Saltlake – Medicate Me

As much as talent and craft helps a band step out from the crowd having a sound with distinct character to it is just as potent a weapon. On the evidence of their new EP, UK alternative rock trio Saltlake has found that key. It may not have true uniqueness yet but there is no escaping a captivating prowess and enterprise which commands attention.

One of the first things the Medicate Me EP hooks ears with is the depth and expanse of its sound, a soundscape of electronic and electric drama which belies the slim number of the band’s personnel. It comes drenched in emotional intensity and a hungry energy which again only adds to its potency. Consisting of vocalist/guitarist Henry Gottelier, bassist Liam Quinn, and drummer John Godly, Saltlake emerged from within the Sussex countryside and London suburbs in 2013. Medicate Me is our introduction to the band and takes short time in sparking an appetite to hear more.

It opens up with Badlands, keys and rhythms looming up on ears bringing a tide of riffs and melodic intrigue. The robust and enticing rhythms of Quinn and Godly probe and incite as Gottelier’s strong and alluring tones roar. As quickly familiar essences grab thoughts but only adding to the richness of the track in sound and tone as it simmers and boils with creative and emotive enterprise. Comparisons to the likes of Young Guns, Mallory Knox, and Bring Me The Horizon have been made with the threesome and it is easy to hear why through the EP opener.

The following Sympathy Apathy entices initially in a similar way to its predecessor if with less of an imposing trespass. It too casts a dramatic tapestry of sound swiftly upon ears, melodic suggestion wearing an early U2-esque hue to whet the appetite before Saltlake weaves their own individual theatre of sound and adventure. As with the first, there is a mix of the familiar and the fresh entwined to catch the imagination; creating a song which mixes unpredictable and recognisable flavours to push the release to another level.

Hourglass simmers and erupts next with melodic persuasion and emotive intensity, vocals as reflective as keys and guitars against the more formidable touch of rhythms. It is a track which just blossoms from moment to moment and listen to listen. The drama of synths and melody are matched by the prowess of voice and creative imagination fuelling a song where though there is something familiar nagging away with one of its key hooks, though still to be exposed in realisation as to why, it soon steals the limelight within Medicate Me.

The EP closes with its title track, a proposal rising from an electronic mist around a dark bass throb into an atmospheric heart bred croon prone to more volatile, ear grabbing cries of emotion and intensity. Even with its thick haunting air the song is as catchy as anything before it and brings things to a highly enjoyable conclusion.

As suggested, Medicate Me is a mix of the familiar and individual which increasingly impresses over time from a band which is heading the right way towards real attention.

Medicate Me is available through all stores now.

https://www.saltlakeuk.com/     https://www.facebook.com/SaltlakeUK     https://twitter.com/saltlakeuk

Pete RingMaster 16/11/2017

Copyright RingMaster: MyFreeCopyright

The Emergency Please – Remember You

Having recently chatted to The Emergency Please founder and vocalist/guitarist Karan Master (ex A Gentleman’s Film) about his band and debut release, it was only right we also leapt into the Remember You EP from the UK outfit. Released a handful of days ago, the four track encounter is a spirited stroll of pop punk and funk infused alternative rock which needs little effort to have the body and imagination swinging.

Inspired by a varied host of artists headed by Jimi Hendrix, John Mayer, and The Smashing Pumpkins, Master has linked up with bassist Michael Hartley and drummer Sam Garnett to complete The Emergency Please line-up though Remember You was recorded with the aid of Sam West (drums) and Adam Porter (bass). Southampton based, the band has a sound which is maybe still in the brewing stages but as their first EP shows, it is already a flavoursome proposition with rich stock for future adventurous recipes.

Remember You opens with its title track, a magnetic affair bursting from an initial guitar jangle with energy and spirit in sound and vocals. Boisterous beats punctuate the melodic web cast by the guitar, the bass more moody but no less keen an ingredient in a song which second by second gets under the skin. A little folk pop, plenty indie rock with a pop punk lining, it captivates from start to finish, alluring ears and hips with equal dexterity.

The following I Can’t Stop is just as energetic and eager to tempt with funk infused hooks and a rhythmic shuffle which just swings along. Speeding up its lures at certain times, it is a great nag on the appetite with more controlled moments providing a tapestry of creative suggestion. Put all together it provides a shuffle which is as bold as it is accomplished, matching the heights of its predecessor to keep the release holding rich attention before Lost casts its calmer, melodically intimate caress on the senses. Melancholic but with heart felt light to its touch, the track provides its own captivation to complement its previous companions.

The EP closes with Clark Kent Syndrome, a song which begins with a mouth-watering temptation of guitar string picking and proceeds to seduce with rhythmic bait led by the pulsating yearning of the bass. With vocals as potent as ever, it continues to dance on the ear though it does not quite live up to its early promise for personal tastes. Nevertheless it is a thickly pleasing end to a release which grows and persuades with increasing prowess, its closing expulsions of vocal angst against the funk woven shuffle of the guitar epitomising its appeal.

Remember You is an introduction which makes you take notice; a strong first step from a band with plenty to discover in their imagination and on the evidence of the EP, plenty of tenacity and craft to bring it to our anticipating ears.

Remember You is available now @ https://theemergencyplease.bandcamp.com/album/remember-you

Read our interview with Karan Master @ https://ringmasterreviewintroduces.wordpress.com/2017/05/10/leaping-to-the-front-exploring-the-emergency-please-with-founder-karan-master/

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Pete RingMaster 16/11/2017

Copyright RingMaster: MyFreeCopyright

Drive On Mak – Babylon

Creating a magnetic mix of punkabilly with blues coated rock ‘n’ roll though that just scratches the surface, Drive On Mak is a proposition, certainly with their latest EP, which teases and tempts until you cannot resist taking attention. It is fair to say that initially Babylon pleased without making a major impression but over subsequent listens where its prowess and enterprise seemed to really blossom, the release really captured the imagination.

Texas hailing Drive On Mak is the creation of U.S. Army Vet Sean Makra who in 2011 after eleven years in the forces taking in three tours in Iraq left and began focusing on pursuing his long-time musical dreams. Three years later having linked up with his brother-in-law and drummer Scott Feigh and bassist Jason Bilderback, the beginnings of what was Drive on Mak emerged. Embracing and exploring the experiences and emotions bred by those military years in his songwriting and lyrics, Drive on Mak released the Weapon EP in 2015. Now it is Babylon luring increased attention with its individual, slightly dirty and fully tenacious rock ‘n’ roll.

Babylon opens up with its title track, its initial melodic stroking of ears the tempting lead into the song’s blues kissed reggae lined stroll. Makra’s vocals make a just as alluring invitation, his tones wearing the weight of battles and sights seen without an ounce of weariness, instead coming fuelled by a lively spirit to share and express. The song continues to carry its gentle swing through ears, epitomising the release in its quality to become more potent and compelling listen by listen.

The great start is followed by the similarly boisterous Comin’ For You. Instantly it had a firm hand on attention with the flames of Feigh’s harmonica rich enticement. Its melodic heat echoes the tenacious gait of the surrounding sounds, essences of garage rock and fifties rock ‘n’ roll aligning with blues punk adventure. It is a mix and invention which escalates the strong start of the EP before Kiss Thy Hand brings more of a seventies psych rock air to its lumbering saunter. Though the song does not ignite personal tastes as potently as its predecessors it quickly feeds an appetite already brewed, nagging away with every note and fibre of its creativity to ultimately be just as memorable.

Best track comes in the shape of the cowpunk flavoured Outlaw, a dirt clad slice of punk ‘n’ roll with dust in its climate and instinctive infection in its hooked lined character. With moody rhythms courting the defiance oozing vocals of Makra’s alongside the creative shuffle of his guitar, the track is a contagion on the ear setting up the following relaxed but manipulative swing of Player. It is another which seems to find greater heights over time though tapping feet and eager hips show its no slouch at teasing involvement from the off.

Babylon concludes with When I’m Gone, a country scented proposal with Feigh again just as skilful on harmonica as in springing catchy beats. There is no escaping a slight Rancid spicing to the track either, mostly through the Tim Armstrong textures of Makra’s tones, as it canters along with a lively attitude and infectious agility.

With its songs inspired by Biblical tales and personal observations, in the case of its title track by the Heath Ledger movie A Knight’s Tale too, Babylon has little trouble in awaking interest; it is with time and more plays though that it truly comes alive …a quality only adding to many more reasons to check out Drive On Mak.

Babylon is out now @ https://driveonmak.bandcamp.com/album/babylon

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Pete RingMaster 14/11/2017

Copyright RingMaster: MyFreeCopyright

Lark – Self Titled

Their sound is described as progressive sludge/stoner metal but as the debut EP from Lark reveals, it is a broadly flavoured proposition truthfully rather hard to totally pin down. The creation of the Mizzi brothers, it is maybe no surprise that it is a multi-layered and styled proposition; Raph the former guitarist and lead singer of Sail In Between and former bassist of Angher Incorporated bringing a passion for and experience of hardcore and progressive metal while Zach, ex-drummer of Bright Curse, has nurtured his craft within stoner, psyche and hard rock adventures. They have melded their talents, experiences, and tastes for a brand new exploration, one which has ears and imagination pretty much enthralled from the first to last moments of their first offering.

Though immersed in music for numerous years, surprisingly the uniting of their enterprise and invention only came earlier this year, from which the EP emerged with the help of Robin Mariat of Grey Matter Studio France, Chris Painter of Red Roof Sounds, Marco of Marc&Cheese, and Jake Read of Living Room Studios, all London based studios. Said to be inspired by the likes of Mastodon, Opeth, Gojira, Black Peaks, and Russian Circles, many essences easy to surmise, the EP immediately has attention held with opener Hailstorm. Instantly an inviting wall of sound presses on ears, its potent lure the spring board for a charge of hungry riffs and spicy grooves ridden by equally enticing vocals. Both men holler and croon with melodic dexterity, guitars weaving a matching web of suggestion and enterprise as rhythms rumble. A fusion of post and progressive metal with grooved and melodic imagination, the song continues to evolve and tempt; that varied sound fuelling its increasingly compelling character and imagination.

It is an impressive start quickly backed by the tantalising endeavours of Red Eye. Though its air is warm and melodic prowess magnetic there is a dystopian tone to its breath shaped by the raw throated vocals and dark hearted grooves. It is a compelling blend which, as simply the gait of the song has the body bouncing, has ears and thoughts hooked. Raw but beauty laded, the track swiftly and increasingly gets under the skin, its strength in its instrumental prowess but potently backed by vocal suggestion and intensity.

The beginning of next up Heavy defies its title, its gentle melodic caress aural poetry but soon departing for the portentous tower of atmosphere and thickly toned sound which looms around vocal trespass. Sludgy bordering on the pestilential, the track is a blackened suffocation veined by melodic wires which shimmer with temptation. Though not quite finding the heights of the first pair, the song is raw captivation keeping expectations guessing and attention keen before Too Far Gone shares its post rock beauty and tempestuous emotions. Once more a host of metal bred shades and heavy rock essences collude in a kaleidoscopic tapestry, and again the imagination and appetite can only keenly sink into its creative landscape.

Decay brings things to a close, the track a vexed and portentous proposal crafted with melodic dexterity and emotional turmoil as dark storms simmer and erupt. Maybe the EP is at its most striking across its first few tracks but it never is less than riveting and ends on an engrossing high with the potential of greater endeavours as ripe as the pleasure found in its varied enticing and imposing soundscape.  It is a release which demands attention for a band you can only think is setting out on one striking adventure for them and us.

The Lark EP is out now as a name your price download @ https://larkbandofficial.bandcamp.com/album/lark

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Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Vie Jester – All In Jest

It was around two years ago that L.A. trio Vie Jester grabbed ears and impressed with the Etches In Aether EP, a collection of multi-flavoured and imaginatively sculpted melodic/alternative rock bred songs. Recently drummer Cliff Conway got in touch to introduce the band’s latest offering, All In Jest, to our ears. Another EP sized clutch of songs, it was gratefully received especially once discovering the new adventure and maturity shaping the band’s sound and even more striking new offering.

As much as it left a greedy appetite for the Vie Jester sound, Etches In Aether is forcibly eclipsed by the exploits of All In Jest. Everything about the band has grown and matured with its five songs giving dramatic evidence within their skilfully woven episodes of enterprise and imagination. Magnetically melodic but with a snarl which may ebb and flow but always lurks to add greater depth, All In Jest is an inventive roar unafraid to lyrically take a bite at intimate and social issues.

It opens up with new single Please and one of the best starts to any release this year. The track is immense, rising from a calm but portentous melodic yawn into a muscular yet inviting spire of sonic nagging. The guitar of vocalist Kyle Guerrero needs mere seconds to tempt, his powerful vocal prowess just as swift in persuasion once gracing a song already revealing an unpredictable and adventurous body. Vocally backed by both Conway and bassist Jaime Salas with matching potency, Guerrero’s niggly citric tendrils addictively persist though stepping back nicely at times as the track blossoms from one twist and idea to another with increasing magnetism.

It is a magnificent start which hints at bands like Voyager, Tool, and Karnivool in its own individual adventure; a blend echoed in the equally creative Sunburn & Moonshine. A gentle melody wraps its suggestion around ears first, harmonic whispers adding their elegance before Guerrero’s expressive tones join the already bubbling adventure brewing within the catchy encounter. Embracing an engaging intimacy as it brews up emotive crescendos, the track just seduces ears and attention. It does lack the tempestuousness of its predecessor but replaces it with melodic flames and warm infectious tenacity for similar if not quite as spectacular success.

Enigmata follows quickly catching expectations unaware with its electronic tempting as vocals gather. The same essences continue as they are joined by the imaginative enterprise of guitar, rhythms, and vocals; the song evolving with every passing note and idea with enticing endeavour. Its relative calm and boisterous expulsions are similarly gripping whilst the array of flavours and textures within its body only captivate. It has the boldness guiding the whole release to the fore but with its richest invention in play as the song explores it simply demands plaudits.

The release is concluded by firstly The Punchline, an ethereal caress with volcanic tendencies, and lastly through the rousing endeavours of Colourblind. Both tracks keep pleasure and ears intensely involved with the second of the two especially gripping with its stylish touch and creative tapestry framed by Conway’s rhythmic prowess. It is probably fair to say that neither quite lights the major fires in personal passions as those before them but both inflame an already installed appetite for the Vie Jester invention whilst pushing the new craft and imagination shaping their sound.

Vie Jester has always deserved greater attention and they should get it with All In Jest; certainly they and it warrant a moment of your concentrated time.

All In Jest is available now @ https://viejester.com/album/548219/all-in-jest

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Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

Lifetight – Self-Tightled EP

Barely into their second breath as a band, emerging just a handful of months back, UK hardcore mob Lifetight have swiftly lured eager attention with their debut single and now a first EP which merges new adventure into an original hardcore heart. It is four slices of honest and uncompromising intent delivered upon an emotive roar and quite simply rather tasty.

Emerging from the ashes of melodic hardcore outfit Lock & Key, Lifetight’s have already earned eager support and radio play for recent single Energy and it is easy to hear why as the track opens up the Self-Tightled EP From an enticing guitar lure, the song launches at ears with rapacious riffs and striking rhythms with the agitated tones of vocalist Thomas Smith leading the way. Wiry hooks and a great bass grumble soon increase the song’s early grip on attention whilst lyrically a hope fuelled suggestion lines the growing snarling confrontation. With Elliott Black’s bass a constant growling pleasure in the increasingly impressing encounter, there is no escaping all the reasons it made a strong impact a few weeks back.

Those qualities are just as bold within the following Misguided. With Smith to the fore, it instantly consumes the senses before casting a hostile web of grooves and rhythmic predation; an aggression as instinctively infectious as it is imposingly cantankerous. As in the first, guitarist Danny Reeves weaves an imaginative ear gripping incitement; a collusion of riffs, hooks, and grooves which captivate as they shape the metallic punk proposal.

Just as enterprising is the swinging animosity of drummer Josh Murphy, but an attack again bred with rock ‘n’ roll virulence which in turn gives next up Big Boy House a rousing nature and energy to get the body bouncing. With a host of twists and turns in its irritable defiance, the song rumbles and grumbles with heart bred intensity and catchiness; each of the quartet sharing their inescapable craft and energy to the trespass before Dreams closes things up. The final track is an anthemic blaze of sound and discontent but once again full of encouragement as it stirs physical and emotional reaction. Old school yet as fresh as it comes, the track is a heavily pleasing end to a striking debut from Lifetight.

It is an introduction as rife with potential as it is quality and a powerful next step in the emergence of one appetite sparking band.

Self-Tightled is out now via Crooked Noise Records.

https://www.facebook.com/lifetight/     http://www.lifetight.co/    https://twitter.com/lifetightuk

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Baronen & Satan – Why Does The Blood Never Stick To Your Teeth? / Satan Is A Lady

As each year passes it seems harder to find something truly unique to feast upon so those encounters which do carry that special character make a most striking impact and hopefully temptation. The sound of Swedish outfit Baronen & Satan magnificently fits that claim and hope, its nature a psyche twisting trespass and voice a senses searing incitement which together go to make one glorious seduction on body and imagination.

Though formed in 2014 after guitarist Philippe Jean-Piere Dominique Sainz met vocalist Linda Rydelius, the pair uniting in love and creativity once meeting, our introduction to Gothenburg hailing Baronen & Satan is now through Dirty Water Records USA and their releasing of the band’s new EP, Why Does The Blood Never Stick To Your Teeth? in tandem with the re-release of 2016 album Satan Is A Lady. It is a long overdue meeting as hindsight shows the band has been teasing attention across a horde of tracks and years but one we like so many others are greedily devouring. Completed by bassist Marie Bergkvist and drummer Stefan Young Sik Olsson earlier this year, Baronen & Satan create what we assumed has been self-penned as “Garagedeath”.  Whatever you call it, the Baronen & Satan sound is a wonderfully invasive yet flirtatious trespass of reverb grafted adventure conjured from a mix of garage and psych rock, garage punk, noise, and punk rock with plenty more teasing away in its predacious and haunting swamp thick sonic psychosis.

Produced by Jim Diamond (White Stripes, Dirt Bombs), Baronen & Satan’s new EP greedily consumes the senses from its first breath. Why Does The Blood Never Stick To Your Teeth? opens up with new single Elisa and instantly consumes ears in a tide of riffs and rhythms entangled in spicily melodic tendrils. As a bass grumble teases, beats fly with fevered energy, Sainz’s guitar weaving away with salacious grooves as the distinct and unique tones of Rydelius deliciously ‘whine’. Her presence almost steals all attention but with the devilish textures and enterprise at play around her, the whole song seduces in equal measure to get things flying.

The following Buttermilk Sky has a similar but fully individual presence and sound, its psych and garage rock bred rock ‘n’ roll an incitement to appetite and hips as it dances provocatively in ears. Its citric melodic spicing is less kind in the second track compared to its predecessor but just as alluring; the song offering a beefier intrusion taken to darker temptation yet again in the EP’s title track. With the swinging biting beats of Olsson rampant and Bergkvist’s bass sound gnarly, seduction is swift from personal tastes; add the sonic squall of Sainz and Rydelius hellish beauty in voice  and submission to the track’s rapacious rock ‘n’ roll is welcome slavery which the melodic toxicity with its tinge of Echo and The Bunnymen compounds.

All three tracks unite for one unwavering increasing addictive proposal to have us reeled in hook line and sinker; a triumph equally matched by last year’s album, Satan Is A Lady. It similarly needs mere seconds to tempt and begin brewing up a tight grip as opener Lady Creature lies its initial sonic nagging upon ears. Quickly the boisterous beats of Olsson descend and romp; the track bouncing around with eager tenacity as Rydelius casts her riveting vocal antics into the stomping devilment of a proposal. At times Scottish trio The Creeping Ivies is provoked in thought by the track but a great spicing to something again as unique as all the subsequent essences and adventures across the album prove to be, all hues in viral sonic toxins particular to Baronen & Satan.

Next up is Catwalk, its feline prowl lively and predacious with Olsson’s swings marking every step with zeal. Always fuelled by a boisterous spirit, the song stalks the listener as vocals wrap their flirtatious clutches around psych and garage infestation. Magnetic drama, the song sublimely bewitches before the even more energetic exploits of Asskisser bound in. With shimmering sonic suggestion and more rhythmic rascality, a PiL-esque sheen invading its bold canter, the track commands the listener like a puppeteer, its noise nurtured tendrils veining its wonderful manipulation.

Headcuts lurks and taunts with an instantly open Cramps inspiration, continuing to size up its victim before launching into a rapacious garage punk stroll with fifties rockabilly spicing. As its predecessor, the track is glorious; caustic manna for ears and instincts which a fine line of sixties garage rock a la Cradle to add another twist.

Expanding and thickening its ravenous enterprise and character, Satan Is A Lady hits another sweet spot with the sonic buzz of The Projects, a minute and a breath of irresistible niggly punk rock which Comet emulates in success with its own demonic affair for ears and imagination. As most tracks, its core is a relentless nagging which gets right under the skin; heavy dark bait bred on rhythmic and sonic almost wanton dexterity honed into a cauldron of virulent temptation as carefully woven as it is rabidly unleashed.

The album’s title track swings in with muscles tensed next, a riveting PiL meets Siouxsie and the Banshees hook circling ears as once more the compelling tones of Rydelius grip the bold intrusion. Sainz’s initial bait swiftly develops a Buzzcocks spiced essence as the track flexes its animated imagination, every second a beguiling and infectious scheme to enslave.

Through the psychotic stomp of Pony and its sonic Cramps meets the Orson Family moonshine pleasure only escalates, the latter of those hues a bolder essence in the dark saunter of Sugarwalls which too only inflames an already greedy appetite for band and sound. Invasively ethereal and ravenously portentous, the song also gives a glimpse of what you might imagine bands like Blood Ceremony and Jess and the Ancient Ones could sound like if mutant off springs of Lux Interior and Jim Morrison.

The album ends with the invasively haunting Underwater Love, an immersion into a sonic sea of intrigue and unpredictable imagination steered by the alluring vocal ingenuity of Rydelius. It is dark, bordering on suffocating and a compelling end to a quite thrilling and refreshing album.

Uniqueness is rare but when it comes it should be devoured especially when it bears the dark discord and beauty of Baronen & Satan.

Both Why Does The Blood Never Stick To Your Teeth? and Satan Is A Lady are out now @ https://baronenandsatan.bandcamp.com/album/why-does-the-blood-never-stick-to-your-teeth  and https://baronenandsatan.bandcamp.com/album/satan-is-a-lady respectively.

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Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright