Glorybots – Nomad

What can we reveal to you about Glorybots? Well background wise, very little except that it is a solo project, seemingly, of a musician hailing from Seattle creating a post punk/gothic pop sound which had very little trouble captivating our ears.

Our introduction to the “ Dark Alien Pop” of Glorybots comes through new single Nomad, a brand new track very quickly released after the unveiling of a debut album last November called Dark Alien Pop. A hindsight listen to the latter reveals that Nomad is a rich echo of the goodness to be found within the full-length but also it brings its own new adventure and prowess in sound and imagination.

Keys immediately entice and intrigue as the track’s realm and climate is soon an open intimation. The other-worldly landscape in turn swiftly welcomes equally alluring vocals and it is their arrival which soon sparks of the song into full bloom. Enjoyably proving hard to pin down, the song is something akin to a blend of Muse, early Human League, and Dalek I Love You with just a tint of Bowie at times.  That in itself is just a tease to the individuality of song and sound while hinting at why it’s swift captivation.

Nomad is a treat of a song and gateway into the music of Glorybots, a tantalising adventure band and listener can only prosper together from with its deserved attention.

Nomads is available now @ https://glorybots.bandcamp.com/track/nomad-radio-edit

https://glorybots.com/   https://www.facebook.com/DarkAlienPop/   https://twitter.com/gloryBots

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Mount Sinai – Weightless

 

As part of the indie virulence that was Black Black Hills to his solo temptation, the melancholically clothed troubadour-esque Rooster Cole, vocalist/songwriter Mark S. Aaron has been a magnet to our ears and imagination. We can swiftly say nothing has changed as the debut single from his new project, Mount Sinai, has been unveiled; in fact the temptation might just be as rich as it has ever been.

Mount Sinai sees Aaron linking back up with long term musical collaborator Tom Windsor (Black Black Hills/Coin-op),  with Alex Painter (Great Pagans/Speak Galactic), Max Numajiri (Spacenoid), and Jools Owen (Bear’s Den) alongside the pair. Musically Mount Sinai is a natural progression from Aaron’s Rooster Cole exploits; the swarthy psych rock flames and rich desert rock grandeur of first single Weightless bred in the more intimate but no less darkly dramatic sighs of his previous solo project. Even so, Mount Sinai is as individual as Rooster Cole was, a duskily lit almost saturnine proposition carrying its own minstrel like hue.

Weightless instantly lured ears with its initial melodic strum, its next joined by Aaron’s familiar and ever compelling tones. Unsurprisingly knowing his previous works, melancholy lines voice and melody but there is an edge to them which erupts as rhythms and sonic winds erupt. In full swing, the track becomes a heated draught across the senses; inspiring the imagination as much as swaying hips with its virulent temptation. Horns and the animated call of impassioned guitars only add to the track’s growing blaze, drama soaking note and syllable, melody and siren-esque lures all going to make for one striking debut.

Imagine a fusion of The Doors, Echo & The Bunnymen, and Helldorado and you get a shimmer of the Mount Sinai beauty going by the name Weightless; a proposition suggesting Aaron and co have started out on their greatest adventure yet.

Weightless is out now @ https://mountsinaiband.bandcamp.com/releases and other stores.

https://www.facebook.com/mountsinaiband/   https://www.instagram.com/mountsinaiband/

Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

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

Never too late for Vain Galen and Salt The Snail

Though we may be a little tardy in relation to their release dates, we have a couple of singles worth attention anytime of the day and year which we suggest need checking out.

First up is March Of The Walkers from UK trio Vain Galen. Formed in 2012, the West London band has increasingly impressed and lured acclaim through their releases, songs like Galen’s Cage and Biography of a Stickman especially drawing plaudits. Recently the threesome of vocalist/guitarist Wayne Houchin, bassist Carl Tiedt, and drummer John Mcshee uncaged their new encounter, song which pretty much eclipses all the goodness already escaping the band’s imagination.

It is enjoyable not too easy to pin down the band’s music, March Of The Walkers alone a web of alternative metal, punk, grunge and hard rock. It makes for a temptation as unpredictable as it is rousing, the new single stocked with proof of both. Instantly the rhythmic prowess of Mcshee asks for and gets attention, ears rewarded with the rousing exploits of guitar and bass. Already that multi-flavoured hue to the band’s sound is at play, only blossoming as Houchin’s potent tones join the creative affray.

The song continues to entice with skilful hooks and crafty aggression, its fury creating an anthemic climate which the track simply relishes the further it evolves in melodic and imaginative twists, at times teasing with an almost PiL like devilry as it declares itself the best moment in the Vain Galen arsenal yet.

The other track demanding attention is from Salt the Snail, another British band which has already stirred the passions especially through their deviously mischievous previous single Spanish Announce Table. It carried a devilment which had lips grinning and bad habits rising, success boisterously continued by its successor Lazer Quest.

The band writes songs inspired by their own passions; their debut single Coffee was sparked by a love of the obvious, its already mentioned follow-up by wrestling and horses. Lazer Quest unsurprisingly springs from their appetite for lasers and dancing, pleasures shared through the band’s unique fusion of noise, punk, and indie dissonance. Mike Rogers’ guitar grazes the senses initially but only inviting attention to the waiting stomp driven by the swinging sticks of drummer Tom Ashley and The Baron’s throaty bass groove. Once vocalist Krystian Hudson strides in with his equally magnetic attack, the track is in full revelry, twisting and turning only to escalate its delicious antics and enterprise. Something akin to a hardcore infested Swound! meets Asylums meets Houdini bled bedlam, the track is feral manna to any noise loving ears.

Check out both bands further at…

http://www.vaingalen.com/    https://www.facebook.com/vaingalen/

https://saltthesnailband.bandcamp.com/ https://www.facebook.com/SalttheSnailORIGINAL/   https://twitter.com/SalttheSnailUK

Pete RingMaster 16/11/2018

Copyright RingMaster: MyFreeCopyright

U-Foes – No More No More

Live @ Fru Lundgreen, Trondheim, Norway

It may say No More No More but ears swiftly demanded the opposite once falling under the sonic hail and brimstone of the new single from Norwegian outfit U-Foes. The track is an insatiable slice of noise punk infested hardcore which batters and tempts with increasing rigour; nagging, harassing, and pleasing in equal measure.

Rising from the ashes of hardcore outfit Silence the Foe, Oslo hailing U-Foes is the trio of made up of guitarist Marcus Forsgren (The Lionheart Brothers, Jaga Jazzist, Bror Forsgren), drummer Peter Rudolfsen (The Lionheart Brothers), and long-time friend of The RR, vocalist Anders Voldrønning (Shevils). Embracing aspects of their earlier work together and on-going projects, the threesome have twisted all elements into a whole new trespass of sound with plenty more fresh and creative animosity loaded craft involved.

A teaser of the band’s debut album due for release in November, No More No More is a carnal assault of sound; a track as primal and feral as it is skilfully manipulated and manipulative. It scowls with contempt from the first caustic surge of guitar, its sound a scuzzy yet precise blur inciting just as irritable intent from senses harrying rhythms. Voldrønning’s familiar roar intensifies the antipathy of sound and emotion, sharing greater toxicity to the wounds already incurred from the band’s raucous enterprise. Even so there is an infectious side to it all which quickly had hips swinging and limbs punching with zeal.

However you drape the track, it is rock ‘n’ roll rock at its primal best; punk rock to arouse the senses and spirit and the sign of big exciting thing to come from that impending album and we suspect for the band itself in its wake.

Check out the video for No More No More on our Video Selector page, the single available now on Marw Melodee Music.

https://www.facebook.com/ufoesofficial/   http://u-foes.com/

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Hardball – Dirty

We are not sure if the North East is Britain’s capital of rock ‘n’ roll trespass but there has been a definite vein of rousing rock bands escaping its depths over the decades. The latest is Darlington quartet Hardball who have just uncaged their debut single/EP in the shape of Dirty. Offering three tracks as individual to each other as they are united in stirring up eager attention, the release is a bruising yet inescapably inviting slice of hard and punk rock embroiled in aggressive enterprise. It is also a potential stocked introduction from a band already sparking a real appetite to hear much more of.

Months maybe mere weeks old, Hardball consists of vocalist/guitarist Tim Smith, guitarist Phil Bailes, bassist Neil MacGillivray, and drummer Denz (Gareth Westgarth). There is little more we can tell you about the band though there is probably little more to share with the band so early in its emergence though you might recognise Denz’ uncompromising dextrous swings from bands such as Hung Like Jack, ill fated riot, and Supercharger.

Recorded live at White Wolf Studio, the band’s debut encounter swiftly had ears on board with opener Dirty. A lure of guitar dangles potent bait first, its classic rock feel a tease into the waiting rapacious embrace of the track. Riffs and rhythms instantly impose once unleashed but with incitement rather than threat while the harmonious tone of the vocals only adds to the rousing temptation already raised, as too the grooves which need seconds to get under the skin. Though surprises were few, everything about the track was fresh and distinctly individual ensuring that the first contact with Hardball was strong, highly enjoyable, and firmly memorable.

The invention within the song was soon escalating as Ballad Of John Fox stepped up next, the song a calm but bold saunter with shimmering melodies and intimation fuelled enterprise to its instrumental and a spirited raucousness to its vocal expulsions. It has an anthemic feel which grows by the minute and a great weave of guitar enterprise as bluesy as it is hard rock inspired.

Our favourite track though is Closed For Inventory, a real gem of a proposal from its initial groove draw to its punk ‘n’ roll roar and scheming rhythms. Carrying a predatory intent at times, especially when those delicious grooves steer the rack’s inescapable manipulation, the final track stole the passions with ease here even against the definite prowess and quality of its companions.

With a first release, any band can only hope for attention and an awakening of their presence as its main success and Hardball will surely achieve that and much more with Dirty. You want some honest, spirit sparking rock ‘n’ roll? Then look to the North East for some Hardball.

https://www.facebook.com/Hardballrock/

Pete RingMaster 28/07/2018

Copyright RingMaster: MyFreeCopyright

Hot Sauce Pony – Burnt Ends

With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.

Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.

From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.

Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.

Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.

Burnt Ends is released June 22nd via Brixton Hillbilly. The band also has first single Fenced In available as a free download  @ https://soundcloud.com/brixton-hillbilly/fenced-in-by-hot-sauce-pony

Upcoming Hot Sauce Pony live dates:

23rd June Club 85, HITCHIN

30th June Betsy Trotswood, LONDON

16th August – HY-Brazil, BRISTOL

https://www.facebook.com/hotsaucepony/

Pete RingMaster 20/05/2018

Copyright RingMaster: MyFreeCopyright