Kristy And The Kraks – Self-Titled EP

kristykraks

Casting a seductive web of sixties and garage punk, Kristy and the Kraks has a sound which sidles up to the imagination with lips pouted and provocatively swaying hips before adding a sonic glaze to the affair which permeates psyche and passions with equal tenacity. Hailing from Vienna, the band has just released their debut self-titled EP, a release consisting of four songs said to be inspired by Le Tigre and Julie Ruin. It is a raw and enchanting blaze of punk enterprise which croons and teases as its scores the senses in a presence which for us is best described as The Cramps and The Creeping Ivies meets The 5 6 7 8’s and The Crystals.

Kristy and the Kranks is the creation and union of Kate Kristal (Rabe, Dot Dash) and Ana Threat (The Happy Kids, Bretzel Krake Hoffer), the two coming together for the project in the spring of last year. Providing a temptation of two sets of vocals, a single guitar, and a basic stand-up drum set, the pair alternating instruments for certain songs, Kristy And The Kraks mesmerise with their sound. Like the best strains of garage punk the band makes a startling first impression, one which challenges and intrigues predominantly but it is not long before their lo-fi wiles and simple melodic toxicity become an irresistible and captivating temptress.

A resonance of drums opens up the EP as I Don’t Love You No More steps into view, the initial beckoning soon joined by sultry calls of coverguitar, both aspects gentle in their persuasion and gait at first. As the vocals come forward a more flaming voice emerges in the guitar strokes, their acidic tempting deliciously raw edged as they align with the smouldering harmonies which skirt the similarly heated vocal lead. The chorus brings a flush of urgency behind its melodic enticement which then switches to and fro with the previous more even tempered but fiery narrative. The song and sound is quite compelling, like a humid union of The Shangri-Las and The Fall and thoroughly absorbing.

The following Twentyone is forty two seconds of irresistible addictiveness. It is simply a hypnotic stride of beats inflamed by scuzz grilled guitar with intermittent vocal shouts striking across its bow. There is very little more to it but boy is it effective and inflammatory for the passions, riling and lighting them up for the next up No No No No No. The third song, which has also been the source of the band’s debut video, opens on a sensational throaty twang of guitar, its resourceful baiting of the imagination complemented by harmonic waves of vocals and a courting percussive coaxing. The song flirts with its moves and sounds, its swerves and tempting as raw and seductive as you could wish for. There is something primal about the song and the overall sound of the band, an instinctive lure which you cannot tear yourself or emotions away from, with this track arguably the most naturally bewitching of the four.

The just as masterfully magnetic Suicide completes the contagious incitement, the song veining its shadows with sirenesque harmonies entwined in rich guitar colour as well as a rhythmic punctuation. It all combines to provide a gripping drama with a healthy whisper of The Slits to its invention.

The EP is a magnificent debut, a release which increases its persuasion and beauty over each dive into its vibrant uncluttered depths. A release for garage punk, post punk, and lo-fi melodic punk fans, Kristy And The Kraks has announced themselves with one lingering fascination of a debut. Expect to hear and enjoy a lot more of this charismatic band.

The EP is available as a limited edition 7″ as well as a digital download via Totally Wired Records now!

http://totallywiredrecords.bandcamp.com/album/kristy-and-the-kraks

http://www.facebook.com/kristykraks

9/10

RingMaster 19/04/2014

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Mind Museum – One Blood

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The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already OneBlood-EP_ScreenResemotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

   Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

The One Blood EP is available via Secret Chord Records now!

http://www.mindmuseum.co.uk/

9/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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Discharger / The Uprisers Split EP

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If you ask us there really are not enough split releases around these days, not enough bands/labels really exploiting their potential in spreading the word and sounds of emerging and established but maybe still to be discovered bands. Rebel Sound Music has stepped up to the plate though with the outstanding link up of Dutch Oi! punks Discharger and US punk ‘n’ rollers The Uprisers. Consisting of four diverse contagions, the 7” single is an irresistible riot of uncompromising rock ‘n’ roll, one gleefully leaving an exhausted and impossibly contented glow over ears and passions.

Hailing from Amersfoort, Discharger has never been slow in unleashing anthemic and compelling encounters to ignite punk appetites starting with debut album Born Immortal in 2004. Our Hate Is Justified two years later and the following The Sword of Our Ancestors in 2008 reinforced the band as a truly provocative proposition whilst the 2012 album Desecrated Ground recruited another wealth of engaged attention and fans, with the band re-embracing their Oi! background they started with than the more metal rooted influences which marked its predecessor. The quartet with their new songs stay rooted firmly in their punk roots on the single though that is not to say that the band has neglected any of its adventurous intent in sound.

Everytime We Drink opens on a relaxed chord and melodic coaxing before lifting its sinews and knees to burst into a muscular stomp, enthralling grooves lacing the aggressive urgency of the band. Seemingly already a firm favourite with fans and newcomers to the band since its appearance on YouTube a few weeks back, the track roars and recruits with open anthemic revelry around a thumping rhythmic punctuation. A fiery rampage with more contagion in its walls than many bands breed in a whole album, the track ignites an instant greed in ears and appetite for the following No Place For Our Kind. Opening on an acoustic invitation, the song erupts into a rampant confrontation with infectiousness again dripping from every note and digging hook. The great gruff vocals and almost brawling stride of the song has a thick texture which is part metallic and part rockabilly, the combination reminding of Danish motorbillys, The Grumpynators at times. It is a thoroughly incendiary and riveting anthem, quite irresistible and quite brilliant.

Discharger gives a high benchmark for New Hampshire’s The Uprisers to match, but it is no challenge as they rival their companions in Printsound and contagion. Emerging from the ashes of The Radicts, the band sees the reunion of Todd Radict and Rodger Shosa of The Bruisers, the pair having played together in punk band Five Balls of Power in the eighties. The band opens up their contribution to the release with a reworking of an old song of The Radicts. Led by the captivating vocals of Britney Noyes which have more than an essence of Poly Styrene meets Wendy Wu to them, Everybody’s Got A Reason takes a mere breath in time to draw a firmly attentive reaction with its opening thump of beats and classic rock flavoured guitar tempting. Keeping to a controlled stride with strikes of rhythms and guitar around catchy hooks, the song makes a tasty infectious appetiser for the band’s main course, the outstanding Ghetto Blaster. A brand new song from the band, it captures thoughts and emotions right away with its old school/modern punk bait, the track within seconds reminding of bands such as Penetration, 4 Nin Blondes, and Juliette And The Licks. Riffs and rhythms surge through the ears as devilishly as the vocals; every stride leaving a coating of anthemic toxicity which builds into a virulent seduction speared by sonic endeavour and melodically crafted hooks for the strongest bait. The song is punk rock at its purest insatiable best and takes tops honours amongst four quite magnificent beasts.

Whether the bands are intriguingly new to you or you just want punk rock in its strongest guises then the split between Discharger and The Uprisers is essential listening and owning.

The Discharger/ Uprisers split 7” is available now through Rebel Sound Music now coming in 200 Black vinyl, 200 Red vinyl, and 100 White vinyl options.

https://www.facebook.com/dischargerholland

https://www.facebook.com/theuprisersnh

http://www.rebelsoundrecords.com/

9/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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Cave of Swimmers – Self Titled

 

CoS

Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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KING GOAT uncages new EP on Monday 28th April‏

King Goat Online Promo Picture

NEW EP UNVEILED AND TOURING TO BE ANNOUNCED BY KING GOAT!

 

Brighton noise chiefs release their sophomore self-titled EP on Monday 28th April and plan a widespread assault on the UK!

Crafting together the more engaging key elements of psychedelic and doom, along with carefully measured Eastern influences, ‘King Goat’ hammer out gargantuan grooves, producing a sound that is hypnotic, dynamic, progressive and ultimately alluring.

Hailing from Brighton, King Goat were born at the start of 2012 and swiftly released their debut EP ‘Atom’, which garnered praise from many stems of the underground. Soon after its release, the band changed frontmen and the newly rejuvenated quintet quickly solidified, commencing work on their next EP. A plethora of shows followed as the band laid siege on London and throughout the South coast. With a growing reputation for delivering memorable performances packed with earnest energy and genuine presence, it’s no wonder that the Brighton bruisers soon amassed an army of followers.

Towards the end of 2013, the band hit the studio to work on their new self-titled EP, and they’ve absolutely nailed the songs to the wall. Culminating in an epic journey, the record features three killer tracks that masterfully claim their own identities and plot their very own courses. The EP starts off with the psychedelic-doom infused texturing of ‘The Final Decline’, which sways and flows from hypnotic eastern-influenced early passages to a climatic conclusion complete with weighty riffage and impressive vocal work. ‘Cult Obscene’ is next up and it’s a gut-punching musical stampede stocked with changing patterns and intricate structures. ‘Melian’s Trance’ closes the record as it unleashes a barrage of cutting riffs that ever so slightly nod in the direction of Sabbath; aided by pounding drums and punchy bass, the track is a stunning piece of doom metal, and clearly highlights the five-some’s songwriting craft. Now armed with an explosive EP, the band plan to hit every sweatbox throughout the UK. Dates are imminent, so stay tuned to their Facebook page for more.

BAND MEMBERS: Trim (Vocals); Petros (Lead Guitar); Reza (Bass); Joe (Rhythm Guitar); Jon (Drums).

FOR FANS OF: Bison B.C.; Black Sabbath; Mastodon.

King Goat Cover Artwork

www.facebook.com/kinggoatbri

 

 

 

 

 

TWO-BIT SISTER unleash ‘The Jackal’, on 21st April‏

 
Two Bit Sister Online Promo shot
ASPIRING ALT-DUO TWO-BIT SISTER RELEASE EXPLOSIVE DEBUT RECORD NEXT WEEK!
 
Compressing a wide assortment of influences stemming from the energy and buoyancy of Weezer and Nirvana, through to the texturing of Jack White and Queens Of The Stoneage, Two-Bit Sister are certainly a fresh and animated take on alternative rock. With a tight and solid rhythm section, driving guitars, and soaring vocals, Two-Bit Sister set loose their own brand of infectious rock-pop nationwide this Spring.
Hailing from Margate, Kent, Leon Peskett (Guitar and lead vocals) and Connor Bluemel (Drums and backing vocals) formed ‘Two-Bit Sister’ in 2013 after dissolving their previous bands. Knowing each other from their school days and having jammed together for the past few years, the pair soon clicked and amassed a strong string of songs. The alt-rockers then began to play a flurry of shows throughout the summer of 2013, ahead of recording their debut EP.
Soon after, the industrious duo cut ‘The Jackal’, which proves to be an inspiring debut that potently flaunts the band’s live sound and vigour. The EP’s namesake starts proceedings, and it’s a highly infectious affair complete with a stunning up-tempo hook. From the get-go, it’s clear that the two-some have a natural knack for addictive melody. Next up, ‘Turbulence’ shifts gears, nodding towards the angular rock of ‘QOSTA’ and ‘Nirvana’, while ‘Wanna Know’ is a brilliant slab of pure contagious pop-rock. ‘Times’ rounds up the record with engaging dynamics and a driven refrain that will cement itself in your head for days. Look out for the duo as they prepare to hit venues throughout the UK in support of their EP.
Two Bit Sister Cover Artwork

 

Walleater – Self Titled

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The debut self-titled EP from UK band Walleater may not stop you in your tracks and demand immediate attention but there is an inescapable captivation to its presence which puts the shoegaze/alternative rock band firmly on the radar. Consisting of four reserved yet vibrantly enveloping melodic flights through immersive ambiences, the release potently presents a band rich in striking promise and worthy of anticipation for their near horizons.

Hailing from Leeds, the quartet of vocalist/guitarist Rob Dell, guitarist Alex Finney, bassist Liam Hemingway, and drummer Lyndarn Harrison, Walleater take the raw potential and sound of their previous two track demo, A Masking Aura, to stronger accomplished and atmospherically pungent heights. Recorded with producer Bob Cooper, their first EP provides a proposition which combines the essences of bands like Pavement and My Bloody Valentine with the lighter embraces of House Of Love and the darker metallic incitement of Static Plan. It results in a brooding encounter which can swing from lively enticement to imposing shadows with ease.

The release opens with Give In To Me, a track already unveiled last month to eager reactions. It is not hard to see why as the song coaxes Artworkinstant attention and appetite with its spicy electro resonance and guitar sculpted sonic lures from the very first second. It is a thick and consuming, senses frisking sound which sparks the imagination just as swiftly. Relaxing into a more temperate melody driven climate for the joining of the vocals from Dell, the song enchants before expelling further intensely passionate bursts of energy and guitar led rapaciousness with more than a sense of the Jesus and Mary Chain to it. It is an absorbing and unpredictable immersion with an open infectiousness which cannot be resisted by ears and passions.

The following Just A Boy strokes the ears in a more restrained coaxing from the start; the guitars a gentle sway and temptation skirted by equally toned down beats and the dark throaty tone of the bass. The stance is completed by the vocal shimmer of Dell, his tones magnetic in a delivery which harmoniously drones at times whilst seemingly holding angst coated disinterest. It is a riveting delivery which never loses its appeal and potency even within the squalling ambience which tempestuously chills the narrative and song. It is hard not to offer a suggestion of Deftones to the flavoursome sound of the track but as with all thoughts it is a mere spice to the evocative recipe.

Glow comes next, the track an enterprising instrumental exploration which smoulders and flares up with controlled but intensive emotion across its simultaneously harsh and mesmeric landscape. With flames of noise and progressive rock to its demanding and commanding maelstrom, the piece provides further evidence to the invention and expression of Walleater’s songwriting and sound.

The release is completed by What Do You Know?, a melodic breeze of a caress which almost glances over the senses until the stronger sinews within the rhythms of Harrison take hold of the reins ensuring the song imposes just that little bit more. It is a whisper compared to the louder calls of other songs on the release though none roar with full lungs it is fair to say, and impressively adds another colour to the band’s creativity and presence. At times the track also sparks thoughts of China Crisis with its slightly celestial elegance as it finishes off a fine debut enjoyably.

It is probably fair to say that Walleater is yet to discover their unique voice, which is not surprising this being their first invitation to the world, but already there is a potency and breath to their music which pushes them out into an attention asking spotlight which only brings expectations for impressive things ahead from and for the four piece.

The Walleater EP will be released digitally on April 21st through Bandcamp for £1.99 while physically the EP will be spread across two 7” with ‘Part One: Give In To Me / Just A Boy’ being released also on April 21st via Close To Home Records with ‘Part Two: Glow / What Do You Know?’ scheduled for later this year.

http://walleater.bandcamp.com/

https://www.facebook.com/walleaterbanduk?ref=ts&fref=ts

8.5/10

RingMaster 11/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Warriors – Dead To Me

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Reading the bio of UK Oi! veterans The Warriors, it has seemingly been an interrupted and persistently changing  adventure for the band since forming in 1981, their story almost having more twists and delays than a search for a Malaysia airlines flight. What has not been left unsure and broken is the might and passion, not forgetting contagiousness of their undiluted sound as evidenced by their new release, the Dead To Me EP. Two riots of insatiable energy and virulent old school bred punk, the release is a belligerent stomp which masterfully challenges and voraciously incites with raw rock ‘n’ roll.

Hailing from Kent, The Warriors was formed by original Last Resort singer Saxby though initially proved to be a short lived presence. He reformed the band with former-Last Resort bass player Arthur Kitchener in the mid-nineties with a line-up which played numerous shows around the UK, Europe, and Japan. Personal changes were part of the time as were also several album releases including The Full Monty and Noizy Bollox in ’96 and ’97, both via the Step-1 Music, and contributions to compilations and split releases over the years. As mentioned changes within the band is a journey in itself to keep up with but well worth checking out on their bio for, but it has not stopped The Warriors reinforcing themselves as one of the most potent and essential presences within the punk scene which further releases like Unite The Scene and Never Forgive Never Forget, as well as this new EP easily confirm.

Available through Aggro Beat as a 250 Solid Red vinyl release in Europe and with Rebel Sound Music as a 250 Piss Yellow vinyl encounter in the US, Dead To Me storms the ears and passions with all the true punk intent and hunger as expected from the band. The title track, which will be featured in the upcoming British movie Gatwick Gangsters, is instantly upon the senses and imagination with jagged riffs and rolling rhythms skirted by a great almost nasally bass prowl. The song is not an all-out assault but one with a predatory side to its nature, skirting and courting the senses with an emerging brawl of sound and the ever distinct tones of Saxby.  The group calls in the chorus only reinforce the steady anthemic lure of the song whilst the crisp beats and choppy guitar narrative add their creative enslaving web. With craft and emotion as loud as the uncomplicated bait of the song, Dead To Me is an irresistible stomp seeing The Warriors in a richer vein of punk rock than their earlier Oi! exploits and easily seducing the passions.

The song’s companion No One Provokes Me is much the same, a virulently contagious riot of punk antagonism and infectiously toxic hooks driven by magnetically challenging vocals and rhythms. The track takes thoughts right back to the birth of UK punk in many ways whilst caging the ears and an already greedy appetite in the rapacious mischief and combativeness of today. Like the first, the track is impossibly anthemic as it bridges the eras and shows again that the punk appetite and ingenuity never dies no matter the years stretched over by bands such as The Warriors.

With an appearance at the Rebellion Festival, Blackpool in August confirmed and many other shows in the planning, The Warriors looks set to take the UK punk scene by the scruff of the neck, Dead To Me their first unmissable stranglehold of 2014.

http://www.warriorsuk.com/

9/10

Ringmaster 09/04/2014

Copyright RingMaster: MyFreeCopyright

 

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Lizzyspit – Trouble Lies Deep

lizzyspit pic

It has never been difficult to be enchanted by the radiant talent of singer/songwriter Lizzyspit and with her new release, the Trouble Lies Deep EP, that artistic tempting has never been stronger. Consisting of four alternative folk/pop songs which touchingly croon to involve the listener’s ears and thoughts, the EP caresses imagination and emotions like a summer evening of reflection. The release comes from the heart for the heart, Lizzy at her most melancholic yet but also at her most potently seductive.

Hailing from London here in the UK and a resident of Sydney, Australia for around the past couple of years, it is fair to say that Lizzyspit has been one big digital success story. Over one and a half million fans have devoured her online performances as well as downloaded her music and hit up her videos. It has pushed her into a deserved brighter spotlight whilst her live shows have only cemented and pushed her stature further, the lady thrilling notable venues in the UK such as The Troubadour London, The Camden Roundhouse, and Manchester’s Lowry Theatre and in her new home, including The Museum of Contemporary Art in Sydney. Add places like New York’s famous Bitter End and you see the worldwide presence Lizzy has earned, something her releases and especially Trouble Lies Deep you feel, has and will drive forward. Currently back in England, the name and sound of Lizzyspit will be refreshing lips and ears of her elegant artistry through the new EP and it has to be said she has never sounded better.

The release opens with Once Upon A Time, guitar and vocals an immediate evocation of emotion and sombre reflection; Lizzy, as she is so 1959719_386215978184184_97481912_ngood at, exploring a situation and emotional shadow everyone has embraced or been shaded by. With shuffling beats and percussive coaxing plus delicious additional melodic hues provided by Carlos Adura and Carl Dimatage respectively helping colour the emerging small but rich drama, the song evolves into an understated yet fully magnetic and tonally busy proposition. It is a mesmeric wrap around senses and feelings easily enthusing ears and passions.

Second track All Dressed Up Nowhere To Go builds on the strong start with its sultry melodic endeavour and emotive dance. Unveiling a slightly more urgent energy and poise to its subtle stroll, the track transfixes sonically and lyrically, its warm skies and adventure enriched by the ever expressive voice of Lizzy and sighs of heated melodies which vein the compelling fascination. As in its predecessor, the skittish percussive essences and incisive guitar design adding extra enticement and depth to the voice of the song as it once again enthrals and lights up the imagination.

Goodbye (to the ones who screwed you over), from a tender gentle start which simply strokes ears like a loving partner, lifts its spirit and energy for a lively but controlled canter kissed by evocative strings and impacting rhythms. It never really elevates beyond that stance, merging the loftier gait with the opening tempered presence, but still evolves a lively infectiousness which infests senses through to passions. It is a masterful persuasion which lingers and continues to work its temptation long after its departure, the songwriting of Lizzyspit never lacking potent bait here at its most irresistible yet.

The release is closed by an acoustic version of Gone Gone Gone, voice and guitar at one in a melancholy wrapped narrative of a disappointing lost relationship. For a voice so vibrant from within a smile, going by her promo shots, which is a simple sunspot, the lyrical heart of the EP is surprisingly heavy hearted in sentiment and an investigation which feels it maybe intimate to her as much as the experiences of its listeners.

Lizzyspit is a bright light who just gets stronger and more eloquent musically and lyrically with every release, Trouble Lies Deep her most revelatory and impressive so far.

http://www.facebook.com/lizzyspit

http://www.soundcloud.com/Lizzyspit

8.5/10

RingMaster 01/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Patrons – Self Titled

promo3

With passion and angst dripping from every syllable and note, the self-titled EP from UK alternative punks Patrons is the first encounter from a band it is easy to suspect we will all be hearing plenty more of in the future. The three track release is not one which barges in and demands your acclaim or sparks an eagerness to shout from the rooftops about its merits, but slowly and potently from a certainly attention grabbing first bluster across the ears it emerges as a highly evocative and willing persuasion. Good things have been said about the band and it is easy to see why with their first introduction via I Hate It Records.

Hailing from Plymouth, Patrons was formed in 2013 with a sound which was soon being wrapped in references to bands such as This Will Destroy You, Thrice, Reuben, and La Dispute. Their live shows have also recruited high praise, another aspect to them which will be taken further afield with the band’s plan to tour across the UK and mainland Europe later this year in support of the EP. Recorded with producer James Bragg at Middle Farm Studios in Devon, the EP is a cauldron of emotion and intensity which not only thrusts the heart and power of their sound forward but more than hints on how incendiary you imagine their stage presence to be.

As soon as Rituals strokes the ear with guitar and subsequently bass tempting there is an instantly brewing feeling of drama as well as a coverscanbuilding recognition that the band knows how to craft and present narratives which grip and incite intimately as well as on a broader scale. The vocals of guitarist Danny Brooks bring a richly expressive and angst kissed presence to the song and lyrical presentation, a strong texture which seems to spark a greater hunger and urgency to the guitar designs of himself and Mark Hoynes whilst the rhythmic provocation of James Corby courted by the velvety tones of Olly Reed’s bass bring thick and equally compelling shadows to the invasively appealing colour of the track. It is a striking persuasion which d rides the senses with unreserved emotion whilst tantalising the imagination with continually evolving ideas and adventure. It is not a song which wholly steals the memory but rather offers small unforgettable treats which you hang onto and put together for a longer reflection. It is an unusual aspect but one which works very well.

Movements is a less impacting compared to Rituals, but no less forceful in tone and emotional weight. As the track croons and pleads its purposeful suasion you can see where certainly small comparisons to Reuben have emerged even if Patrons has some way to go to match the stature of one of our favourite bands. As the rhythmic design bullies the ears whilst the intensive emotional pressure of the song does a similar thing to the senses, the track comes alive to emulate the whole EP in making a stronger lingering convincing the more you immerse in its heartbreak and vocal desperation.

From a minor weak first few seconds where the first glance of vocals seems to lack the strength of the guitar around them and the inevitable outpouring of Brooks soon after, third song Little Victories is soon wrapping its endeavour and melodic seduction around the senses courted by fine harmonic heat from Brooks, all from within the tempestuous weight and fire of caustic guitar enterprise and rhythmic incitement. The song is a magnetic piece of songwriting, the best track on the release and a strong indicator to the prowess and thoughtful inventive craft of the band in creating and delivering their impacting excursions.

The band’s first release does not put a match to the passions but undoubtedly has them smouldering enthusiastically for them and their evolving potential. As we said at the top, expect Patrons to be a proposition that is a regular contributor to the buzz around the music world.

http://www.wearepatrons.bandcamp.com

http://www.facebook.com/wearepatrons

8/10

RingMaster 31/03/2104

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com