Zebras -The City Of Sun

Zebras_RingMaster Review

If you could sum up the rage and discontent burning through the world right now it would be in the same kind of angry roar to be found in The City Of Sun, the new album from US punk metallers Zebras. The release is a brawl on the senses, a violent incitement for the emotions, and simply the best thing to come out of the band and arguably hardcore fuelled metal this year.

There is no surprise to the potency and hostility drenching the release, Zebras’ self-titled debut album of 2012 and subsequent release and songs, have all been virulent animosity equipped with the ability to stir addictive tendencies through fearsome hooks, wild rhythms, and searching grooves. The City Of Sun is exactly the same but the trio of guitarist/vocalist Vincent Presley, keyboardist Lacey Smith, and drummer Shane Hochstetler have taken and stretched everything to new benchmark setting levels.

Again like the uncontrollable bastard son of Lard and Dead Kennedys, but with its own ever increasing identity, the Zebra sound instantly burns as opener Hollow Earth brings The City Of Sun to dynamic life. An initial spicily grained groove pierced by thick rhythmic jabs grips ears and attention first, that lure within a few breaths unleashing antagonistic tension and weight as riffs and swinging beats descend with great zeal around the raw tones of Presley. An already in place appetite for the band through past successes explodes with greed as the song continues to twist and rage, the trio spinning a lethal yet contagious web of violence and doom bred turbulence.

cover_RingMaster Review   It is an invigorating and addictive start continued by The Turning Of The Bones, where again the toxic invitation of grooves binds and enslaves as Hochstetler batters and Lacey’s keys stroke the senses. The repetitious nagging quality of riffs and grooves is also easily devoured manna, an essence which enhances every track upon the album as Presley’s ire shapes and colours the confrontational energy and heart of each incitement further like in the outstanding death shuffle of My Apocalypse and the corrosive majesty of The Bell. The first of these two bounces along throwing sonic spears and bone splitting beats out whilst ingraining the imagination with a hook lined groove carrying a Biafra and Co breeding. From one peak to another as its successor seamlessly escapes from its companion with its own hypnotically debilitating rancor and seriously catchy tirade of guitar and bass enterprise. Ministry at their corrosively niggling best comes to mind as the song continues to bind and scar but again the face and character of the song is all Zebras.

Baalbek is a rather similar tempest next, its body and lures closely matched to the previous track though with admittedly equal success, but in the only ‘issue’ with The City Of Sun there is certainly a kind of surface similarity to the tracks, and between others, which less bold and determined listeners might be fooled into thinking the album lacks strong variety. As The Garden swiftly shows it is not the case even though the template for songs is a constant seed. Expelling a thrash like urgency and tenacity, the song goes for the jugular straight away, uncaging more of the prime ravenous riffs and infesting grooves Zebras are already and set to be further acclaimed for. Swarming over the listener from every angle as vocals and drums create a hellacious and addictive beating, the track has ears ringing and emotions lusty, both more than ready for the barbarous tango of Levitation where punk and metal collude in engagingly oppressive conflict.

There is no let-up in the emotional fire and physical ferocity, or indeed the pleasure as firstly Solomon shares its exhaustive ill will and synth led exoticism and then Vitrified which comes forward with a sultry climate around a predacious turbulence of word, voice, and sound. The track is a spellbinding proposal, another fresh spark for the imagination with arguably the album’s most inventive and experimental song, and nectar for the instinctive desire for twisted tapestries of noise.

Closing with the sonic blaze and rhythmic grudge of Filled With Fire, Zebras leave the body shattered, senses drained, and emotions aflame. With only a wish for the synth craft of Lacey to be a little more forward in the overall production of the fabulous turmoil, Zebras has crafted another stunning release but more so their greatest triumph yet. They are a band come of creative age and with recent times seeing the band supporting the likes of Jello Biafra, Black Flag, Negative Approach, Melt Banana, High On Fire, Goatwhore, and Die Kreuzen, The City Of Sun offers inescapable reasons as to why Zebras should be spoken of in the same kind of acclaiming breath.

The City Of Sun is out now @ http://zebras.bandcamp.com/ digitally, on vinyl, and Ltd Ed CD.


Pete RingMaster 07/10/2015

Copyright RingMaster: MyFreeCopyright

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

Zephyr – An Odyssey For The Living

Zephyr Promo Shot_RingMaster Review

There has been a wave of metalcore seeded releases to cover recently and joining that relatively strong list is the debut EP from UK quartet Zephyr. The band’s sound is a little different to the rest though with its fierce roar aligning with progressive metal imagination and post rock ambience. Fair to say it is a blend which swiftly engages ears and makes the An Odyssey For The Living EP one fascinating potential loaded enticement.

London bred Zephyr only emerged earlier this year with the foursome of vocalist Cameron Alexander Thomson, guitarist Jacob Gudge, bassist Attila Tashi, and drummer Gideon Waxman quickly unveiling video single The High Road. Its viral online success sparked a live presence which in little time was also soon gaining strong support and praise. Now a full introduction comes the way of An Odyssey For The Living, five compelling and tempestuous tracks recorded with Kelly Pinchin and Ollie Dow from In Archives and produced by Julian Rodriguez from Elitist.

Zephyr Cover Artwork_RingMaster Review     The release is opened up by Familiar Spirit, a track instantly wrapping ears in an atmospheric guitar melody before thick bass groans and firm beats collude with raw vocals squalls. All the time the fingers of Gudge are weaving sonic and evocative tendrils around which keys lay their tantalising hues, the song as ethereal as it is viciously uncompromising. It is an enjoyably busy track with new corners and layers being unveiled through subsequent listens, a quality applying to the whole EP, and a personal want of diversity in vocals within a genre generally seeming to lack adventure in that department, nicely satisfied by Thompson.

The strong start is potently backed by Little Lamplight where again a warm melody honed coaxing brings the track into view before cruel riffs and rhythms bruise whilst being entwined in a provocative and perpetually shifting web of progressive leaning guitar enterprise united with suggestive keys. Further variety to the vocal incitement from Thompson and the band equally adds to the alluring but dangerous nature of the song to leave ears and thoughts firmly involved.

Cloud Spires opens in similar style to its predecessors whilst creating its own persuasive design of open technical craft and jagged riffery soaked in melancholic and emotionally reflective ambience. Those evocative textures are matched in potency by the mix of scarring and clean harmony wrapped vocals and though there does seem to be a kind of common template to Zephyr songs each creative canvas is coloured and twisted into individual characters that, as here, hold ears and imagination firmly in their intrigue lit tempests.

Next up is Gemini where, with Rodriguez guesting, a mariachi like vocal lure leads the listener into a maelstrom of jazzy guitar tempting, vocal ire, and a sonic painting of evocative endeavour and textures. Enthralling with its unpredictable imagination and great diversity, the song emerges as the strongest highlight of the release before Black Luster brings it all to an invasive and tantalising close. It is an outpouring of physical and atmospheric emotion, an undulating wave of intensity and creative tempting which like the sea has fierce under currents below a shimmering surface beauty.

An Odyssey For The Living is an impressive and thickly enjoyable debut from Zephyr, the band’s potential as rich as the flavours in their sound. There is for personal tastes that final spark missing to really inflame thickly satisfied reactions and emotions to the release but easy to sense that will come as the band grows, matures, and evolves in all aspects. Certainly they are ones to watch ahead and enjoy now.

An Odyssey For The Living is available from October 9th through all digital platforms.

https://www.facebook.com/ZephyrBandOfficial   https://twitter.com/Zephyr_Band

Pete RingMaster 07/10/2015

Copyright RingMaster: MyFreeCopyright

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

Mala Ruckus – Make the Monkey Watch

MR_RingMaster Review

We have a new unexpected treat to share with you, a band and release from the modern seaport of Dalian in China. They are Mala Ruckus and they have introduced themselves to us with debut EP Make the Monkey Watch. The band is a quintet which formed in 2013 with members hailing from Canada, America, Ireland, and a pair from Britain; expatriates creating their own unique captivation of alternative and indie rock with healthy essences of folk and pop. It is a sound which flirts with ears, sparks the imagination, and in the form of Make the Monkey Watch, has triggered a keen appetite and anticipation for the band’s first album which they are currently finishing up.

Since emerging the band has played in a host of Chinese cities earning a reputation and following for their energetic live shows and irresistibly engaging sound, now rife on their EP. Times are a changing though with the band now not allowed to play live in the country but if their upcoming album sounds as full and flavoursome as Make the Monkey Watch, new spotlights and openings might and should begin stirring elsewhere.

COVER   The EP opens with Run, a song quickly engaging ears in a lively melodic coaxing courtesy of the guitars of Alex Montyro and Caolon O’Neill Forde. The song quickly slips into vibrant stroll with Francis Carlisle’s smiling keys alongside intricate guitar flirtation cupping the distinctive voice of Montyro as darker rhythmic hues spun by bassist Ian James and drummer Sean Rollins provide the shuffle to entice feet and hips. It is a ridiculously catchy proposal, like Jim Jiminee meets Arctic Monkeys but with its own original voice and mischievous air, which as the music, just gets more infectious with each passing chorus and tenacious swing.

A great start is backed and eclipsed by Hoverboards, its medieval spiced mandolin entrance already a wink on the appetite and imagination before things get hectic. A rousingly anthemic slice of folk /rock pop, the track leaps and bounds on rhythmic revelry and vocal enterprise, a success matched in prowess and adventure by eager riffs, teasing hooks, and another great pulsating bassline. The band continues to tenaciously canter through ears until taking a side step into a harmonic daze, drifting with a smile on their faces before taking the listener back to the irresistible ride it came in on.

Words is the third of the songs making up Make the Monkey Watch, another captivating encounter though with more reserve and urgency to its nature than its predecessors. What it lacks in physical dynamism it more than makes up in adventurous vocals and melodic enterprise, saving outbursts solely for a loudly vivacious magnetic chorus.

It is a fine end to an excellent first look/listen with Mala Ruckus; the first of many we are already eagerly hoping. They might be living in a restrictive musical place and time right now but given the chance the band, and we suspect album, could be inciting wider spotlights very soon.

The Make the Monkey Watch EP is out now @ http://malaruckus.bandcamp.com/releases

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

Pete RingMaster 06/10/2015

Copyright RingMaster: MyFreeCopyright

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

The Rooz – Fairweather EP

The Rooz pic landscape_RingMaster Review

Whilst we might not be too taken with the name, their music is something to eagerly welcome as proven by Fairweather, the new EP from UK rock band The Rooz. The release is a slice of mature and rousing alternative rock which gives little hint of the band’s tender years, all aged between 16 and 19, but loudly declares the reasons why they are making a bit of a stir right now.

Hailing from Telford in Shropshire, The Rooz since forming has been crowned in their first year, Live Band Of The Year 2013, though no idea who by, been awarded the special Award For Innovation from Music For Youth in 2014, and found themselves invited to perform at the Brit Awards Big Music Project Final at London’s Indigo2 at O2 Arena. Alongside that and an increasing reputation for their highly energetic live shows, the band has supported the likes of Lawson, Union J, Boyzone, Alesha Dixon, and Fyfe Dangerfield as well as played the Royal Albert Hall. Fair to say it has been a lively emergence for the band supported by a trio of well-received singles and the Caught In The Sun EP. Now we have Fairweather to cement their place as one exciting prospect in British rock whilst enticing more new and eager appetites the way of The Rooz.

cover170x170_RingMaster Review     It opens with the mighty Sixpence and a brewing sonic tempting as shadowy as it is intriguing. Quickly it arrives in a burst of stirring brass and rampant rhythms before just as swiftly settling into a gentle but lively stroll with melodies from the guitar of Ralph Porrett and the piano of Louis Coupe aligning around the quickly impressing vocals of the latter. The bass of Peter Davis keeps darker hues around with its grizzly growl whilst the beats of Tom Russell are unobtrusive but firm to frame the freely flowing magnetic melodies. It is a powerful start to the EP which only increases weight and persuasion as crescendos erupt, invention flows, and the songwriting of Coupe, as his voice, enthrals.

Theatre in the speakers, the outstanding song finally takes its leave for the arrival of Sirens and its blues rock ‘n’ roll. Again there is an entrance to light ears and appetite, followed by a just as flavoursome canter of riffs and grooves entangled in anthemic rhythms. Across its infectious body, a harmonica sizzles and sonic enterprise blazes and though it does not have the level of invention as its predecessor, the track is pure rock ‘n’ roll to get very greedy and possessive over, as too its successor, the excellent Out On A Limb. More controlled but no less impassioned and fiery than the previous stomp, the song roars and charms with equal captivation whilst taking the listener on a heady ride which just gets more tenacious and boisterous with each passing rally of rhythms and flame of melodic adventure from Porrett within the inescapable vocal rebel rousing of Coupe.

The band’s recent single is next and if you want a teaser before diving headlong into The Rooz, Violins + Animals is the perfect tempting. Its first steps are less than spectacular compared to the songs before it, but soon its radiant lures in sound and voice are coaxing full attention as they lead ears into the brewing and ultimately dynamic catchiness of the chorus. Everything about the track is infection; the guitars a smiling incitement as the rhythms provide their beckoning shuffle, whilst vocally, Coupe is a blaze of expression and passion; it all rich bait for the fire of that incendiary chorus.

The release closes with Cold, though the CD version of Fairweather does also include the two tracks making up last single Lowlife. Coupe’s piano and voice open up the song, his inviting balladry the appetiser to an eventually arising swing of sound. After the first listen or two we would have said the track was a bit too show tune for personal tastes but over time there is no escaping the call of the orchestral roars, soulful rise and falls of melodies, and indeed the drama in the vocal delivery of Coupe as it ends the release in highly enjoyable style.

Fairweather is a big treat of a proposition, and an invigorating declaration of something rather special growing in the shape of The Rooz and easy to recommend.

The Fairweather EP and the Violins + Animals single are out now, digitally via iTunes and on CD through http://www.therooz.co.uk/store.asp

Upcoming gigs include:

26th // Norwich / B2 / with Chasing Cadence, Speaking In Shadows and Cardinal

27th // London / Nambucca / with Chasing Cadence, Speaking In Shadows and Cardinal

28th // Birmingham / The Flapper / with Chasing Cadence, Speaking In Shadows and Cardinal

29th // Manchester / AATMA (formerly Kraak) / with Chasing Cadence, Speaking In Shadows and Cardinal

30th // Leek / Infinities / with Chasing Cadence, Speaking In Shadows and Cardinal

https://www.facebook.com/theroozofficial   http://www.therooz.co.uk/   https://twitter.com/theroozband

Pete RingMaster 06/10/2015

Copyright RingMaster: MyFreeCopyright

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

She Must Burn – Self Titled EP

SHEMUSTBURN_RingMaster Review

It is a ferociously voracious cauldron of intent, a ravenous tempest of corrosive intensity and imagination, and one of the most riveting and exciting debuts to be uncaged this year.

The release is the self-titled debut EP comes from UK metallers She Must Burn, a London sextet creating a bit of a forceful stir and it is easy to hear why with this raging encounter. Theirs is a furnace of sound and flavours woven into a metalcore seeded canvas infused with further ripe essences of symphonic and black metal with rich gothic overtones. It is a searing maelstrom laying siege to the senses which just as quickly impresses as the songwriting and craft behind it. From rabidly varied vocals to debilitating blast beats, right through to symphonic beauty, the band’s music is a vicious yet poetic kaleidoscope of contrasts and textures cast into fascinating and thrilling soundscapes fuelled by intimate malevolence. It is a startling encounter as proven by a release which just gets bigger and stronger as subsequent listens lure ears deeper into unpredictable and gripping layers of invention.

She Must Burn emerged in 2014, brought to life by guitarist/producer Terry Clarke to realise his musical vision. With a line-up completed by vocalist Joseph Louis Sinclair, keyboardist/vocalist Aimy Miller, guitarist James Threadwell, bassist Kyle Bird, and drummer Rhys Andrew Cooper, She Must Burn have already made a thick impact on the British metal scene live. Now it is the turn of broader stretches of national ears to feel their potency ahead of UK tours supporting Cradle of Filth this October and Heart Of A Coward across November with their first EP.

SMB - Cover Final_RingMaster Review     The encounter opens with the brief but technically and evocatively potent Ascension, its celestial melodies and ambience shadowed by a portentousness which erupts as the track evolves into the fearsome and equally enticing Possessed. From its first breath, guitars create a web of virulent hostility and enthralling enterprise upon which rhythms descend with bestial ferocity. Add the great raw and scarring vocal assault of Sinclair and hell has opened its doors, yet this is masterfully tempered and entwined with the flowing radiance of the keys and the equally alluring siren-esque voice of Miller. Across the song’s body dark and light, destruction and beauty unite, not in conflict but in a blackened and symphonic drama which has the imagination as enslaved as ears and appetite.

As shown again by the following The Misery, the She Must Burn sound is a creative and physical bedlam but one with ingenuity and control which makes everything seamless and complimentary in their collusion. In the hands of another it would most likely unravel into an incoherent stream of ideas but as the third track engulfs and trespasses in ears, there is nothing random and uncontrolled about the sonic adventures cast by She Must Burn. Predatory and seductive, the third song writhes and violently twists under the drive of the increasingly varied and impressive delivery of Sinclair but within the entrapping call of synths and their expressive dark elegance. The song constantly evolves though, never allowing thoughts to settle and expectations to get a glimpse as its infectiously busy and creative turbulence offers more rewards and layers with every trip into its maliciousness.

Into Light opens with a classic but again unique symphonic/gothic croon from the keys and voice of Miller, its warm caress prowled by brooding shadows which increase in intimidating agitation as the short song continues to shape the imagination with its melodic flame. That ruinous furnace finally erupts in Wish to Exist, its metalcore animus in full voice at the beginning but again merged into a subsequent compelling tapestry that snarls and tears at the senses whilst embracing ears in the most majestic of melody rich and emotive reflections.

The album is invigoratingly completed by the equally rabid and bewitching Eclipse, where dark and insidious rancor frees its vicious animus in perfect company with entrancing elegance and immersive beauty. It is at this point on the first listen, and only proven time and time again, that the success of the She Must Burn sound is realised to lie not so much in the corruptive or beauteous extremes, as skilful and important as they are, but how the heart of the song in rhythms and riffs for example, serve both the bases they blossom upon simultaneously and equally. It is a perfect fusion the band has honed which they then colour and shape to their imagination’s content.

After yet another fevered listen of their EP it is very easy to claim that She Must Burn are going to make a big impact on the metal scene.

The She Must Burn EP is out now via Ghost Music.

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

Pete RingMaster 06/10/2015

Copyright RingMaster: MyFreeCopyright

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

This Burning Age – Desolation

this-burning-age-ep3-desolation-band-photo-5th-day-records-2015_RingMaster Review

It has taken a while to get here but now inciting ears and emotions, Desolation proves the wait was more than worth it. The new EP from British electro rockers This Burning Age is the third in a four EP cycle which began last year. The three track encounter is a rousing and forcibly provocative proposition proving that whatever has happened and evolved in the time between releases, the This Burning Age songwriting and sound has potently grown through it.

The EP’s songs feel physically and emotionally fiercer than ever but equally more inventively woven from the depth of sound and flavours which have always marked the band’s sound and releases. Originally a solo project for vocalist/songwriter/guitarist Friday, the Birmingham band emerged on the live scene as a full line-up after the release of debut album A Muzzle for the Masses. Wanting to take its heart and success to live venues, Friday enlisted guitarist/keyboardist Jon Farrington-Smith, bassist Davey Bennett, and drummer Christian Jerromes (since replaced by Jack Josypenko) to the band, with the years since seeing This Burning Age play with the likes of Fearless Vampire Killers, William Control, Heights, and Hundred Reasons amongst many.

this-burning-age-ep3-desolation-5th-day-records-2015_RingMaster Review   The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.

First song up on Desolation is Tatterdemalion, a quickly voracious and rousing proposal but one just as quickly slipping through an unpredictable and tempestuous landscape of intensity and creative resourcefulness. From its initial fuzzy flame of riffs, imposing rhythms stir the blood with just as potent scything grooves getting involved. The song hits a commanding stroll before relaxing into a prowling gait lit by a great steely twang of the bass. This ‘restful’ passage in turn welcomes the distinctive tones of Friday, his expression and emotion as open as ever as keys glow with simmering but bright temptation around him. Fiery expulsions of energy and heart then drive the soon to break chorus, its ferocity lingering to add richer hues to subsequent melodic and slightly restrained moments. For the main though, the track is a cauldron of inventive twists and turns, an array of styles colluding in a striking blaze which at times pokes thoughts of bands like Joy Division, in others of the likes of Pitchshifter and Smashing Pumpkins or Trent Reznor and Anti-Clone.

The outstanding start makes way for Drown In Silence, a song which leans more or certainly quicker to its industrial and electronic rock side as lively cascades of punchy rhythms and suggestive synths fall upon ears before dissipating for the emotive reflection of voice and atmospheric melodies. Calm before the storm, the track is a furnace of emotive energy and heart but again thick intense shafts which share time and the imagination with increasingly volatile and ferocious crescendos, all these keen essences uniting in an explosive and dynamic climax to another increasingly contagious persuasion.

As striking and irresistible as they are, the first two songs are slightly over shadowed by the closing Ab Aeterno (From Forever), a mesmeric introspective unveiling from Friday in voice and emotion. A crystalline twinkle of keys light a creeping mist of evocative melodies from the song’s first breath, the vocals emotionally raw as guitars and stirring beats add their weight to the unfolding intimate drama. Like a mix of Bauhaus and very early U2 embraced by the dark ethereal craft of Nine Inch Nails, the song glows with charm and shadows, eventually igniting in a searing fire of sound and suggestiveness.

It is a transfixing end to a breath-taking release from This Burning Age, the band’s finest hour without doubt though you get the feeling even now that we have seen nothing yet.

The Desolation EP is out now via 5th Day Records @ http://thisburningage.bigcartel.com/

http://www.thisburningage.com/   http://www.facebook.com/thisburningage   http://twitter.com/thisburningage

Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

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

My Cruel Goro – Self Titled EP

My Cruel Goro_RingMaster Review

Since its emergence a couple of weeks or so back, the debut EP from My Cruel Goro and its sound, has lured comparisons to bands as varied as The Clash, The Stranglers, and The Jam to the likes of Ash, Arctic Monkeys, The Fratellis, The Hives, the Libertines, Dinosaur Jr., and Weezer. For us the self-titled release brings a weave of Asylums meets Birdland meets New Bomb Turks to the table. That diversity across all references though is because primarily it is hard to pin down the My Cruel Goro sound; it seems bred from varied decades and through a vat of inspirations but with no particularly defined evidence to support any claim, everything just teasing whispers in something quite original.

cover_RingMaster Review     Hailing from Italy, My Cruel Goro is a currently Reykjavík in Iceland based trio which formed in 2014. Vocalist/guitarist Andrea Maraschi and bassist Andrea Marcellini had already been making music together for the previous nine or so years, meeting through a mutual friend, before My Cruel Goro rose from the ashes of their previous project, its demise according to Marcellini because “We couldn’t find reliable musicians to form a proper group with a stable line-up.” Then they met and linked up with drummer Tommaso Adanti, from whence My Cruel Goro stepped forward with now their new EP an introduction to broader awaiting appetites for their raw and virulent rock ‘n’ roll.

It opens with Clash and an instant blaze of enticing riffs and probing beats. A single breath of a ‘pause’ brings the throbbing tones of the bass in before the band strolls and swaggers with indie revelry, thick guitar incitement, and mischievous electronic enterprise. The song is a tapestry of fuzzy hues and blustery flavours colluding in a punk ‘n’ roll roar which is as creatively unpredictable and agitated as it is contagiously rousing.

Next up is Crapford, a song quickly endearing itself to ears and appetite with a wonderful opening melodic hook which is as Buzzcocks like as you can get without a touch of stealing. With tangy bass bait and crisp beats alongside, it is a gripping start which only gets stronger as warmer flowing vocals and pop punk hues add to the texture and richness of the song. As its predecessor, if without the final raucous spark, the track is an addictive anthem to get fully involved in before Glue Buzz takes over with its new wave meets garage rock devilry. A perpetual bounce with seventies punk attitude and tone, as well as a horde of spiky hooks, infectious swings, and a noise rock centre which simply transfixes as it meanders and evolves towards its scuzzy atmospheric climax, the song is a glorious end to a striking and thoroughly enjoyable stomp.

It is of course early days but if their first EP is the sign of things to come, My Cruel Goro could be making a hefty impact on rock ‘n’ roll ahead.

The My Cruel Goro EP is out now via Rebel Waltz Records as a free download at the My Cruel Goro Bandcamp.


Pete RingMaster 05/10/2105

Copyright RingMaster: MyFreeCopyright

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