Mangled – Involuntary Organ Donor

pic Emily Harris

pic Emily Harris

Something gory this way comes and it is in the insatiable shape of Involuntary Organ Donor, the new EP from US gore thrash metallers Mangled. Offering three uncompromising slices of barbarous brutality spawned in a vat of caustic thrash and speed metal rabidity then further infused with death metal violence, the latest unleashing from the Atlanta bred assault is simply invigorating.

Formed in 2011, Mangled has preyed on ears and psyche with increasing relish ever since, as shown by 2012 demo Tales from Beneath the Street Vol.1 and the Sewer Metal EP that same year. 2013 saw Tales from Beneath the Street Vol II: Live Sewage uncaged, a live album followed by what seems like a hiatus of sorts in 2014. Whatever the reason for the world to mistakenly feel safe again, the band returned last year with even more carnage in mind as evidenced by the new Boris Records released Involuntary Organ Donor.

The release opens with They’re Not Gonna Stay Down There Anymore. Its earthy visceral intro provided by Mikael Simpson of retrowave/horror project Phantasma, is a sonic stalking of the imagination which festers menace and a climate of distrust evolving into a web of spicy grooves and predacious riffs and rhythms. The full emergence of the song is a prowling coaxing, the instrumental biding its time and even when it hits its thrash fuelled stride still has an intimidating restraint to it.

Mangled_IOD_cover_RingMasterReviewIt is a potent lure which, as its finale gets fiercely busy, slips into the waiting hellacious jaws of the EP’s title track. Involuntary Organ Donor similarly has a stalking rabidity to its entrance but soon viciously goes for the jugular led by the scything swings of drummer Joe Sweat and the raw, confrontational riffery of Rafay Nabeel and John Manger. The raw throat scarring vocals of Ryan Ritchie inspire even greater animosity within the encounter, the backing tones of Matt Moyer as enjoyably intrusive as his fingers spill more spite courtesy of his bass strings into the animus at the heart of the tempest. With grooves a juicy blooding of the imagination and adventurous twists and turns with the ravishing a spark to an even greedier appetite, resistance to its butchery is willingly put aside.

Butchery Loves Company completes the sonic slaughter, its senses flaying swing alone igniting another exhausting time for the body whilst the melodically toxic imagination of the guitars take care of the imagination. As to the beating offered by the rhythms and the crippling nagging of riffs, that simply leaves a mark that lingers beyond mortal skin.

All three tracks thrill and punish simultaneously, with the last maybe stealing the show and the writhing carcass of your final days of feeling safe. For fans of thrash fired death/grind metal, Mangled and Involuntary Organ Donor is a serious consideration to be violated by.

The Involuntary Organ Donor EP is released via Boris Records on March 1st digitally and on Ltd Ed 7” vinyl (300) @ https://borisrecords.bandcamp.com/album/involuntary-organ-donor-7

https://www.facebook.com/Mangled-270014239690739

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Astral Cloud Ashes -Too Close To The Noise Floor

ACA_RingMasterReview

Antony Walker is one half of the Channel Islands hailing Select All Delete Save As, a band we have taken a shine to especially after the release of their 2014 album Ultra Cultura. The Jersey bred musician has also created music under the name ALPA, amongst other monikers. Now though he has unveiled a new project and a debut single which suggests he is tapping into a new vein of fascinating adventure in songwriting and sound.

The band is called Astral Cloud Ashes; predominantly a one man project though it occasionally features Jason Neil also. Musically tagged as future-core, the band’s sound on the evidence of the new single is an imaginative weave of indie and alternative rock but equally involves elements of noise and pop rock. To be honest, Too Close To The Noise Floor enjoyably makes it hard to pin down the music but if a mix of The Pixies, Swell Maps, Weezer, Bloc Party, and early Cure appeals, then it is a song to seriously explore.

Mastered by Tim Turan, Too Close To The Noise Floor takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Guitars and rhythms descend on ears from its first breath, creating a hazy breeze which relaxes as Walker’s warm tones lay engagingly across songs and ears with some great vocal backing adding to the appeal.

There is punchiness to the song too, beats and bass jabbing and prowling respectively alongside the spicy melodies and vibrant hooks that entice. There is raw feel of XTC to the song in particular moments, maybe a whiff of Melvins too, all going to provide a refreshing hip flirting and pleasure inciting proposition.

With a debut album scheduled for later in the year to be anticipation wrapped from hereon in, Too Close To The Noise Floor is a thoroughly enjoyable and attention grabbing introduction to Astral Cloud Ashes, and potentially what could be Walker’s most successful project yet.

Too Close To The Noise Floor is released March 7th across all major online distributors.

https://www.facebook.com/astralcloudashes/

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

MountainJam – Waiting

image1_RingMasterReview

Following the success of recent single Lemon and Lime, which itself cemented the prowess and potency of MountainJam as first discovered within the band’s debut EP and its singles of last year, the UK band now have its successor Waiting in line to please ears. The new single reveals another shade to the band’s persistently enticing sound, an emotively sculpted landscape of melodic rock with just a tinge of Americana to its alternative bred rock ‘n’ roll.

There also seems a broader depth to the flavouring building the sultry climate of sound and atmospheric enterprise and climate embracing ears. It is nothing overwhelming but as suggested a new shade of melodic and sonic colour to intrigue, fascinate, and as it proves again, excite. Influences to the Midlands hailing quartet of vocalist/rhythm guitarist Dean Dovey, lead guitarist Andy Varden, bassist Nick Roberts, and drummer Pez include the likes of The Rolling Stones, The Doors, Neil Young, Small Faces, Cream, The Verve, The Stone Roses, and The Who. Many are influences which arguably make a stronger showing within Waiting than some of the band’s previous songs to date, aiding the new hue to the becoming renowned MountainJam sound.

Emerging on the warm ambience of keys, the song soon strolls through ears with a melodic smoulder to its trails of sultry guitar and a feisty edge to its rhythmic tempting. Dovey as so often in songs becomes a potent focal point upon his entrance, but as usual too, his expressive voice is soon hugged by the strength of the sounds which here reveal a touch of psyche rock lacing and an almost sweltering atmosphere through guitar and keys.

With it all, also comes an infectiousness which, especially in the rousing roar of the chorus, has body and imagination as involved as the sonic swathes of sound which seduce in the track’s mellowest moments.

It is fair to say that Waiting does not infest the psyche as immediately as other MountainJam songs, though ears are thoroughly contented in moments, but with its magnetic layers and almost epic structure of emotion and sonic enterprise, the single is another richly and increasingly enticing lure to a band which just seems to grow with each and every track written.

Waiting is out now through most online stores.

https://www.facebook.com/MountainJam2015   https://twitter.com/mountainjam2015

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hinges – Aches & Pains

Hinges_RingMasterReview

Every year is probably the same, but already there seems to be strong flow of attention sparking debuts in the opening weeks of 2016 and adding to the list is Aches & Pains from UK quartet Hinges. A flavoursome mix of alternative rock and grunge with a rich spicing of emo to it, the single is a potential loaded, ear pleasing first look at the Leeds bred band.

Though formed in late 2014 as Negative Panda, it was as Hinges that the band stepped into 2016 following a recent line-up and of course name change. Under the new guise, the foursome of vocalist/guitarist Myles Petcher, bassist Keane Holland, guitarist Luke Hudson, and drummer Callum Stewart now release their first single, a song which quickly lures attention whilst breeding stronger persuasion with each passing minute.

Aches & Pains opens on a single caress of guitar, a slightly melancholic stroking of ears which soon sparks a broader flame across the band. One establishing its feisty presence, the song relaxes again into a minimalistic and emotive stroll around the potent tones of Petcher. Rhythms add a firm touch to it though, keeping the song honest on the side of directness before a raw grunge fuelled blazes breaks out. It is a cycle which repeats across the track, calmer and reflective passages with a Green Day scent to them erupting into Nirvana-esque outpourings of emotion and intensity; both echoed in voice and energy simultaneously

Equipped with a great brooding depth to the bass, a solemn yet inviting air to its moments of reserve thought and sound, and an almost predatory feel to its rousing angst lit crescendos, the song is a tasty first step by Hinges in their new shape. Completed with the previously un-released B-sides in I Hope It Gets Better, a raw entangling of charm and confrontation, and the aggressive agitation that is the highly pleasing Home, the single easily sparks a want to hear more.

That is a quality any band would hope to breed in their songs and Hinges do it with ease across the whole of Aches & Pains.

Aches & Pains is out now @ http://hinges1.bandcamp.com/album/aches-pains

https://www.facebook.com/HINGESUK   https://twitter.com/HINGESBAND

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Jade Assembly – Nothing Changes

 

TJA_RingMasterReview

For us one of last year’s most rousing and emotionally charged singles was One Last Time from UK rock band The Jade Assembly. It is an encounter which still ignites a shiver of excitement when playing in ears ten or so months on. Now the Bolton hailing quartet has its successor, Nothing Changes lined up to build upon the successor of its predecessor.

It is fair to say that buzz around The Jade Assembly has been an on-going rising since they emerged in 2012, but the past twelve months have pushed the band to the fore of a whole new strength of attention thanks to One Last Time and a live presence which only fires up their reputation each and every time. Combined with the depth of variety to their sound and songwriting, it has led to the likes of Clint Boon of Inspiral Carpets describing The Jade Assembly as the ”Best Guitar band since Kasabian.”

art_RingMasterReviewNothing Changes shows more of that wide vein of adventure in the band’s creativity; the song not quite the anthemically forceful kaleidoscope of intensity and emotion fuelled crescendos that shaped One Last Time, but a similarly pungent weave of elegant melodies and tenacious textures aligned to enjoyably imposing rhythms and the expected mesmeric vocal persuasion of vocalist/guitarist John Foster. From the first gentle tingle of melodic guitar, band and song has attention in hand, only tightening the grip as Foster’s heartfelt tones and words emerge in the hug of his and Gareth Smedley’s guitar enterprise. All the while a darker shadowing courts the matching tone within the lyrics, Danny Hayes’s bass strings colluding with the dynamic swipes of drummer Andy Watson as contrasting textures masterfully unite.

The senses and emotions rousing prowess of that earlier single is unsurprisingly also a quality of Nothing Changes if to less dramatic effect across the whole song. Its crescendo of a finale though is one invigorating roar leaving a lingering persuasion in its wake as another single from the band reveals itself a memorable moment.

Accompanying the song is the acoustic croon of Or Somat; a serenade of beguiling voice and emotive guitar which hold ears and thoughts in a firm hold with the qualities of the band inescapable.

Last year was a big one for The Jade Assembly, in many ways thanks to their single and 2016 looks like it will be much the same if the rather enjoyable Nothing Changes can and should, spark the same keen interest.

Nothing Changes is released February 29th on all major music download platforms.

Upcoming Live Dates:

March 5th – Sebright Arms, London

March 17th – Studio 2, Parr Street, Liverpool

March 25th – Engine Rooms, Skelmersdale

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

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Gaa Gaas – Close Your Eyes

art gaa gaas_RingMasterReview

It has been a long time in the waiting and an increasingly anticipated moment; that being the time when something new from The Gaa Gaas would step forward to infest ears. That occasion is now with the release of new single Close Your Eyes, an irresistible taster of the new evolution and adventure in the UK band’s exploration of sound. Showing a rich vein in flavour and sonic variety without losing the hypnotic insistence of their earlier successes, the track is simply going to have old fans drooling and a host of new followers entangled.

Formed after a garage punk night event at a venue in St Helier on Jersey in the Channel Islands, by vocalist/guitarist Gavin Tate, The Gaa Gaas spent their first two years honing their sound and becoming a potent live proposition on the island, before relocating in 2005 to Brighton, then later London from where they switch between the two. Their hunger to play live took the then trio, across the UK and Europe with shows and tours, a success in turn building an eager fan base stretching outside Britain as far as France, Italy, Germany, Poland, Lithuania, and Sweden. The following years saw the release of two EPs to strong success and the embracing by internet radio shows and stations alone, of songs like the 2010 James Aparicio (Nick Cave, Mogwai) produced and Robert Harder (Brian Eno, The Slits) mixed and mastered debut single Voltaire and the equally devoured Hypnoti(z)ed.

As suggested, recent times have been a quieter affair with the band though work on their first album has been an on-going adventure. Now with an inescapable new maturity to their sound and bold expansion to its tapestry, the foursome of Tate, keyboardist Peter Hass, bassist Jamey Exton, and drummer Stewart Brown, have a new piece of virulent temptation ready to entice and thrill. Like a gift placed in the hand by a loved one making that certain request to prolong the surprise, Close Your Eyes had an air of excitement to it even before a note is heard, something all their fans will no doubt equally feel.

The Ali Gavan (former member of The Electric Soft Parade) produced song strokes the ears with a single raw caress of guitar first, its resonance remaining as a sonic mist brews up around it. It is a swift and firm coaxing which soon parts from the inside, opening the way for the eager stroll of the song to bound through. With a punkish rockabilly like swagger to its rhythms and hooks, the track instantly has ears gripped; only strengthening its hold as Exton’s bass flirts with, Brown’s beats jabs, and the sonic web the band is renowned for envelops the senses. With Tate’s vocals potently leading the lure, a new melodic infectiousness reveals its growth within the band’s sound. It is a tempering to the caustic nagging potency the band has always shared but another compelling hue only adding depth and might to the great post punk/noise pop catchiness which coats the swing of the proposal.

Like a mix of The Horrors, Wire, The Adverts, and The Three Johns, yet openly individual to The Gaa Gaas, Close Your Eyes worms under the skin and into the psyche in no time. As suggested, it has the prime recognisable sound of The Gaa Gaas at its heart but feels like the key to a whole new adventure which the band has obviously been working on across that recent calmer period in their emergence.

Backing the single is the siren-esque Indian Giver. Originally composed as an instrumental, the track has become an even richer provocative embrace of the senses since Tate’s dissonance scented harmonic vocals have merged with the song’s sonic imagination and early Cure/Artery like atmospherics. The result another dramatic incitement of the psyche through seductive tempting and provocative majesty.

With both tracks taking the listener into unique and individual landscapes of suggestiveness , all that is left to say is roll on their new album set for later this year and roll on the big bold spotlights surely set to crowd in on The Gaa Gaas if the single is the sign of glories to come.

Close Your Eyes is released February 29th via Movement-2-Records @ https://thegaagaas.bandcamp.com/album/close-your-eyes

For more info check out https://www.facebook.com/TheGaaGaas and to hear more of the band’s new songs head over to https://www.facebook.com/events/1034320063257409/1047980888557993/ at 23:00 GMT also on the 29th February.

https://twitter.com/The_Gaa_Gaas

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Stu Rawle – Portland Pill

Stu Rawle_RingMasterReview

Stu Rawle is a name we might be hearing on an increasing number of lips in coming times, certainly if he can build on his potent and seriously engaging debut EP, Portland Pill. The release is a soulful three track shuffle bred from the British singer/songwriter’s individual electro acoustic/funk lined sound. It has an easily accessible character, hinting as to why Rawle’s music has lured names such as Ed Sheeran and Bon Iver when describing his sound. He has also been called the modern male equivalent to KT Tunstall but equally there is a uniqueness to his songs which, as shown by this first EP, increasingly sparks attention.

Originally hailing from East Anglia and now based in the Mile End, East London, Rawle has become an eagerly followed and praised live presence on the capital’s live scene. TV channel, London Live and local radio stations, have shown keen interest in and played his tracks to back up successful shows across venues such as the Troubadour and O2 Academy. Now the man is looking at stirring up his most successful year yet with the Portland Pill EP; national attention his next aim.

art_RingMasterReviewThe EP’s title track is first up to caress ears, it a song written back in 2013 and themed by “nostalgia and the growing complexities and pressures of young adulthood.” With its title inspired by Rawle’s own memories of Portland Bill in Dorset, where he spent numerous enjoyable times in his childhood, the song reflects on those imagination inspiring escapes we all have experienced at some time and temper times of pressure and intensity in life. Musically Portland Pill lays out an inviting melodic canvas for thoughts to swing across on a catchiness which swiftly has ears caught. Its body has a gentle sway and swell to it, like tender waves lapping the senses as the guitar courts the resonance of bass and crisp beats, and subsequently the emergence of floating harmonies and crawling keys.

In quick time feet and emotions are bounding along with the increasingly infectious and lively stroll of the song, a potent lure which is as ripe in the electronic and emotional reflection of Lightspeed too. The track was sparked by the death of Rawle’s grandfather, who suffered from Alzheimer’s. From the start Rawle’s emotive tones are immersed in electro smog, almost fighting to make their voice heard in a reflection of his grandfather’s inner suffering from the illness. Mesmeric and richly evocative, the lyrical perspective of the song and its imagination provide a gripping and powerful incitement for ears and thoughts, which in turn only offers greater insight into the talent and potential brewing within the artist.

Closing track is In Hindsight, an acoustic/electro pop tempting with bold energy and a flirtatious nature in sound. It quickly shows an enticing jazziness to its opening funk seeded swagger, a tenacious touch which is matched in appeal by the broody rising of shadows and their strings like enterprise. They simply court the imagination, adding another layer to the track’s provocative and feisty revelry where a great use of textures adds to the potency of sound around the ever impressing voice and expressive delivery of Rawle.

The first listen of the Portland Pill EP earned an appreciative nod, second and third a thicker want to know more, and fair to say from thereon in, the release and especially Lightspeed just continued to blossom with matching enjoyment. That name again which you might be hearing a lot of in the future? Stu Rawle.

The Portland Pill EP is out now on iTunes.

https://www.facebook.com/StuRawleMusic

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/