Zedi Forder – I Don’t Want To Set The World On Fire/Ditties 1 EP

For us one of music’s best adventures over the past decade has been the creative emprise of songwriter/vocalist/drummer Chris Kerley; an escapade taking in acclaimed releases from bands such as Tricore, An Entire Legion, Rind Skank, Kid Golhum and now Zedi Forder. It has been a journey Kerley has for the main taken with guitarist Mark Carstairs but is now just the songwriter with new creative mischiefs on board for the latest encounters from the latter of that long line of great projects.

Ahead of a new single released this December, Zedi Forder recently unveiled the Ditties 1 EP, a collection of tracks which did not quite fit the alt metal/rock palette of the band but more than deserved a full airing. It is fair to say that each has the inimitable touch and character of a Kerley song, his distinctive tones and melodic prowess unmistakable as too the devilish humour which always lurks around his compositions and often takes over the driving seat, but just fall outside the palette of the band’s previous offerings.

With guitarist April Cox and bassist Rich Tomsett alongside Kerley and more of an indie pop/rock sound to its contents, Ditties 1 opens up with Fine Wine. It is a song which as soon as its initial bass lure is joined by a similarly enticing guitar hook has the body swaying, a bolder bounced incited by its lively and increasingly bold, defiant and tongue in cheek stroll. With a Queen-esque hue to its captivation and imagination, the track needed barely a play to get under the skin and have mutual participation involved.

Teasing hooks and sultry shimmers accompany the entrance of Forget about me next, one of a couple of songs which would not have glaringly been out of place within the bands outstanding debut album of last year we would suggest but certainly have their own particular flavour. It too swiftly and easily had attention and involvement hooked, Kerley just as adept at breeding pop songs as more predacious encounters.

I Am with its piano elegance and intimation as well as Cox’s great harmonic backing tones simply beguiled especially as its opening arms brought a virulent rock ‘n’ roll saunter while Sit and Wait provides an relatable intimate croon which again had body and thoughts swaying in pleasure and recognition before Something Else shines with its crystalline balladry and emotive charm.

The EP also features two bonus tracks in Football in the park and Spookums though the latter is not listed, songs which share the same reggae/folk devilment and indeed tune as too Reeves and Mortimer like humour and released previously during the World Cup and Halloween periods respectively; tracks which dare you not to join in with the biggest knowing grin.

As mentioned the EP was released ahead of a single; that track being a cover of The Inkspots classic I don’t want to set the world on fire. Embracing the forties nostalgia of the original with their own particular misbehaviour, the track bewitched ears and vocal chords, again rather quickly and enjoyably. It is a track which makes the perfect Christmas song if you have no appetite for the infernal creative clichés and bells most have to come with.

With a highly anticipated new album slated for next year, both Ditties 1 and I don’t want to set the world on fire make for a great appetite pleasing slice of Zedi Forder; a one of a kind treat few can emulate.

The Ditties 1 EP is out now as a pay what you want purchase via https://tricore.bandcamp.com/album/zedi-forder-ditties-1-indie-rock-punk-ep with I don’t want to set the world on fire released December 7th.

https://www.facebook.com/zediforder

Pete RingMaster 01/12/2018

Copyright RingMaster: MyFreeCopyright

Dead Retinas – Divine EP

Though they made a pretty instant splash in the pool of attention and praise with their debut, the Dead Retinas vs. The World EP back in 2012, it is fair to say that the UK band has simply grown in strength, sound, and in luring praise ever since. Each subsequent release from that potent first has provided a rousing proposition with the Manchester band’s most striking yet coming in the shape of their new creative offensive, the Divine EP.

Without doubt there has been a fresh attack and imagination in the band’s writing and hardcore/punk bred sound with every release but now real maturity and a deviously manipulative essence has emerged. It was intriguingly hinted at within the 2017 released Coup De Grâce and now has become an uncompromisingly stirring force within its successor, Divine. An unscrupulous fusion of hardcore and noise punk, the new Dead Retinas offering provides three tracks which stalk the senses and bait the spirit whilst revelling in that new breath of adventure in the band’s sound. The EP is also the first release with the band’s new line-up in full antagonistic roar, a creative holler seeing Dead Retinas stalking the reputation of punk’s heavyweights.

The Laurie Morbey produced Divine opens up with Gold in Monochrome and immediately descends on the senses and nerves with a predatory rhythmically prowling groove. The vocals of CJ Smith are just as swift, bawling almost brawling in ears with his usual potent presence. The guitar of Jack Thompson springs his scything lures and nagging hooks soon after as the swinging beats of Chris Heath batter already beleaguered but devouring senses. With the bass of Chris Gaduzo continuing its almost guttural tempting, the track writhes and twists as it rages; raw flirtation and invasive invention fuelling it’s unpredictable and seriously enjoyable enterprise.

The following You Go Glen Coco is just as compelling and insatiable in its antics. It too moves with the lust of a whirling dervish but with a composure which just accentuates its carnivorous intent. Again the band casts grooves which easily and quickly got under the skin, rhythms voracious with their own infectious animosity and all combined creating an increasingly expanding and imaginative infestation of sound and dissension.

By no means left behind in creative prowess, final song An Exercise in Bad Taste erupts in ears with immediate hostility, Smith again leading the trespass as rhythms malevolently dance and the sonic toxicity of Thompson’s strings blazes. Once more imagination soaked unpredictability infests the track, its movements often bordering on the spasmodic but with a fluidity which makes for an unrelenting molestation and pleasure.

As seems to be the trend with Dead Retinas releases, Divine reveals new growth in their sound and creative adventure but one which easily overshadows anything before it and so much so that the band might struggle to eclipse it next time but then again this is Dead Retinas…

The Divine EP is out November 30th, available @ https://deadretinas.bandcamp.com/album/divine as well as Spotify, Apple Music etc.

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

Pete RingMaster 30/11/2018

Copyright RingMaster: MyFreeCopyright

The Castor Troys – Legends Never Die

We all come across propositions sparking a passion which is just meant to be whether in life, love, or regard to Legends Never Die, music. The new release from Canadian rockers The Castor Troys, everything about the EP caught our instincts and wants in a slab of rock ‘n’ roll whilst providing one of the most fiercely enjoyable encounters this year.

Hailing from Hamilton, The Castor Troys was formed in 2013, taking their name from the Nick Cage character in Jon Woo’s movie, Face/Off. Embracing inspirations from the likes of Headstones, Social Distortion, Motörhead, The Offspring, and Iron Maiden, the quartet forge their rousing sound from a tenacious mix of hard rock and punk with plenty of other strong hues involved around stories of “war heroes, bank robbers and clandestine lovers”. It is a recipe which drew potent praise upon the band’s debut album, Come Hell or High Water in 2015 and will surely lead to even greater attention and acclaim for Legends Never Die.

With shows with the likes of The Planet Smashers, Scarlett, and Silverstein under their belts and having just shared stages with Headstones and Black Collar Union in the lead up to the EP’s release, The Castor Troys get straight down to business from the first breath of the Andre Kaden Black produced EP.

Blackout Love makes the break from speakers first, hungry riffs and swinging rhythms instantly descending on the senses in an inviting trespass. Vocalist Aaron Walsh soon leaps into the mix, his powerful and magnetic tones as compelling as the sounds roaring around him. Straightaway our appetites were hooked, the steely groove of Matthew Bowker’s bass alone irresistible but with the wiry tendrils springing from the guitar of Chris Ledroit and Bryson Emmons’ swinging beats everything about the punk ‘n’ roll holler hit the spot.

The backing vocals across the band alongside Walsh also consistently make for a thick galvanic incitement and are in full force within the following We Are One, the band’s new single. From the first note they are careering through ears pulling the tracks’ devious hooks and eager exploits along with zeal and in no time, its call to arms character and chant fuelled persuasion, with a whiff of Grumpynators adding to its compelling cry and creative thunder, takes command leading body and emotions to get boisterously involved; that always a sign of prime rib rock ‘n’ roll.

The country rock lined Watch the City Burn is next, its sultry grooves and infectious chorus enough to hook the appetite. There is certainly something familiar to the song though nothing which can be exactly defined but, without hitting the heights of its companions, it leaves ears and satisfaction full to the brim with goodness before the EP’s title track uncages its punk rock rapacity. Though it reminds of UK punk metallers Fuckshovel a touch, the track epitomises the individuality of The Castor Troys sound and its insatiable anthemic howl.

Wreck of The Bastard boasts its claim for best track honours next, its melodic vines carrying something of Skids to them whilst riffs and rhythms nag and harass with a punk infused hunger. Even so their organic irritability is perfectly tempered by the hard rock breeding of the track, the song emerging as another slice of unpredictable but easily accessible rock ‘n’ roll scorched in The Castor Troys individuality.

The release concludes with a great cover of the Tom Petty track, Runnin’ Down A Dream. Certainly the song does not quite live up to the heights of those before it, but with a bouncing body and well-worn vocal chords in its wake gets the job done with a firm enterprising hand.

It is a great and again inescapably rousing moment in a release which The Castor Troys deserve all the attention and praise they get for and with Legends Never Die that should be plenty.

Legends Never Die is out now; available @ https://thecastortroys.bandcamp.com/

fuick

Felons – Violent Society

Offering up three short bruising shocks to the system, Violent Society is the new EP from UK quartet Felons; an encounter providing all the reasons why punk rock still gets our juices going like no other genre.

Southend based Felons have a sound which scowls like a mix of Crass, Angelic Upstarts, and The Varukers. It is old school hardcore punk bred but anything other than a dated trespass on ears and enterprise. Already this year the foursome of vocalist Jay, guitarist Josh, Bassist Lew, and drummer Pike have uncaged their debut EP, Creeps; an encounter receiving strong support and plaudits. Violent Society springs another threesome of attitude driven trespasses which will surely follow suit in success and in taking Felons to a broader and eager landscape of attention.

Who’s In Debt To Who? opens up the Dan Bazan recorded and produced EP, the track following its initial welcoming hook with a furious holler of middle finger raised defiance and observation as imposingly infectious as it is unapologetically irritable. Whipping the imagination back to the late seventies/early eighties whilst stirring up its own modern individuality, the track effortlessly incited inner dissent whilst stirring an ever eager punk appetite with its irreverent exploits.

The following Pacing offers up a mere 47 seconds of sonic subversion but  a fleeting time as untamed as it is instinctively manipulative and all infernal goodness. The dual vocal attack inflames an already organic dissonance, a combination spewing fractious incitement within an unbridled tetchy attack which needed little time, which is lucky considering the length of the trespass, to ignite ears and appetite.

The release closes with its title track; Violent Society slowly, in comparison to its predecessor, enticing ears with a bass grumble as the guitar flirts from time to time before breaking into a deliciously nagging stroll with a Disorder-esque glare to its choleric breath. In no time it announced itself as the best of three irresistible infestations of sound and attitude, reinforcing its claim by the second

Violent Society is our introduction to Felons and, with hindsight and a just as enriching meeting with its predecessor to support its declaration, installs its creators as another of punk’s new exciting perpetrators giving reason as to why the genre can still incite and arouse like it did way back.

Violent Society is available now @ https://felonspunx.bandcamp.com/releases as a name your price digital release and on CD.

https://www.facebook.com/felonsband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

The Feral Young – I Haven’t Seen Myself in a While

Untamed, wild, and aggressive to the point of bloodthirsty at times…you would expect little else from a proposition called The Feral Young. Theirs is a sound within their new offering which ferociously devours the senses yet equally a predator adept at prowling the listener like a sonic wolf waiting to move in for the kill. It is a character and intent which goes to make the I Haven’t Seen Myself in a While EP one menacingly striking encounter and The Feral Young a band very hard to ignore.

Hailing from Finland’s oldest city, Turku, The Feral Young unleash a voracious fusion of punk and noise rock also embracing rich scuzzy essences from the likes of garage and stoner rock. Formed in 2017, the band has drawn references to the likes of Every Time I Die, Metz, Whores, and Queens of the Stone Age but as I Haven’t Seen Myself in a While reveals theirs is a sound already discovering its particular individuality, a uniqueness already growing since its predecessor, last year’s Failures EP.

I Haven’t Seen Myself in a While swiftly trespasses the senses with opener The Beat, its initial guitar graze of sound an enticing lure into a thick wall of temptation driven by primal beats as a raw sonic ‘hum’ escorts their predation. The equally nagging threat of the heavy bass throb adds to the intoxicating menace ears and appetite quickly fell too, earnest vocal squalls completing the rich bait making a delicious intrusion. Like a call to arms, a piper to primal instincts, the track sets the EP off on a major high.

It is a lofty perch which Amnesia Alibi cements; its raucous noise punk mixing with psych shimmers and surf ripples in an undulating eddy of snarling incitement. Again rhythms simply ensnare as melodic toxicity and vocal incitement bait, the track mercurial if always invasive in its attack but relentless in its creative and inventive savagery. It is another major temptation to The Feral Young sound so easy to succumb to.

The EP’s title track completes the encounter, the song a relatively kinder assault but as fiery and drenched in unbroken spirit and attitude as its companions. The band’s more garage rock instincts come to the fore in a roar sharing the same kind of punk instincts as artists such as The Punks and The Stooges mixed with the ferocious enterprise of others like Whores and Pigs. Though not quite matching the massive heights of its predecessors, the track is a rousing blaze escalating the impressive and thrilling outcry of the release.

With new music in our ears almost without breaks being excited is a regular treat, finding ourselves lustily animated a far rarer occurrence but one The Feral Young inspired with ease. Roll on the album the band is said to be currently unleashing from their undomesticated hearts.

I Haven’t Seen Myself in a While is out now digitally and on Ltd Ed 7” vinyl via Kaos Kontrol; available @ https://kaoskontrol.bandcamp.com/album/i-havent-seen-myself-in-a-whilehttp://www.kaos-kontrol.org/shop/the-feral-young-i-havent-seen-myself-in-a-while-7-inch

https://www.facebook.com/theferalyoung   https://www.instagram.com/theferalyoungsucks/

Pete RingMaster 03/11/2018

Copyright RingMaster: MyFreeCopyright

Mnemocide – Debris

Debris is the title of the new EP from Swiss death metallers Mnemocide and also what will be left of the senses after facing their seriously appetising debut release. Four instinctively and invasively ravenous tracks skilfully woven through deliberate enterprise, the EP is a striking introduction to a band already suggesting very big things could be ahead for and from them.

From Basel, Mnemocide began in 2017 but emerged into the open earlier this year after honing their death metal bred adventurous sound. Joining producer Christoph Brandes in Iguana Studios near Freiburg, Germany, the quintet recorded Debris a few months back, a debut which quite simply makes us what to hear so much more.

EP opener, Only Shades, comes into view on cold winds, a portentous pulsation accompanying its emergence before guitars entangle the growing intimation. It all veers into a groove driven stalking of the senses, a powerful and sinister stroll loaded with restrained but invasive rhythms and potent throat raw vocals. Those grooves continue to lure keen attention within the similarly inviting if threatening consumption of sound where melodic enterprise and tempestuous intimation only adds to the track’s imposingly stirring presence, the EP off to a highly persuasive and stirring start.

The following Pawns swiftly manipulates the imagination with its initial samples, accentuating its persuasive lure with the subsequent tide of advancing riffs and heftily swung rhythms. Stride by creative stride, the track is persuasive warfare, every note a magnetic statement of intent as barbarous as it is captivating. If its predecessor impressed, the second song had us lustily hooked, success pretty much matched by next up Collapse, another track which got further under the skin carnivorous riff by barbarous rhythm. As suggested, the classic heart of death metal beats within the Mnemocide sound but again this is a song which embraces its seeds with imaginative adventure and violently flirtatious catchiness.

The same template breeds EP closer Soul Collector, a track chipping away at defences from its first breath as beats lustily land on and riffs gnaw away at the senses with almost viral contagion. Even darker, ravenous hues gather as the track prowls, all accentuating its grooved temptation and mercurial veering towards inhospitable countenance.

It is a fine end to a release which has become more stirring and irresistible by the listen. There are also big hints of a brewing uniqueness within the EP which only adds to an anticipation of what is to follow from a band ready demanding eager attention.

The Debris EP is about now; available@ https://mnemocide.bandcamp.com/releases

https://mnemocide.com/    https://www.facebook.com/Mnemocide/

Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright

Dead Register – Captive

It is two years since Atlanta outfit Dead Register not only thrilled but truly captivated us with debut album Fiber. It was a collection of tracks bred in the rich essences of doom, gothic, and post rock but equally embraced many more flavours to create something as unique as you could imagine or wish. Twenty four or so months on we still cannot truly define their sound or want to as that would be to sterilise its originality and fertility, both as rampant and captivating in the band’s new offering, Captive.

Every word in praise of Fiber by us and so many others can be echoed with zeal in regard to the Captive EP, but not only repeated but escalated as its five tracks venture to mouth-watering new heights in the imaginative craft and inventive prowess of Dead Register. The new EP sees percussionist/drummer Danny Ryann (ex-Gigan) alongside vocalist/bassist M. Chvasta and his wife, Avril Che on bass synth, keys, and backing vocals; Dan Dixon (Whores, The Life and Times, PLS PLS, Biters) recording, mixing, and mastering their now proposition.

Captive opens up with its title track, a dark mist springing the lumbering gait of the song but a funereal step soon wrapped in romancing melodies as a shadow bred atmosphere descends. Magnetic rhythms are swiftly courted by the ever potent and alluring tones of Chvasta, both in turn hugged by the heavy emotive doom gaze breath of the track. Haunting and mesmeric, the song continues to seduce and impose, drama soaking very brooding note and harmonic utterance trespassing and seducing the senses.

It is a highly tantalising and increasingly captivating beginning to the release and one as powerfully continued by next up Ender. A song exploring love and loss and “a reminder to savor even the most mundane idiosyncrasies that “make” our loved ones who they are”, a premise easy to relate to, it rousingly smoulders in ears and thoughts but a thick simmer with volatility which only enriches its emotional incitement and a sound with Type O Negative/Nine Inch Nails hues. There is also a breath to the track and its successors which reminds of eighties band, The Sound; an instinctively downbeat almost depressive yet rousing dark essence which is especially apparent in the fiercely infectious Heresy. From its predacious nagging bassline to the sonic tendrils and Chvasta’s transfixing vocals, the track is pure temptation as virulently catchy as it is melancholically consuming.

A riveting cover of the Dead and Gone track Blood from a Ghost follows, Dead Register infusing it with a voraciously dark elegance without defusing its raw heart and anguish. Few covers in our experience improve on the original but the threesome certainly flirts with that success before Monochrome completes the aural mastery of Captive with its own tenebrific majesty soaked in emotive dissonance. A breath-taking and arousing yet corrosive romance, the track is a maelstrom of destruction and tenderness and quite irresistible.

It is a spellbinding prowess which devours the whole of Captives and feeds the infatuation we have already found for the band. If in our words Fiber was “dark magic, emotional trespassing, and quite wonderful”, Captive is pure aural alchemy and one of the year’s essential encounters.

Captive is released November 2nd; available @ https://deadregister.bandcamp.com/

https://www.facebook.com/deadregister

 Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright