time, it is also brewing a boldly simmering in intensity and jaundice, that growing into a fiercer rabid beast by its close.

The track is a brilliant end to a seriously arousing encounter from a band placing themselves aside certainly the likes of Pigs, Sofy Major, and Brutal Truth in one foul swoop. A must for all hardcore/noise abuse fans.

The Paradise EP is out now via Seeing Red Records @ https://hells-band.bandcamp.com/album/paradise or https://seeingredrecords.bandcamp.com/album/paradise-ep

https://www.facebook.com/givethemhells/

Pete RingMaster 17/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com