Maven – Am I Awake?

Maven is a band which since emerging back in 2012 has earned an increasingly potent reputation for their alternative rock sound loaded with big rousing choruses, captivating melody, and emotive intensity. Increasingly individuality has also been a growing aspect in its persuasive character and all are in full roar within new EP, Am I Awake?

London hailing, Maven has endured a host of personnel changes over the years but with a stable line-up now established, the quintet has built their way towards the encroaching of major spotlights. Their previous well-received EP, Closed Doors, Open Minds, ignited a strong underground following and support and it is easy to see its successor nudging the band towards even greater success and exposure.

Embracing inspirations from the likes of Don Broco, Mallory Knox, Breaking Benjamin, and Story of The Year in their sound, Maven offer up a proposition which is still to find uniqueness but openly comes with individual imagination and bold enterprise as proven by the first and title track of Am I Awake? alone. The song initially wraps ears with a melodic caress, its voice evocative and melancholic as similarly respectful beats court its solemnity. An eruption of guitar and intensity then breaks before another calm reflection of keys as the potent tones of vocalist Dan Nash share their hearts; this in turn leading to another impassioned roar of sound and emotion from which an infectious stroll ripe with tempestuousness breaks. Barely half way and already band and song reveal an unpredictable and fascinating landscape of imagination reflected in sound and enterprise, the guitars of Joe Marshall and Rob Barlow weaving a striking mix of melodic drama and sonic turbulence around the rhythmic agility of bassist Sam Tindal and drummer Josh Stillwell.

The following Stronger Than You is cast in the same theatre of thought and prowess, turning calm reflection into aggressive declaration and rousing intensity into melodic intimation with craft and ear grabbing instincts. Though it just misses rivalling the heights of its predecessor, the song is an inferno of anthemic passion and drama within an infectious landscape of successful sonic persuasion while its successor Heart Time, prowling a similar trail to those before it, strikes out with its own agitated and arousing emotions and contagious melodic rock fertility. As with the previous track, it too lacks the rich unpredictability of the first but only provides a compelling invitation and adventure within a volatile body.

Am I Alive? brings the EP to a close, deep thought and reflection soaking its heart and words as the maturity of the band’s earnest sound and songwriting erupts with poignant intent and sonic power. As the EP started, it ends with a striking and stirring proposal while across its compelling length it increasingly suggests that Maven are heading the right way to sparking eager recognition.

Am I Awake? is released December 6th

http://www.mavenband.co.uk/   https://www.facebook.com/MavenBandUk/   https://twitter.com/MavenbandUK

Pete RingMaster 05/12/2019

Copyright RingMasterReview: MyFreeCopyright

Crostpaths – Self Titled EP

The eagerness of people to push forward UK metallers Crostpaths for attention has raised a certain intrigue and now with the release of their self-titled debut EP, it is easy to understand. It is a highly promising and more importantly thickly enjoyable introduction to the Kent Hailing outfit and easy to expect the fuel to further and greater interest in their potent sound.

Formed a year ago, Crostpaths take the inspirations of bands such as Linkin Park, Skindred, and Papa Roach to their nu-metalcore tagged sound and it is the latter of the trio which most comes to mind across the EP’s three tracks. Even so there is plenty to their music which is refreshingly unique as it is familiar and as it evolves its true identity over time and maturity you can only see the former being the overbearing hue.

The EP opens with Pariah, teasing and taunting with the song’s initially set back bait before standing toe to toe with ears and thrusting rapacious riffs and tenacious rhythms through them. The crossover character of the band’s sound shapes the track’s first engagement, groove and alternative metal building its second manoeuvre as the lead vocals of Ritchie Murray Jack ably backed by those of bassist Owain Lewis prowl and pounce. Pitchshifter styled electronics equally add to the tempest of textures and temptation, the predacious breath of the song armoured by the eclectic web of sound which emerges in individual design across the EP.

If the first track had a bit of a Spineshank meets Papa Roach roar the following Meridian (Aftermath) finds an Emmure/The Kennedy Soundtrack like scent to its equally adventurous roar. There is a calmer melodic air to the song than its predecessor in some ways, Crostpaths exploring their more progressive post metal side but still there are moments when the song snarls and the band’s sound bites.

Bulldozer is the EP’s final offering, a cankerous slab of aggressively antagonistic metal with a combined Rage Against The Machine/Nonpoint resembling ferocity. Brief, taking no prisoners, it is a stirring end to an impressive first uprising with Crostpaths and we hope the first of many more rousing encounters.

The Crostpaths EP is out November 29th.

https://www.facebook.com/crostpaths     https://www.twitter.com/crostpaths   https://www.instagram.com/crostpathsmusic

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

DMS – Imposter Syndrome

Borne on a sound embracing everything from alternative rock to soulful pop honed into something individual, Imposter Syndrome is the new EP from DMS, a release revelling in all the aspects which has drawn keen attention and praise the way of the Scottish outfit.

Formed in Edinburgh in 2015 by vocalist John Keenan, guitarist/vocalist Mikey Robertson, and drummer Callum Saint, DMS (Deaf Mute Society) has consistently picked up new fans and plaudits. With its line-up completed by bassist Euan Mushet and keyboardist Jen Bain, the band closes a successful year on the live front, playing a host of festivals such as March Into Pitlochry, Oban Live, Kelburn Garden Party, and Party  At The Palace, with the release of Imposter Syndrome. Providing four tracks as eclectic in their presence as they are united in their enterprise, the EP has already sparked keen attention through its first single, Howl.

 It is Tight Jeans which opens up the EP, its instantly infectious presence shaped by the dark breath of bass and the flirtatious shuffle of keys and guitar. In its midst as Saint’s beats egg on the song’s controlled but eager boisterousness, Keenan’s vocals swing adding further catchiness to the track’s stroll. Across its thick contagion, a host of flavours unite; classic rock wires escaping the guitar as electro pop instincts line its earthy rock ‘n’ roll.

It is a great start to the release which is matched in creative kind by Dirt. Springing a tapestry of funk, pop, and dance-floor nurtured endeavour around its rock instincts, the song canters through ears with its own infectious agility and charm. As with its predecessor, there is at times certainly something familiar to its escapade but equally it is only freshly imaginative to DMS, a description which again applies to the outstanding Howl. Easily our favourite moment within Imposter Syndrome, the track effortlessly got under the skin with the Visage-esque air to its keys and the unapologetically contagiousness of its rock ‘n’ roll where classic rock hues are as eager as poppier strains of sound.

Vain brings the release to its conclusion, the track rising on the progressive intimation of keys to swing through ears as Keenan explores the more rap like side to his ever engaging delivery. Richer synth pop and alt rock invention unite as the track continues another inescapably inviting stroll, enterprise and craft at the heart of its temptation.

Imposter Syndrome is a potent and memorable proper introduction to DMs, a release which just gets more compelling by the listen and one sure to lure greater focus upon the band’s rise up the UK rock scene.

Imposter Syndrome is released November 29th.

https://deafmutesociety.com/   https://www.facebook.com/dmsscotland/   https://twitter.com/dmstweetz   https://dmsscotland.bandcamp.com/

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

Elizabeth The Second – Two Margaritas at the Fifty Five

photo by Filippo Galvanelli

A handful or so weeks back Italy based outfit, Elizabeth The Second, unveiled their debut single ahead of their first EP. It was a rousing introduction to the trio and a flirty teaser for Two Margaritas at the Fifty Five, which now here equally suggests this is a band to keep a close eye and eager ear upon.

Consisting of Ben Moro (guitar and vocals), Michele Venturini (bass guitar) and Luca Gallato (drums), Padova hailing Elizabeth The Second spring a sound upon ears which is part garage rock, part punk, and an infectious amount of dirtily edged pop rock. Inspirations come through the likes of by The Clash, Blur, The Libertines, Artic Monkeys, Nirvana, and The Stone Roses; all hues which certainly flavour the band’s sound as too the breath of seventies nurtured power pop and nineties Brit pop.  For all that though, the band’s music escapes speakers with open individuality casting a great mix of familiarity and undisguised freshness.

Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.

Its persuasive traits are keenly embraced and built upon across the following tracks too, Mickey weaving its own infectious blend of pop and rock in a boisterous proposition blessed with lively rhythms and a spicy hook. With its body woven from an array of flavours and Moro’s vocals further great persuasion the song effortlessly hit the spot before Yesterday I Was 20 stepped forward with matching prowess. A sixties hue teases from its melodic grace as that power pop essence fuels its shuffle, the song in some ways reminding of bands such as Purple Hearts and The Chords and though it did not quite raise the passions as those around it, there was only pleasure and an appetite to indulge again in its infection.

As its companions the following Soho revels in its catchiness and playful enterprise, melodies and enticing hooks as manipulative as the roar in Moro’s voice and the dexterity of the rhythms driving the song, let alone the imagination gluing it all together. Again an array of styles make up its character and voice before it leaves the just as potent Gimme One Euro to bring the EP to a spirited close with its own recipe of just as varied ingredients and flavours. As with every song on the EP, pop, punk, and rock essences meld perfectly with the classic rock wiring which escapes Moro’s guitar especially in his spice rich solos and in all tracks there is nothing which allows attention to be cast elsewhere.

One superb single and one addictive EP, there could be a rather rosy reign for Elizabeth The Second ahead.

Two Margaritas at the Fifty Five is available now digitally and on CD @ https://elizabeththesecond.bandcamp.com/album/two-margaritas-at-the-fifty-five

https://www.facebook.com/elizabeth.the.second.band   https://twitter.com/Elizabethe2nd

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

Quella – Donor Fatigue

Though not their first offering, we will admit that Donor Fatigue is our introduction to UK outfit Quella and the beginning of close attention such its striking persuasion on ears. Offering four slices of the band’s progressive punk/metal which truly embraces much more than that tag suggests, the EP provides a gripping landscape of imagination and noise which demands and devours attention.

Coming out of London and Brighton, Quella have built a potent fan base through their previous releases including the Fantastischen! EP of last year and a live presence which has seen them share stages with the likes of Sumer, Core of iO, In Search of Sun, Black Orchid Empire, Gold Key, and Dirty Sound Magnet. Produced, recorded, mixed and mastered by Lewis Johns (Conjurer, Rolo Tomassi, Gnarwolves, Employed to Serve), Donor Fatigue would spark no surprise if it drew even greater attention and a new horde of ears the way of the band, indeed such its riveting adventure we expect it.

The EP opens with Crown Of Flies and immediately lured intrigue with its cinematic sample and sparked eager attention with the tempest of sound which swiftly follows. It in turn breeds a punchy and lyrically pungent canter as infectious as it is barbarous. The striking tones and imaginative words of vocalist Stefano Sebastianelli stand at the core of the captivation, the voracious rhythms of drummer Adam Parker and bassist Lee Davidson predacious temptation alongside breeding the drama as the guitar of Bean sonically shapes he song’s adventure. A fusion of punk, noise rock, and metallic dexterity, the song is simply superb and more compelling by the rock induced twist and imagination flooded turn.

Though it remained our favourite moment within the EP, it is regularly challenged if not dethroned within Donor Fatigue, with Smalltown Eiderdown the first to stake its suggestive claim. Instantly accosting ears with a dirty tide of riffs and senses swiping beats, the song just as quickly reveals spiky hooks and melodic taunting within its contagious and volatile body. Southern tinged grooves only add to the appetite nagging stoner lined lure of the song, its persuasion multi-faceted and all-consuming in voice and sound.

Loyal To The Lie teases with hard rock stranded enticement initially but no surprise as a thickly and varied flavoured web of sound and imagination grows from it, the band’s progressive instincts  entangling punk and anthemic rock dexterity before its brief but potent presence makes way for the groove punk riot of Them Apples. Entering with a similar melodic involvement to that its predecessor left in, the track keenly uncages its rapacious rock ‘n’ roll wolfishness amidst a feral but composed breath. It is a galvanic mix which is likely to arouse the spirit of punk and hard rocker alike.

That last suggestion applies to Donor Fatigue as a whole, a release which has brought a new and already eagerly devoured pleasure in the shape of Quella to us at The RR

Donor Fatigue is released 22nd November with pre-ordering available now @ https://quella.bandcamp.com/album/donor-fatigue

https://www.facebook.com/quellaband/     https://twitter.com/quellaofficial

Pete RingMaster 19/11/2019

Copyright RingMasterReview: MyFreeCopyright

Youth Illusion – Terms of Submission

Terms of Submission is the debut EP from UK outfit Youth Illusion and an encounter quickly showing why the quartet has earned potent praise and attention since emerging.

London based, the band consists of members born and raised in the States, UK, South Africa, and Italy. Their creative coming together last year has spawn a sound bred in the instincts of pop punk and alternative rock but as the four tracks within their first EP show it is already brewing its own varied identity. Already the band has notably shared the stage with plaudit luring success alongside I Set My Friends On Fire and impressed at the Camden Rocks Festival and should expect a fresh flood of ears and attention their way with the release of Terms of Submission.

Though maybe uniqueness is not yet as prevalent as familiarity within their EP, Youth Illusion openly sow and water the seeds of such future originality across its offerings, that familiarity more of the overall flavouring of their genre inspirations than of certain protagonists within them. Terms of Submission opens up with Better Off, the song rising on a sonic thread into a dextrous mass of riffs and rhythms before hitting its immediately infectious stride. The guitars of Matt Ungaro and Zach Almond proceed to weave a web of enticement loaded with keen hooks whilst the latter’s vocals add matching temptation with melodic prowess. There is a great steeliness and trespass to the guitars too which proves just as magnetic as the striking beats of drummer Tim Storey and the brooding hues of Rory Deans’ bass.

It is a great start to the EP and maybe it’s most potent moment though persistently challenged by its companions led by next up Cover Up And Die. If not as dramatic and punchy as its predecessor in its entrance, the song soon reveals its own contagious exploits and imagination in pop punk fuelled rock ‘n’ roll. Its bounce and snarl is unapologetically infectious and body an accomplished persuasion with Deans’ backing vocals a strong addition to Almond’s potent lead.

The increasingly impressive Enemy launches at ears from an almost tempestuous start with a rousing rally of rhythms at its core, they the lead to the track’s continually evolving adventure as melodic and vocal contemplation blends reflective calm with pop infused catchiness. Dean’s bass is again an ear grabbing ingredient in the mix but all four members of the band prove their dexterity and imagination in its creatively raucous body before Rebellion brings things to a close. Though in some ways it is the least surprising song within the release, with its A Day To Remember/All Time Low like character, it is nonetheless a bouncing pleasure inciting the same eager energy in those paying attention.

Terms Of Submission is an infectious introduction to a band easy to see a potent future for if their sound evolves its true individuality from this impressive start. On the evidence of the EP, they will provide plenty to enjoy however it turns out.

Terms Of Submission is out now.

https://www.youthillusion.co.uk   https://www.facebook.com/YouthIllusionband/

Pete RingMaster 19/11/2019

Copyright RingMasterReview: MyFreeCopyright

Tarah Who? – 64 Women

Released last month but a release which should escape the attention of no one is the imagination soaked five track punk furores that is 64 Women. The new EP from Tarah Who?, the compelling encounter is an incendiary rock ‘n’ roll device which explodes on ears and senses with ravening appetite.

Consisting of Paris born guitarist/vocalist Tarah Carpenter and drummer/backing vocalist Coralie Hervé, LA based Tarah Who? has regularly tantalised and incited the senses through their releases but there is something about 64 Women which hungrily eclipses all before it. Each song is an individual adventure and trespass of imagination and enterprise united in a punk breeding and grunge/alt/noise rock nurturing. They have a bite and snarl which forces a step back and virulent contagiousness which had us jumping headlong into their devouring no bounds feared exploits.

Fair to say given our enjoyment with previous encounters including acclaimed last EP, Half Middle Child Syndrome, anticipation was certainly alive with maybe unfair expectations of something certain to spark our appetites but it took little time for opener Linger to set the first breach of a whole new ardour for the band’s  voracious assault and bold adventure. Within a breath, the guitar is winding its acidic lure around ears whilst invading them with clamorous thrusts, Hervé’s lurking beats just as invasive before the song explodes in a body jerking, attitude fuelled roar of noise and temptation. Vocals are equally as confrontational and magnetic, swinging from the threads of the continuing infectious clamour with matching voracity. Unpredictable twists and ear gripping enterprise simply add to the ingenuity and rabid flirtation of the track as a whole new level of Tarah Who? incitement unfurls.

Copycat follows, hitting its creative stride instantly with rhythms a swiftly catchy lead to the skirmish of guitar and emotion. Like a rapacious mix of Spinnerette and in some ways 4 Non Blondes, the song reveals rock ‘n’ roll instincts and punk rock belligerence. Again the duo slips into calmer but no less striking moments within the sonic urgency before Hurt shares its own mellow breath as it rises up in a radiant melodic dew with Carpenter’s tones again providing an equally enticing persuasion soaked in emotion and reflective observation. It is a gorgeous moment in the release, a haunting seduction of craft, sound, and heart with inherent dissonance in all.

In contrast but with matching captivation Umbilicus strides from its first breath with punk antagonism and devilment, but another song unafraid to tease with unexpected momentary detours within ravenous goading which only add to its might and irreverence while Numb Killer brings the EP to a close with its own wonderfully nagging virulence and enterprise. Riffs tease and arouse as hooks ignite song and pleasure alike, all the while rhythms prowling and invading with equal contagion. Add the vocal tenacity and catchy intrusiveness of its creators and you have another song within 64 Women which leaves only a desperate hunger for more.

And as a whole the EP has us greedy for the next moment with Tarah Who?, something which has a real task on its hands to outdo the band’s latest riot but easy to suspect will relish and provide a thrilling adventure in trying.

64 Women is out now via Kurukulla Records.

http://www.tarahwho.com/   http://www.facebook.com/Tarahwho   https://twitter.com/Tarahwho

Pete RingMaster 19/11/2019

Copyright RingMasterReview: MyFreeCopyright