A Few Too Many – Solid Ground EP

Last year British pop punks A Few Too Many drew keen attention and praise with their debut album Lessons Learned. It was a collection of songs which had the body bouncing whilst giving modern pop punk a fresh lure to get close with. Admittedly for personal tastes, the album was as much magnetic for its potential as its eager roar. Now the quintet has returned with a new EP and a set of tracks which eclipse the previous release left, right and centre.

Hailing from Saffron Walden on the outskirts of Cambridge, A Few Too Many emerged in 2009. It is fair to say they have earned a rich reputation for their live presence ever since and as mentioned plenty of plaudits and support through their tracks and Lessons Learned and they can expect plenty more through Solid Ground. Offering six tracks which are as individual to each other in enterprise as they are united in creative exuberance, the EP sees the band toying with an array of flavours around their pop punk instincts.

It opens up with Stay The Night, a lone strain of guitar lure and spark to the incoming boisterous stroll of the track. The first hook grabbing ears incites a rolling charge of rhythmic and sonic zeal, continuing to core the lively blossoming of the song. Vocalist Michael Achilles soon leaps into the mix, his delivery carrying a rousing swing matched in the riffs and grooves of guitarists Jez Giles and Danny Freeman. The latter adds his vocals tones to the mix alongside those of bassist Luke D’Alton, taking central stage from time to time to add another rich hue to the excellent encounter.

The excellent start to the EP continues through Ultimate Glory, an instantly more clamorous proposal but just as swift to tempt with hooks and melodic wiring as the animated beats of Mitchell Holleyman bite. It calms down in many ways thereon in but not in providing an infectious incitement as shades of alternative rock collude with its punk catchiness before Ghosts tenaciously saunters in with the swings of Holleyman to the fore. As all tracks, it seals an immediate friendship with ears and imagination as its energy and contagiousness infests body and spirit; its twists and turns escalating the seduction.

Next up, Stuck On Repeat had no problem breeding pleasure and involvement if not quite finding the heights of its predecessor’s success. Nevertheless its zeal and catchy antics only thickly satisfied before being swiftly eclipsed by the early Green Day spiced swagger of The Pity Parade. With its Celtic blood and viral canter of hooks and vocal enticement, the track grabbed favourite track honours though it is quickly more than challenged by the EP’s closing title track.

Solid Ground springs its inescapable bait from its first breath, rhythmic hips swinging as the guitars cast their sonic web around Achilles’ and the band’s ever enticing vocal prowess. Every subsequent second and surge of enterprise is pure manipulation of body and throat; anthemic rowdiness at full virulence.

Short and snappy but as full of fun and adventure as you could wish for, Solid Ground is a set of tracks easily sparking  refreshed appetite for pop punk. It is also A Few Too Many turning a new chapter in their sound, one sure to insist attention is fully and hungrily set upon them.

The Solid Ground EP is out now on all digital platforms.

http://www.afewtoomany.co.uk/   https://www.facebook.com/afewtoomany/   https://twitter.com/afewtoomanyuk

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Matt Finucane – Disquiet EP

Following the release of Ugly Scene this past May, an “abrasive, noise-heavy protest” of an encounter, British alt rock troubadour Matt Finucane has its successor, Disquiet, poised for unveiling. Living up to its name, the EP is a collection of songs which as mellow and intimate as they are, come soaked in discord and melodic dissonance. They all breed a mix of challenge and seduction but most of all a fascination leaning towards needing more.

Having come across Finucane back in 2012 through his acclaimed album, Glow in The Dark, an encounter which had us simultaneously absorbed and confused, pleased yet unsure and most of all compelled to pay attention to its creator ahead, there has been constant intrigue to follow how things evolve. Fair to say feelings around Disquiet have not ventured too far away yet the enjoyment of his sound has certainly continued to grow through the offerings between both releases and is now at its most eager with the latest encounter.

As all his propositions, Disquiet is a DIY cast summons on ears and imagination as raw as it is creatively animated with opener Ulterior Motives quickly establishing Finucane’s distinct character of enterprise. Its acoustic/electric indie pop dances and flirts with ears though biding its time disharmony haunts the shadows brewing its infestation by the chord until eventually sparking a low key but inescapable cacophony for a captivating incursion of senses and song. The track epitomises the indefinable nature of his music; art and punk rock possible tags, wonk pop and dark folk others but honestly it is in a corner of its own.

The darker woozy presence of Happy Chains continues the contradiction and temptation, it’s off kilter shimmer and Finucane’s equally divisive vocals infesting melodic radiance like disorientating haze over a sunspot while the following People Move On exposes its fuzz seeded instincts. There is something akin to the kind of music artists like Frank Black and Pere Ubu have spread to Finucane’s sound, certainly a hue in its want and need to unsettle the expected and orthodox.

The EP concludes with firstly the warped melodic reflection of Always A Shadow, a track which feels like the aural side of a distorted mirror, and finally the seven minute plus journey of Dead Men Sing Us To Our Rest. In a cavernous embrace of echo and distortion, emotively and physically, the track is a malaise of frictious harmony, melodic discrepancy, and pretty much unnerving beguilement.

There is no doubt that the music of Matt Finucane is not going to sit easy with a great many but for those with a penchant for disturbing adventure and the song of the asylum, it and Disquiet should definitely be checked out.

The Disquiet EP is out October 19th via Crude Records; available @ https://mattfinucane.bandcamp.com/album/disquiet

 https://mattfinucane.net/   https://www.facebook.com/Matt.x.Finucane/

 Pete RingMaster 19/10/2018

Copyright RingMaster: MyFreeCopyright

Parasitic Twins – All That’s Left To Do Now Is Sleep With Each Other

A charnel house of sonic destruction and corruption, All That’s Left To Do Now Is Sleep With Each Other is the debut EP from British hardcore duo Parasitic Twins. Offering three tracks of raw noise infested dissonance, the release is an inhospitable animus of sound and intent which as it charred the senses had them keenly captivated.

Hailing from Hull, Parasitic Twins is the union of guitarist/vocalist Max Watt (Rotting Monarchs) and drummer Dom Smith (Mary and The Ram). Having previously worked together as part of Seep Away, the pair bred their new project within a “desire to create the most abrasive sound they could.” Caustically lo-fi and mercilessly intrusive, an encounter recorded live and raw, All That’s Left To Do Now Is Sleep With Each Other is the first result of that intent,.

It opens with Massive and instantly challenges ears with gnarly rabid riffs soaked in doom bred venom. The track uncages a predacious doom nurtured stroll upon the imposing rhythms of Smith, desolation and toxicity oozing from every psyche ravishing note as pestilential animosity coats every syllable out of Watt’s scarred throat. Yet there is an instinctive swing to the track which easily gets under the skin.

It is a template of sorts which breeds all tracks even with their true and open individuality as shown by Flipswitch. Its hardcore breeding ravages the senses from its first breath, riffs snarling as they abrase while the dual attack of vocals is similarly a fierce grazing to challenge and incite.

Final track, End, is a consumptive plague of noise but again springing an infectious noise punk incurred sway which soon settled within ears and body. Barely exposing a minute and a half to its carnivorous dealings, the track is feral pleasure; the EP the same times three.

All That’s Left To Do Now Is Sleep With Each Other will be a scourge too far for many and erosive manna for others as it announces the outbreak of one striking aural trespass going by the name of Parasitic Twins.

All That’s Left To Do Now Is Sleep With Each Other is released October 26th.

https://www.facebook.com/ParasiticTwinsBand   https://twitter.com/TwinsParasitic

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Blast Bomb – Burn History & Live Today

The tail end of last year saw the attention seizing arrival of German outfit Blast Bomb on the punk ‘n’ roll scene with debut single Born To Lose. Offering up three ravenous slices of heavy rabid rock ‘n’ roll, the release announced the Hamburg hailing quintet as one explosive proposition. Since then the band has made a just as striking and powerful impact on the live scene, sharing stages with the likes of Honeymoon Disease, Conan, Monolord, El Colosso, and Grumpynators along the way. With their reputation seemingly growing by the week, Blast Bomb is poised to release the Burn History & Live Today; an encounter confirming them a feral trespass of sound rather easy to devour and be excited by.

Blast Bomb emerged early 2017 as a project when guitarists Torben and Klaus, bassist Kai, and drummer Tobi came together though the foursome had played together in various permutations and outfits including notably High Gain District and Skull Harvest across previous years. Swiftly they enlisted former Thirteen Shots vocalist and founder Johnny Rose and together honed a sound which is an aggressively imposing and irritable yet instinctively contagious collusion of punk and hard rock with varied metal bred essences. Born To Lose soon proved it was an ear grabbing proposal which demands attention but fair to say as potent as that release was, it has been fiercely eclipsed by Burn History & Live Today in adventure and imagination let alone raw confrontation.

Recorded by Franz Schedlbauer at No Moss Studio and across its quartet of songs lyrically inspired and linked by the emotions and desire leading to Rose’s resettlement in German from England a couple of years ago, the EP swiftly reveals bolder imagination in sound and enterprise through opener Gambler. From an initial bike throated rumble, the band’s new single swaggers in with a hungry groove and rapaciously swinging beats. That grooving continues to bait as things evolve, getting under the skin as Rose’s distinctive tones bring their equally compelling invitation to the hook loaded rock ‘n’ roll incitement. Also spilling a horror punk scent over its punk ‘n’ roll instincts, the track provides a web of old school nurtured but intrusively fresh confrontation while increasingly building on its creative hand.

The following Stray prowls ears with an almost portentous air as it makes its entrance; its threat escalating by the riff and chord as the growling bass of Kai and scything swings of Tobi bring greater imposing texture and attitude to the senses challenging encounter. Stoner spicing adds to its character, further flavouring an inescapable intensity in sound and emotion as well as another inventive aspect to the Blast Bomb sound before Burn History bounds in with devious hooks and snarling riffs amidst an eager ferociousness quickly sparking blues flamed spirals of guitar. This all springs into a spicily searing glaze of sonic liquor which subsequently triggers a repetition of the song’s opening whirl of irresistible hookery and in turn a horror punk lined stalking. With imagination and drama growing in every persuasive note and vocal twist, the track rivals the first in best song honours.

Live Today concludes the release, its gentle opening saunter easily luring the imagination, seducing as guitars and bass unite in an even tempered invitation unsurprisingly carrying an edge and suggestive volatility. That aural simmering eventually erupts in a caustic wind of sound though it is still held with a restraint which escalates the intrigue and creative nature of the song.

It is a fine end to a release which confirms Blast Bomb as one exciting prospect and though you can sense that their sound is still evolving, finding its true voice it just adds to their striking and very welcome intrusion on the punk/rock scene.

Burn History & Live Today is released via Undead Artists on November 2nd with pre-ordering available now @ https://blastbomb.bandcamp.com/releases

Upcoming live shows:

19/10 Kapovaz, Bremerhaven*

20/10 MAD Music Club, Backyard23 Social Club e.V., Hameln*

04/11 Bambi galore, Hamburg+

* with The Dukes Of Bordello + with Castle – Metal Band

https://www.facebook.com/pg/blastbombhamburg

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

King Zero – Sonic

What can we tell you about US outfit King Zero? Well very little actually apart from it is a quintet from Dallas which recently released the very appetising Sonic EP and offers a bluesy melody rich sound which has drawn comparisons to the likes of Black Sabbath, Grand Funk Railroad, Tom Petty, Eagles, and Black Oak Arkansas. Anything other than that we have yet to discover but quite honestly their latest release does all the talking for them whilst casting plenty of reasons why to give them continued attention.

Made up of four tracks which suggest a brewing broadness to their sound, the Sonic EP swiftly grabbed eager ears starting with opener Black Stoned Heart. Straight away the senses are wrapped in inviting sonic strains of guitar, a groove springing lure soon joined by an eager rhythmic swing. The potent tones of vocalist Paul Renna step into the growing blues fuelled enterprise soon after, his earnest croon aligning with the melodic craft of guitarists Dave Self and Chris Jackson. As further shown by the release in general, there is an open familiarity to the band’s sound and certainly they are not reinventing the sonic wheel but as the first track alone proves, King Zero is definitely giving it a new fresh lick of craft and imagination.

It is a great start to the EP quickly backed and eclipsed by In Your Eyes. Straight away spicy hooks are cast around ears, arousing a greedy appetite as they continue to nag and seduce as vocals and rhythms collude. A stoner-esque hue adds to the song’s magnetic character and holler, the swinging beats of Todd Hatchett inciting further captivation in league with the similarly alluring dark breath of Chris Ivey’s bass. Emerging as our favourite of the four through its rapacious grooving alone, the track highlights all the essences which are beginning to draw richer attention upon the band.

 Into the Light follows with a calmer touch to its southern laced croon within a melodically flaming classic rock breath and though we cannot say that it grabbed us as richly and firmly as its companions, from vocals to melody, united to individual craft, the track more than pleased whilst adding another hue to the band’s colourful sound.

Final track, Fuel the Fire, needed little time to get under the skin in comparison, the time it took Ivey’s bass to move through its first rumbling riff enough to reel us in. The trap is soon firmly shut by grunge lined grooves which just spill temptation and a vocal prowess that lures; an attention demanding end to a release which commands the same depth of fixation.

Sonic is also an offering which blossoms further by the listen. Musically it is not particularly unique but everything about it is creatively magnetic and as fresh sounding as you could wish; as we intimated earlier they reasons enough to keep King Zero on the radar.

The Sonic EP is out now on Spotify and @ https://itunes.apple.com/us/album/sonic-ep/1434199784

http://kingzeromusic.net/  https://www.facebook.com/kingzeromusic/   https://twitter.com/kingzeromusic

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Project Silence – Infinity

It has not proved too hard for us at The RR to be hooked on the creative animus of Finnish industrialists Project Silence these past years ever since the release of their debut album 424 in 2012. Even as their electro-metal based sound has evolved and embraced a host of extreme and raw metal textures across subsequent encounters, each encounter has accentuated our fascination come addiction with their music. It is fair to say that the blackened death hued adventure of the band’s last album, Slave To The Machine, did not quite hit the personal spot but still had more than a few moments of irresistible and striking adventure. Now two years on, the Kuopio quintet has returned with a seven track scourge in the shape of Infinity; a release which quite simply is their finest moment.

Infinity sees the Kuopio hailing quintet of Delacroix (vocals, programming, keyboards), S (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) in many ways returning to the industrial breeding of their roots whilst still exploring the variation of flavours involved in the creative weave of its predecessor. From its first breath there is a sense of fresh maturity and boldness to the sound, the initial trespass of opener We Will Rise a contagion loaded tide of muscular riffs. It is a fierce yet infectious nagging with a touch of Fear Factory to it which ebbs and flows as the guttural growl of Delacroix entices. As heavy as it is portentously dark, an insurgent sound tempered by the melodic tease of keys, the sonic incitement just stirred ears and imagination; a result only escalated across its successors.

The equally outstanding From Beyond follows, its initial lure new wave-esque amidst swift gothic hued intimation before its black hearted dance emerges. Even then it is a prowling venture of threat and magnetic suggestion; technical death metal dexterity merging with industrial rapacity to increasingly fascinate as its electro instincts escape sonic darklands before the tantalising drama and ungodly seduction of No More envelops and devours the senses. Soaked in malevolence, the track subsequently swings from its sinful crawl into a just as nefarious canter, Crowley-esque hues lining the increasingly transfixing and ravenous encounter.

Forgotten shares its own diabolical instincts and adventure next, its gait and character as volatile as it is sonically and melodically imaginative; again a weave of flavours mingled and worked with compelling enterprise while Pulse swings and stomps straight after with tenacious endeavour and a mercurial breath seeming not sure whether it wants to dance with or ravish its victim; for the main simultaneously doing both.

The final pair of Anthropophagite and Day Of Reckoning brings Infinity to a mighty close; the first is just superb as it feasts on the flesh and senses of the listener whilst nagging increasing attention and lust with its repetitious riffs and grooves. As keys spread their melodic toxins and vocals their taunting malevolence, the track simply escalates its lures before leaving its successor to infest body and spirit with its Rammstein spiced death soaked craft and immorality. As all tracks, it offers an invasive but captivating web of styles and flavours within its industrial metal nurtured adventure leaving the listener bouncing in deed and thought.

In many ways Project Silence has taken the strongest and most adventurous ingredients from their previous releases to breed the rousing exploits of Infinity but there are just as plenty fresh and new elements which keep the band as one of the most exciting proposals within industrial and indeed extreme metal.

Infinity is out now via Sliptrick Records across most stores and available @ https://projectsilence.bandcamp.com/album/infinity

http://www.projectsilence.info/   https://www.facebook.com/projectsilenceband/   https://sliptrickrecords.com/project-silence/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

The Arusha Accord – Juracan

Beginning to feel like a period of long awaited returns, October sees UK tech-metallers The Arusha Accord releasing their first record in seven years in the fury spewing shape of the Juracan EP. Offering five ravenous almost rabid but skilfully conjured and complex encounters, the release is not only the Reading hailing outfit back and to their best but with a fresh breath in sound and imagination.

The first of four planned EPs, Juracan has come out of a turbulent time for the band; its title an echo of that tempestuousness and coming from the phonetic name given by Spanish colonizers to the deity of chaos and disorder which Taíno natives believed controlled the weather, particularly hurricanes. The Arusha Accord actually returned to action as headliners at UK Tech Fest 2017 but things were derailed by vocalist Alex Green and subsequently guitarist Tom Hollings leaving the band. Taking time out to take stock, the band decided to go forth with Juracan as a quartet, Paul Green stepping up to handle solo vocal duties alongside bassist Luke Williams, guitarist James Clayton, and drummer Mark Vincent.

What has emerged is a release which certainly bears but embraces the difficulties endured. There is a fire in its belly and irritancy in its breath which only enhances both its raw almost rebellious roar and melodic imagination. Recorded with Adam Getgood and mastered by Prash Mistry, the EP springs from dark clouds and a melancholic climate with Blackened Heart, the track surging through ears with caustic intensity wrapped in melodic enticement. It swiftly consumes and violates the senses yet all the while its creative swing and instinctive virulence is working away on song and listener. The recognised technical prowess of the band is as quickly tempting and escalating the magnetic appeal equally racing through the track, unpredictability lighting its evolving landscape as Green similarly shows his strength and prowess as sole frontman.

The track leaves a rich and impressive mark on ears and memory before being matched in inventive kind by Vultures. As with its predecessor, there is instinctive aggression driving its escapade but also an almost Celtic metal seeded flavouring which emerges through the enterprise of Clayton. A collusion of extremes which at times is a skilfully nurtured collision, the raucously rousing yet seductively manipulative track, again as the first, is pure magnetism.

From a sonic mist The Road (Amor Vincit Omnia – Part 1) rises upon a deliciously dirty bassline accompanied by the continuing raw glaze of keys. As its tempestuousness stirs, Greens fine clean vocals only escalate the lure and potency of the outstanding start to the track and a captivation only growing as things mellow out before Beneath The Dule Tree shares its sonic winds and melodic fire. As powerful and stirring as it is, the track epitomised by its fadeout feels like it is part of a bigger but disconnected picture. For that reason it did not quite find the same level of potency with personal thoughts yet everything about the track left a want for more which EP closer, The Dark Pane, eagerly satisfied. It rhythmic barrage is purposeful and invasive but the spine to another infectious trespass bound in alluring sonic wires and suggestive melodic tendrils, all amidst an alignment of the tempestuous and harmonious.

Talking about the EP, Green has said “Despite the knock backs we have had and there have been a whole bunch this past year, we’re the strongest we’ve ever been, more unified and passionate about this project and excited to finish the next three EPs!” There is little we can argue against his claims but only add we are excited to hear the next trio of encounters.

At The RR we try to bring you the most exciting, unique, and adventurous releases around, Juracan ticks all the boxes and more.

Juracan is out now @ https://www.arushaaccord.com/shop/

https://www.arushaaccord.com    https://www.facebook.com/thearushaaccord/   https://twitter.com/thearushaaccord

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright