Daycare For Jedi – Worst Things First

DFJ _RingMaster Review

If you have a striking name, which Daycare For Jedi does, it is not a bad thing to back it up with a sound which grips attention with equal strength, and that is certainly what the Danish pop punksters have as evidenced by their debut EP Worst Things First. Uncaging four songs which are as contagious as they are inventively sculpted, the release is a magnet for ears and imagination, not one re-inventing the pop punk arena but one certainly giving it something fresh and tenacious to think about.

Formed in 2014, the Aarhus quartet openly embraces the origins of pop punk whilst giving it their own, if not startling, certainly invigorating twist. Early songs such as Throwing Dirt and Last Pages sparked eager intrigue and appetites to their potent emergence and sound whilst their live presence, which made its debut at the Distortion Festival in Copenhagen in the band’s first year, has only cemented and pushed their reputation for unleashing seriously energetic, hook laden, and intense rock ‘n’ roll. The early songs were a teaser of things to come, of the thoroughly enjoyable and impressive Worst Things First which should put Daycare For Jedi on broader genre maps from hereon in.

Cover_RingMaster Review   The Jacob Hansen recorded EP opens up with Outcome, quickly entangling ears in a web of melodic enterprise and sonic suggestiveness. Quickly riffs and forceful rhythms are joining the affair, as too the potent tones of vocalist Jens Erik, his expressive voice a magnetic lure alongside the resourceful endeavour of his and Mikkel Rohde’s guitar play. There is a touch of bands like Millencolin and Blink 182 to the song, but nothing too strong amidst other spices of familiarity in sound and texture. It all adds up to a strong and engaging start to the EP but just a taster to bigger things which start with its successor.

Broken Bones instantly flirts with a stirring rhythmic coaxing, its bait soon joined by great niggly hooks and an infectious raw caress of riffs. Into its even more energy driven stride, the song soon employs a great mix of vocals from across the band around the again inviting delivery of Jens Erik, whilst around them the heavier dark throated bass of Jacob and the crisp beats of Kristian provide intimidating contrast. Again the canvas of the song has a recognisable flavour but it is the inventive twists and turns, musically and vocally, which bring the track alive and into its creative own, as with the following Sinking Adventure. It too is a swiftly engaging and persistent protagonist unafraid to infuse its more straight forward spine with sparkling melodic imagination and juicy hooks aligned to fiercer adventure and unpredictable revelry.

Worst Things First increasingly impresses and grows stronger with every song, the third a potent peak but quickly eclipsed by the closing Gain And Lose, a light-footed agitation of infectious devilry shaped with sonic radiance and aggressive rhythms. The bass brews a delicious dirty tone whilst the vocals, singularly and united, have a slight belligerence to them which only lifts the song to greater impact and rigorous persuasion. The best song on the EP, it is a rich and thrilling climax to one thoroughly enjoyable encounter.

It is still early days for Daycare For Jedi but Worst Things First suggests not only are they heading in the right direction but they have the potential to become one of those names a genre is especially noted for.

The Worst Things First EP is available from August 3rd via Prime Collective.

https://www.facebook.com/DayCareForJedis

RingMaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Eva Plays Dead – Sounds of the Written Word

EPD Light-7468_RingMaster Review

UK rockers Eva Plays Dead have been stirring up plenty of attention and praise loaded support over the past couple of years through a potent live presence and a host of songs and debut album fuelled by with impressing adventure and the potential of even greater things to come. The Sounds of the Written Word EP continues the band’s potent emergence and evolution of sound with five rousing slices of undiluted rock ‘n’ roll. It is an encounter which confirms the Nottingham/Derby bred quartet as ones to watch and to find plenty of flavoursome enjoyment with, but also suggests that they are still only at the beginnings of exploring their creative depths.

Formed in the January of 2013, Eva Plays Dead weave inspirations from the likes of The Dirty Youth, LostAlone, Marmozets, Joan Jett, and QOTSA into their diversely spiced sound. Thick strains of metal, hard and alternative rock, and even punk are entangled and fused together as proven by the band’s new encounter, which relentlessly entices and holds attention. Live the band has frequently drawn acclaim too whilst supporting the likes of We Are The Ocean, LostAlone, Max Raptor, Canterbury, and also across their own country wide tours. The band’s 2013 album Guilt Trips & Sins equally drew its plaudits though it took the single of earlier this year, Wonderland to spark and lure in the increasing focus of the likes of Team Rock and Kerrang. The song was a rich taster of Sounds of the Written Word which itself is already creating a bit of a feisty stir since its release via SoundHub Records.

EP Artwork_RingMaster Review     The EP opens with Live Again and a rich torrent of fiery riffs, pungent rhythms, and a sonic enticing impossible to ignore. In fact the whole song is a wall of persuasion, especially once the rich voice and expressive delivery of Tiggy Dee joins the muscular party. Her tones wrap syllable and ears with tenacious seduction yet carries a raw edge which only adds to the aggressively creative enterprise of sound around her. The guitar of Matt Gascoyne is just as lively in its imagination and craft, its melodies and Dee’s siren-esque roar in turn trapped by the masterful and fiercely magnetic rhythmic cage cast by bassist Zach Shannon and drummer Seb Boyse.

The tracks’ bluesy air and hard rock enticing continues in the more predatory Bad Girl, the song with the sinister persuasive lure of a temptress prowling the listener musically and vocally. It is dark, dirty, and a weave of sonic resourcefulness seeded in classic and alternative rock. As its predecessor, the song is firmly infectious whether roaring with full passion or delving into more concentrated tapestries of thick texture and invasive spicing. It easily continues the strong start to the release, though both songs get outshone by Wonderland. From its first dark rumble, the track is sheer addictiveness, riffs and grooves a flirtatious confrontation over the anthemic twist of rhythms and subsequently stalking beats. Dee again sits astride the magnetic drama at play, her voice attitude fuelled yet with a raw regal air as the equally riveting sounds dance around her with bright invention and raucous energy. It is no surprise that the song stirred up ears and appetites as a single as here it pretty much steals the show, though it is quickly rivalled by the closing pair of songs on the EP.

We Ain’t A Family uncages its own virulent hooks and tangy grooves in short time, rhythms showing more restraint amidst the melody rich proposal though again the bass finds an intimidating snarl to drool over. Like the last track, it shows an eagerness to explore an undulating landscape of ideas and evolving sound, crescendos of energy and skilful ebbing and flowing of intensity and passion alone an enthralling tempting.

Final track 1950’s Woman has a similar template to the previous pair but finds its own individual character within a familiar bellow of rigorous sound and bewitching vocal theatre. The song maybe does not define its distinctiveness as much as others on the EP, but when it leaves ears basking, imagination smiling, and emotions hungry for more, there is little more you can ask of it.

There is definitely the sense that Eva Plays Dead has more in the locker than shown on Sounds of the Written Word which only makes their future something to keenly anticipate. This is a band to keep close attention on with an EP to thoroughly enjoy.

Sounds of the Written Word is available now via SoundHub Records through most online stores

http://www.evaplaysdead.com/     https://www.facebook.com/EvaPlaysDead

RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Rum Thief – Reach For the Weatherman

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Want something to get excited about? Then check out Rum Thief and superb second EP Reach For the Weatherman. There has already been an eager buzz about the band from live shows and especially last year’s debut EP Clouded Mind, but we suggest nothing compared to what will be stirred up by this new outstanding encounter.

Rum Thief is the solo project of Manchester bred Jot Green, a musician who after a decade plus of playing drums in bands decided to bring his own songs to light. He surrounds himself with friends live, currently guitarist Johnny Brown, bassist Iain McGowen, and drummer Chris Hobs joining Green on stage, whilst the EP’s are all the man alone. As mentioned, Clouded Mind awoke attention and helped spark a potent local appetite for the band’s live presence, its sounds and a just as lively and provocative lyrical side luring acclaim and radio play. Now making a roar at a national spotlight, Reach For the Weatherman builds on its predecessor’s strengths and lures, matching its power and success whilst bringing an even more honed and vital breath to melodies, hooks, and simply the open passion fuelling songs.

cover_RingMaster Review   Reach For The Weatherman opens with its title track, a moody yet vivacious bass coaxing aligned to choppy ska seeded riffs marking the swiftly enticing entrance of the song. Just as quickly spicy hooks and jabbing beats join the escapade, whilst the gripping and distinctive tones of Green’s vocals add further irresistible drama to the increasingly contagious proposal. Sonically fiery with a scent of surf rock to its chorus, the song is a multi-flavoured, feverishly coloured stomp; rock ‘n’ roll leading to addictions and lustful inclinations. It is glorious, small but striking twists amidst a tapestry of vocal and musical imagination stirring up body and emotions from start to finish.

The exceptional start is potently backed by Stitch In Time, though it cannot quite reach the same heights and spark the same slavery as its predecessor. Nevertheless with a pungently forceful stroll in gait and rhythms within tangy guitar caresses, the song magnetically swings along leading ears across a landscape of emotive expression and vocals alongside a vibrant flame of melodic tenacity. The Arctic Monkeys essence which only whispered in the first song, is a stronger enjoyable hue here, but just one spice amongst many strands of varied rock flavours colluding to create something unique and again riveting.

New single Dirty Shoes kicks it all up again to epidemic proportions, its initial union of acoustic guitar and the ever alluring vocals of Green, the lead and spark to a precocious shuffle of rockabilly like rhythms and hooks amongst tendrils of melodic and grooved devilry. The track just grows in the ear, its body maturing and basking in the seemingly simple yet skilfully woven fusion of sound and heart driven energy. The song is as the first, an epidemic of contagion and adventure; both tracks stealing the show from the grasp of equally exciting encounters.

The acoustic seduction of My Friend closes up the EP, it also part of the double A-sided new single with the previous song. Keys are soon snuggling up to the vocal and guitar embrace starting things off, whilst emotive and intimate tones line every syllable and chord as the song brews up a fuller and more intensive, though never imposing hug. It is a fascinating end to an outstanding release, another glimpse at the strong and diverse songwriting flowing from the imagination of Green.

Having missed Rum Thief’s first EP, a look back shows it to have been a striking first step for Green and his project but just the taster for the masterful and mighty appearance of Reach For the Weatherman. As asked at the start of this piece, want to get a buzz on? Then this EP will fully satisfy and much more. There are very big things ahead for Rum Thief we suspect.

The Reach For the Weatherman EP is available from July 27th

EP Launch Party, 21st August @ Night and Day Cafe, Oldham St, Manchester in association with Scruff of the Neck Records.

https://www.facebook.com/RumThief

RingMaster 27/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Endeavour – Voyage EP

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In a year of rich debuts, another strong and potential loaded introduction comes courtesy of UK rockers The Endeavour and their Voyage EP. Bulging with four tracks of dynamic and feisty alternative rock fuelled by impassioned energy and fiery melodies, the Peterborough quintet’s first offering has the potency and power to nudge national awareness of their already attention grabbing sound and presence. Voyage is not an explosion to alter any aspect of the landscape of British rock ‘n’ roll but it is a refreshing and accomplished roar from a band easy to see springing to greater heights from this highly enjoyable base.

The Endeavour began in 2013 and consists of four brothers, Shawn (vocals), Brandon (guitar), Shane (guitar), and Garren Radley (bass), and close friend Matthew Meadows (drums). They took little time in stirring up local support and successfully hitting the live scene, finding themselves sharing stages with the likes of Fort Hope, Anavue, Enter Shikari, Deaf Havana, and Funeral For A Friend over time. With Voyage, the five-piece is looking to emulate existing success on the broader canvas of countrywide recognition, and you can only imagine it will ensure at the very least that The Endeavour is a name a great many more will be very aware of.

The Endeavour Cover Artwork_RingMaster Review   The EP starts with a bang in the boisterous shape of Take It All. From its first lure of spicy riffs the song has ears and imagination alert, engrossed soon after as thumping beats join the provocative guitar bait. Swiftly followed by just as enticing hooks, it is a thrilling opening which never slips a gear as the song expands into a dramatic stroll equipped with still virulent rhythms, a wonderfully predatory bassline, and tangy guitar enterprise. Across this the excellent vocals of Shawn command attention as they spill the narrative over the track’s magnetic web of ideation. The song is unafraid to change its intensity, gait, and weight of textures across is enthralling body too but always it returns to that irresistible combination of sound and invention which set its thrilling presence in motion.

The following Open Heart reveals a more relaxed presence in energy and intensity yet also comes with sparkling melodies and striking hooks within a thick rhythmic lure. The bass again is almost bestial in tone, its barracuda voice perfect contrast to the warm smoulder wrapping the hearty enterprise alongside. Initially, as in the first song, there is a whiff of Manic Street Preachers in the air but eventually it slips into a sound more akin to a Young Guns or Taking Back Sunday. The opening track owns ears and appetite whilst the second is more an asking of attention as is No One Else To Blame, though both songs only find success. The third proposal has a catchy spine of tenacious riffs and spicy guitar adventure which shines even brighter in a mellower passage pierced by the military precision of Matthew’s sticks. As its predecessor, the track grows in potency and persuasion over time, emerging as another big, promise filled, declaration of the adventure and brewing depths in The Endeavour sound and songwriting.

Voyage is brought to an end by After The Storm, an emotive croon with lively rhythms and a slightly volatile landscape of melodic and sonic resourcefulness. The vocals and harmonies steal the show but every element of the band is a tantalising and riveting aspect as the song grows bolder and more tempestuous with every passing minute. It is a fine end to an impressive first listen to The Endeavour, Voyage showing that the band have the makings and more of something able to make a strong impact on the UK rock scene; we will be waiting like so many from now on in, with keen anticipation.

The Voyage EP is available from July 27th through all stores and @ http://www.theendeavouruk.bigcartel.com/

https://www.facebook.com/theendeavourband https://twitter.com/theendeavouruk

Ringmaster 27/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

DELICATE HOLLY show ‘Love Hate Control’, from 17th August through Paper Label Records

Delicate Holly Online Promo Shot

South West rocksters ‘Delicate Holly’ set loose their debut EP ‘Love • Hate • Control’ through Paper Label Records on Monday 17th August.

With a glut of influences stemming from The Clash and Arctic Monkeys, through to Royal Blood and even Nirvana, Delicate Holly set loose a barrage of killer hooks, spikey rhythms and alluring guitar works that will infectiously burrow through your cranium. Delicate Holly are primed to release their own stamp of Rock ‘N Roll to the masses this Summer.

Delicate Holly were born in Cheltenham in 2013, but the seeds of the band were sown back in school when Reuben Lovett (Bass and Lead Vocals), Alec Hopkins (Guitar and Backing Vocals) and Dougie Stokes (Guitar and Backing Vocals) started to jam together, hashing out covers. When they met Toby Jones (Drums), the foursome soon solidified and began to sculpt a full length live set. The band swiftly went on to establish themselves in their local scene through concrete gigging and a string of engaging performances. The quartet have also played several festivals and sold-out shows throughout the Gloucester area, and have successfully supported the likes of The Subways and Coasts.

In 2015, Delicate Holly signed with hip indie imprint ‘Paper Label Records’. The band now deliver their debut EP, ‘Love • Hate • Control’, which is due for release this August. The record boots off with ‘Full Body Cast’, flaunting an infectious indie rock shuffle with a tight, edgy sound that perfectly complements front man Reuben’s powerful vocals. Next up is the hugely melodic and undeniably contagious ‘Jaws’, soon followed by the punk-infused vigour of ‘Rain-O-Rack’, which rattles your ears with blistering force. The EP then signs off with the epic ‘Lemon Man’; the cut takes you on a musical journey that highlights the band’s maturity which far belies their years.

-Delicate Holly release ‘Love • Hate • Control’ through Paper Label Records’ on Monday 17th August-

‘ELEMENTS reveal ‘Where We Once Begun’, on 17th August

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New Brit alt-rock outfit ‘Elements’ nationally unveil their spanking new EP ‘Where We Once Begun’, on Monday 17th August, through all digital stores.

Hitting you with a groove likened to the early Biffy Clyro records, fused with the rock sensibilities of YouMeAtSix and Paramore, and the invention of Don Broco, Elements are primed to burst out to the nation, and these lively South Coast rocksters have the perfect bait in the shape of their new record, ‘Where We Once Begun’, out this Summer.

Formed in late 2013 and coming at you from Southampton, Elements are comprised of Graham Rogers (Lead Vocals), Ollie Butler (Guitar and Backing Vocals), Robin Small (Guitar), Max Bakker (Bass and Backing Vocals) and Ash Martin (Drums). Gathering steam, the dynamic five-some soon embarked on a series of compelling live shows supporting such artists as Bad Rabbits, The Afterparty, DEAD!, Ashes To Angels, The Hype Theory and Public Service Broadcasting, to name a few.

After a recent change in personnel, the five piece hit the studio and are now ready to strike out with their alluring sophomore EP ’Where We Once Begun’, produced by Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero). The record is a genuine scorcher and boasts five engrossing cuts, from the infectious bouncy vigour of ‘Shaman’ to the energetic craft of ‘High Time For Being Free’. The new lyric video for the track ‘Plotting Treason Or Saving The World’ (https://www.youtube.com/watch?v=osuUea3Xiww&feature=youtu.be) is also sure to pull in any discerning listener with its weaving guitar lines and layered vocals. ‘Make It Out Alive’ displays the band’s ever-increasing maturity and further explores the use of dynamics to dazzling effect. The stabbing riffery assault and full frontal vocal attack of ‘Torchlight’ pulls the curtain down on a record that is as engaging as it is imaginative. With a UK tour set out for July and festival appearances waiting in the wings, you need to catch Elements before they explode.

-ELEMENTS RELEASE ‘WHERE WE ONCE BEGUN’ ON MONDAY 17th AUGUST THROUGH ALL STORES-

EP TRACKLISTING: 1. Shaman; 2. High Time For Being Free; 3. Plotting Treason Or Saving The World; 4. Make It Out Alive; 5. Torchlight.

https://www.facebook.com/elementsmusicuk https://twitter.com/elementsmusicuk

Kera – Self Titled EP

KERA_BAND_PICTURE_HD_RingMaster Review

With a debut which just seems to get bigger, bolder, and more antagonistically ravenous with every listen, French progressive death metallers Kera have announced themselves on the European metal scene in fine and imposing style. Their three-track self-titled EP is an uncompromising rage of intensity and malevolent energy sculpted through sonic imagination. Whether it is an instant game changer for the band time will tell but the impressive EP definitely makes the statement, we are here, pay attention!

The seeds of Kera began with the demise of metallers Thanatic Eyes, the trio of vocalist Flo’ Lemonnier, bassist Kevin Gastaldi, and drummer Klem’ Baler rising from its ashes and subsequently uniting with guitarists Thibal François and Arthur Heim as a new sound and band emerged through them. Taking their time in this endeavour ensured Kera’s music, as evidenced by the EP, grew and was honed into something full and commandingly flavoursome before hitting ears, not to mention, as again shown by their first encounter, dramatically intimidating. They infuse and twist a progressive death metal canvas with a diversity of spices from heavy to black metal, simultaneously creating unpredictable and striking proposals.

KERA_EP_COVER_HD_RingMaster Review   It is a harsh adventure which begins on the EP with Masters Enslaved. Opening with a haunting atmosphere smothering a seemingly portentous echo of things passed and to come, the track escalates into a tempest of crushing beats, bestial riffs, and sonic toxicity. Grooves are just as swift in their early persuasion as also the raw and hoarse tones of Lemonnier. Already song and band show how potent a mix of spices and sounds drive their sound, the opening assault on the senses ultimately a death bred predation and hostility entwined with captivating slithers and strands of various fierce styles in one hellacious tapestry and increasingly potent incitement.

The gripping start to the release continues with Architect of Silence, the second storm from the band even more venomous and corrosive but an intensity matched in strength by a web of irresistible hooks, inflamed grooves, and a sonic enterprise which sizzles on the ear. It is a beast of a song, just about outshining its predecessor by sheer creative brutality and rhythmic force alone. The sudden moment of inspired calm and melodic tempting within do it no harm either, the track revealing just a little more of the depth of thought and variety in the Kera sound, and more of its creative barbarism.

Both songs also revel in the ability of the Paris band to merge tempestuous and ruinous extremes with skilfully forged and similarly contagious enticements of melodic and experimental designs. It is an intriguing and predominantly successful mix in evidence once again in the closing explosion of ferocious rock ‘n’ roll that is Silence. The track instantly grips ears and appetite with its predatory stalking of the senses, riffs and rhythms a rabid tempting by themselves but only enhanced by the initial scourge of sonic and grouchy vocal spite. In time though the song does lack the adventure so ripe in the first two songs. The range of vocals sharing time in the track are much more appealing when spilling animus through a throat scarring roar than in a cleaner grizzle of a delivery, and there are moments musically where invention is more expectations feeding, these times coincidently aligning with the less effective side of the vocals. Put in to context though, with addictive torrents of grooved wrapped riffs and a mesmeric slip into a progressive calm which in turn breeds a wind of superb individual prowess from the guitars, the track is never less than strong bait.

For an opening proposal, the Kera EP is a highly enjoyable and imaginative confrontation which also seems to be only hinting at depths yet to be untapped by the band in songwriting and sound. Expectations after their first release is that Kera have the potential to sculpt a very strong place in the progressive metal scene; it is just up to them to go for and take it.

The Kera EP is available now via https://kerainvidia.bandcamp.com or http://kera.bigcartel.com/

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

RingMaster 23/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net