Helene Greenwood – Flat Roof House

H Greenwood_RingMaster Review

You like us have probably never stood back and realised, let alone explored, the mesmeric charm and elegance of elements within the walls and scenery we spend most hours within. London based singer and composer Helene Greenwood has and reveals the” ethereal moments of beauty in the domestic environment” in her forthcoming second album and before it new single Flat Roof House. Bred in the already renowned creative and perceptive fascination which fuelled her previously acclaimed propositions, the new single is a siren in sound and immersion in atmosphere, an aural free spirit of celestial seduction.

helene-greenwood-flat-roof-house-single_RingMaster Review     Composing music since the age of ten, the Dover born Greenwood went on to study with internationally acclaimed singers Nia Lynn and Anita Wardell, and particularly explore composition with John Woolrich whose words “music is made from hundreds of pebbles, and that each pebble has a different idea, and every pebble needs a special colour and quality to it” obviously stayed with and inspired her, as Flat Roof House alone suggests with its kaleidoscopic weave of sonic colour and textures. The sultry summer embrace of debut EP The Break awoke ears and awareness across fans and media to the emerging talent and uniqueness of Greenwood in 2013, with her first album Collectable You later that same year, exploring and revealing even greater evocative depth and imagination in songs devouring the diversity of flavour and texture.

Flat Roof House suggests that Greenwoods second album Exquisitely Hopeless will be certainly an equal to its predecessor’s bewitching enchantment of poetic imagination and adventurous sound, and we suspect probably eclipse it, though one song is just a note in an album’s full tune of course. From its first breath, Flat Roof House is sharing with ears a warm ambience soaked in emotive hues. It is an absorbing entrance which only blossoms as the recognisable hug of Greenwood’s vocals joins the equally expanding croon of keys. Darker strings and skimpy but inviting beats only add to the seducing air of song and its ethereal dream pop laced splendour, and fair to say that in no time ears and certainly imagination are fully lured into a dream state of melodic wonder and brightly haunting radiance. As it progresses, the track and Greenwood almost shed their creative skin as the sun at the heart of the track dissolves into rays of beauty and shimmering majesty for a vaporous sonic finale.

The track is spellbinding and Helene Greenwood a unique creative voice in ambience fuelled music with her entwining of numerous styles and colours, to simply it, so many times breath-taking and inescapably transfixing. It is proven again with Flat Roof House and no doubt will be again in a few weeks by Exquisitely Hopeless.

Flat Roof House is available from August 28th.

RingMaster 27/08/2015

Copyright RingMaster: MyFreeCopyright For more independent exploration check out http://www.zykotika.com/

MORASS OF MOLASSES RELEASE ‘SO FLOWS OUR FATE’ EP ON VINYL

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MORASS OF MOLASSES RELEASE ‘SO FLOWS OUR FATE’ EP ON VINYL on Thursday 27th August!

Morass Of Molasses have emerged from the Swamp (More commonly know as Reading) to create the kind of monumentally heavy blues riffs, which give rise to a deep stirring in the loins. Effortlessly establishing themselves as a force to be reckoned with. Their short life so far has also seen them sharing stages with luminaries such as Ohhms, Desert Storm, XII Boar, Sea Bastard, Mother Corona, Limb, Gurt and many more.

Fresh off the back of their gutsy Jagermiester stage performance at Bloodstock. They are set to released the self-funded vinyl version of their debut EP ‘So Flows Our Fate’. Which has already garnered a tidal wave of critical acclaim.

‘Essential, Contemporary and Classic at the same time’
– Metal Imperium Magazine

‘Monolithic riffing, a great fuzz tone and, at its heart, solid groove.’
– Ghost Cult Magazine

‘Evocative melodies, distinguished statements, and swampy sludge’
– Doomed & Stoned

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Pressed onto deliciously Red Vinyl; this limited edition run of 200, marks the unsigned band’s ‘biggest achievement to date’ according to frontman Bones. Who adds ‘to spite that we still feel like this is just the beginning for us.’

The vinyl is available at shows or online from here:
Bandcamp: https://morassofmolasses.bandcamp.com

The release will be backed up by a short tour:
27/08/15 – The Wheatsheaf, Oxford
28/08/15 – Sludgefest, Reading
29/08/15 – GI Airsoft Fest, Great Westwood
30/08/15 – Hubfest, Cardiff

Find more details about Morass Of Molasses here:
Facebook: https://www.facebook.com/MorassOfMolasses
Youtube: https://www.youtube.com/user/MorassOfMolasses
Twitter: https://twitter.com/morassmolasses
Instagram: https://instagram.com/morassofmolasses/

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Los Bengala – Festivos Incluso

LosBengala_RingMaster Review

If it is released by Dirty Water Records it is going to be worth checking out. That is a theory we have bred over time which once again is proven to be spot on as Spanish duo Los Bengala turn the day into one of devilish festivity with debut album Incluso Festivos. Seeded in garage rock but embracing many more prime flavours of rock ‘n’ roll, the ten track encounter is a perpetual feast of sound and fun.

The list of inventive and thrilling duos is a growth industry in world rock, but there are some which just step out from the crowd to steal the show. Canada has The Black Frame Spectacle, the US has bred In The Whale, and now Europe has the mighty sounds and thrilling creative instincts of guitarist/vocalist Guillermo Sinnerman and drummer/vocalist Borja Tellez to drool over, and since being introduced to Incluso Festivos that is what we have been doing. Hailing from Zaragoza, Los Bengala is another tasty proposition emerging from the flourishing garage rock Latino scene. Last year saw the pair win a national battle of the bands competition in their home country and now have broader fields in their sight with Incluso Festivos which is co-released on their own imprint Wild Lion and Dirty Water Records, the latter spotting them playing a show last August in London with UK’s own garage punk geniuses The Mobbs.

The seeds of addiction are laid straight away through album opener La Caza, a minute and a half of rhythmic slavery. Tellez needs barely seconds to have ears and appetite gripped, his opening thuds soon a rolling jungle of rhythmic craft and incitement which just gets keener and more virulent with every rally. That alone would have left nothing less than lust behind but things only get better as the guitar of Sinnerman adds southern honed hooks and enterprise into the instrumental revelry. It is a scintillating anthemic start which is potently backed up by Sé A Dónde Voy. The band’s garage rock inspirations are ripe colouring in the jangle and eager energy spread by the song, its riffs and beats a persistent invitation for the Spanish sung lyrics to leave their expressive lures on.

cover_RingMaster Review   No Hay Amor Sin Dolor has the scent of The Clash to its opening bait of guitar next, a spice which continues as Tellez springs another fresh dose of rhythmic tempting into the brewing mix. The song has a definite punk breeding to its r&b invention and tenacious stroll whilst revealing another shade and arm to the Los Bengala sound and imagination. It is diversity which continues in Jodidamente Loco, a track which jabs and roars its way into the psyche with a mix of noise punk and dirty rock ‘n’ roll twisted into contagion of steely guitar, badgering beats, and volatile vocals. The track is irresistible, a song taking an already high plateau to the album up another notch before Máquina Infernal keeps release and listener on the same high with Latin lures and sixties toned catchiness.

65 Días next seduces with a psychobilly/surf croon, its sweltering air and haunting balladry mesmeric even as it subsequently lifts its tempo and emotional discord within the dramatic landscape. Like Reverend Horton Heat in league with UK band Milton Star, the song is bewitching, and increasingly so with every listen, much as the album itself.

Things get hectic and scuzzier again with the brilliant Aaah, a riot which reminds of earlier mentioned In The Whale but revealing its own groove infested, rhythmically incendiary, and unique stomp. Rock music does not get much better than this, just finds new ways to match such glory just as the band does with the swinging devilment of Ataco. Arguably the most pure garage rock track on the album though its successor might have something to say about that, it just grabs body and energies in its contagion led grip to take the listener on a controlled but exhaustion inducing stroll.

Perfect Body is the only English sung offering on Incluso Festivos, a mischievous celebration and virulent romp flinging grooves, hooks, and rousing beats around like creative confetti. The sixties, seventies, and the now are all rolled up into its infection loaded alchemy, body and emotions the swift slave to its glorious tempting.

The album is close by the similarly sensational Abran Paso, a song which again shows glimpses of The Clash as well as others like The Jam and less so Queens Of The Stone Age, but emerges as its own fascinating and torrentially captivating protagonist. It is a mighty end to a majestic encounter, and another reason to understand why the guys at Dirty Water got excited when first seeing Los Bengala. Thanks to them we now have one exciting and invigorating release courting, nay demanding broader attention and quite honestly the bottom-line is that you and the world needs this album in a fulfilled rock ‘n’ roll life.

Incluso Festivos is available now via Wild Lion/Dirty Water Records on vinyl, CD, and digitally.

RingMaster 25/08/2015

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http://www.zykotika.com/

Atomic Suplex – Fourteen Inches of Fist

Atomicsupplex_RingMaster Review

Great rock ‘n’ roll always benefits from a good dose of creative dementia in its devilry and you get plenty of that and more in the bedlam that is Fourteen Inches of Fist. The new album from London quartet Atomic Suplex is nonstop ingenious lunacy, a dangerous riot for body and soul, and quite brilliant.

The UK quartet has been stirring up sonic trouble for a number of years now, earning increasing acclaim with every release and a reputation as one ferociously exciting and uncompromising band live. Stages across the UK and Europe, as well as Asia, have been shared with the likes of The Hives, Guitar Wolf, The Gories, The Adolescents, Nobunny, The Kids, Jet Boys, Armitage Shanks, Richard Herring, The Spits, The Fat White Family, The Buzzcocks, Theee Bat amongst many more whilst singles and EP’s over time, and certainly acclaimed 2010 debut album Bathroom Party on Crypt Records, have marked the band out as a must investigation for a growing horde of fans. Now it is Fourteen Inches of Fist raising a storm since its recent release, and declaring Atomic Suplex as not a must but the essential riot for all rock ‘n’ roll fans.

Sound and album is garage rock, punk rock, noise rock…any kind of dirty, insatiable rock ‘n’ roll you can think of and a torrent of fun from its first to last breath. One Man Party kicks things off with the announcement “When I say I’m a dick, you best believe I’m a dick! D- I- K.” It sets the aggressive belligerent tone which rousingly fuels the whole album, and a song which is soon erupting into a salaciously tenacious slab of punk ‘n’ roll driven by the rousing tones of Jim Suplex. A sonic web of noise is soon grasping ears through his and Emma Leaning’s guitars whilst a gloriously throaty bass sound is conjured by Dan Suplex amidst the wicked swipes of drummer JD Kickdrum. The track is pure attitude, like early Damned merging with The Sonics, and instant slavery.

The album’s title track comes next, it too a concussive explosion of sound but this time infusing honky-tonk piano, blues rock spicing, and garage rock ‘n roll devilry into its mix of raw sixties and seventies rock ‘n’ roll. Flames of brass only add to the theatre of the muggy scenery as too the gritty backing vocals of Emma behind Jim’s raw incitement. As its predecessor, the track has ears and appetite lustful, a success 14 Inches of Fist relentlessly achieves from first song to last.

Cover_RingMaster Review   Set It On Fire has limbs scything through air next with seventies punk antagonism meets psych rock contagion, its guitars and brass a resourceful scorching, whilst Wild Love invites naughty deeds with a Rocket From the Crypt meets Dick Venom and the Terrortones infestation of sound. Both tracks are ridiculously compelling persuasive yet find themselves outshine by the outstanding Firing Line. The song is manna for the ears and heart, its Mighty Mighty Bosstones like opening alone igniting the instincts to party before rhythms provide a jungle of unstoppable temptation frequented by wonderful squirts of sax. They develop into subsequent deranged toxicity further in, colluding with a just as rigorously arousing web of guitar and bass enterprise. As ever like a side show barker, Jim adds his vocal stirring to the mix for one slice of irreverent creative alchemy.

Fifties inspired and seventies coloured rock ’n’ roll gets the Atomic Suplex corruption next, the raw and caustic devilment of S. U. P. L. E. X. a tempest of sonic and vocal raucousness pierced by melodic bait and fiery hooks. It is less than a minute and a half of catchy mayhem before Two Girls flirts like a punk incarnation of The Shangri-las tutored by The Rezillos. As all songs though, air is raw, sound scuzzy, and the encounter as abrasive as it is virulent, and again thrilling.

   J.D. Attack pounds the senses like the bastard son of a Showaddywaddy and Reverend Horton Heat union, its thumping rhythms and heavyweight brawl of sound one party you know would welcome gate crashers with devilish relish whilst the corrosively scarring Ass Tecnica is noise punk knavery which, as in the previous song, twists anything from surf and r&b to garage rock into its ravenous bellow. The pair unsurprisingly leave exhaustion and exhilaration in their wake, as too the eighteen second punk assault of No Pain No Gain, a song more than backing up its title.

Like The Cramps meets The Mobbs, You’ve Got Some Nerve has the body throwing moves hips were surely not made for across its forty odd seconds, a wonderful physical test followed by some respite through the hex that is Pancho. Sultry sax caresses ears initially though in no time it is joined by a wall of sonic intrigue and adventure which has a whiff of Oh! Gunquit to it. Continuing to spill funky hooks, searing grooves, and a garage bred invention; the song is as psychotic as it is clear infection, and another pinnacle of a very lofty landscape to Fourteen Inches of Fist.

Chicken Rich is a ragtime hued haunt seeded in the past which descends into anarchy the further its nostalgia persists whilst closing track White Shoes is quite simply incendiary rock ‘n’ roll which manages to spin a tapestry suggesting everyone from Billy Haley to The Cramps, King Salami and The Cumberland 3 to Turbonegro, and Screaming Jay Hawkins to Johnny Thunders within its epidemic of unbridled energy and senses inflaming rock ‘n’ roll.

Fourteen Inches of Fist is one of the best real and organic rock ‘n’ roll album this year and of a few before, maybe the best, and Atomic Suplex the one band you were meant to lose your sanity with.

Fourteen Inches of Fist is available now via Dirty Water Records on 12” vinyl, CD, and digitally.

RingMaster 25/08/2015

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http://www.zykotika.com/

Les Grys-Grys – Left Unseen

Front cover_RingMaster Review

Time to dig out those Go-go and Cuban heeled Chelsea boots or your brightest Winkle Pickers, French rockers Les Grys-Grys offer the perfect opportunity to give them a feverish work out with new single Left Unseen. Consisting of two tracks which whip up a frenzy for feet and a nostalgic appetite to get greedy with, the band confirm themselves as one of the exciting new faces on the garage rock scene.

Hailing from Montpelier, Les Grys-Grys openly wear their sixties inspirations on their sleeves and in their invigorating sound. Starting out playing covers, they have absorbed all the choice essences of bands and sounds which have influenced them and infused them into their own invigorating proposal. The two songs making up Left Unseen, and equally last year’s debut single Hot Gully Wind / Neighbour Neighbour released on State Records, draw on r&b, beat, and any other hue of garage rock ‘n’ roll you can think of, honing all into parties for body and soul. The result is something boldly familiar yet refreshingly individual and current, a sonic adventure for dance-floors and venues surely luring cats of all ages and decades when Les Grys-Grys are played and in town.

The Grys Grys_RingMaster Review     Left Unseen explodes in ears with an almost concussive launch of meaty beats, a pungent lure soon wrapped in the sonic enterprise of the guitars and, across the band, a magnetic blend of vocals. Within seconds toes are tapping, hips swaying, and ears greedily locked into the revelry, especially once the rich expression of harmonica and melodic acidity masterfully spilling from guitar strings joins the tenacious frolic. For two and a half minutes, song and band has the listener transported to decades past but involved in a modern mischief with hints of bands like The Kingsmen, and The Count Five nudging thoughts.

Its companion Mighty Crazy is just as irresistible, it’s opening on a fifties rockabilly riff alone enough to spark a licking of lips before the whole stomp breaks into a bluesy garage rock shuffle. Again guitars and harp unite for a frenetic quickstep of sonic devilment whilst the rhythms offer a more grounded but no less infectious invitation to indulge in. Once more like an old friend come to party, it is an inescapable incitement whipping up an eager storm of fun.

The devilry of both tracks borders on intoxicating, so much so that even the infernal fadeouts which normally annoy have no impact on the pleasure.

We will be honest, there is no particular eager appetite for sixties rock music at The RR but with more bands and offerings like Les Grys-Grys and Left Unseen that has begun to change.

Left Unseen is available now via Dirty Water Records.

RingMaster 25/08/2015

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http://www.zykotika.com/

Them Teeth – The Knuckledragger

TT_RingMaster Review

There is nothing like a good sonic brawl to grab attention and get the blood rushing feverishly through the body, and that is exactly what you get with The Knuckledragger EP from US noise punks Them Teeth. The three track assault is an uncompromising and galvanic incitement for ears and emotions, one so potent that within a single listen it had permanently placed itself in The RR’s favourite violation list for 2015.

Its creators, Western Michigan trio Them Teeth arose in 2013, formed from the ashes of Supercontinent, Rough Rope, and Mean Mother by vocalist/guitarist Ben Roeske and drummer Adam Tatro. The following year saw the line-up completed by bassist Jason Harris and the self-release of a well-received self-titled demo containing six songs bred on inspirations of 90s noise rock and early 2000s Hydra Head Records encounters amongst many things. As that offering and now The Knuckledragger reveal, there is plenty more to the Them Teeth sound though, plenty of diverse strains of toxicity to savage and seduce body and soul.

TT1600x1600_RingMaster Review   The EP seizes ears and appetite straight away with the raw, grouchy entrance of opener Hammslamm. Guitar and bass grumble with attitude and resonance first, their grudge backed by the firm handed swing of drum sticks. It is a controlled and predatory start but one becoming more volatile with every passing second, especially once the caustic vocal squall of Roeske spills animosity. Acidic infectious grooves soon vein the unrelenting stalking and pressure on the senses, the song’s raw rock ‘n’ roll constantly igniting greater hunger in ears and emotions, especially when it break outs Sex Pistols seeded riffs and hooks midway. Like Whores meets KEN mode with the sludgy venom of Nightslug but managing to be simultaneously unique, the track is a mighty start quickly matched by its successor.

Whitewash is lighter on its feet but just as aggressively imposing and energetically rebellious. Like a middleweight flitting round its opponent looking for weaknesses, the track swings hooks and rhythmic jabs before going for the jugular in raucously honed choruses. The raw rapacity of a Coilguns or Shevils comes to mind as the song continues to challenge the senses, spilling rousing contagion and rugged animosity with open relish.

The EP is closed by a thrilling cover of the Fiends track Packin’ A Rod and Them Teeth give it new life and character to dare we say actually outshine the original. It is noise soaked punk ‘n’ roll at its best with great backing roars from Debra Warren and Lara Tatro alongside additional guitar exploits from Mitch Anderson, a classic song given a face and body lift to rousing effect.

We can expect to hear plenty more of and from Them Teeth ahead, indeed they have a 7″ split with France’s brilliant Sofy Major via Detroit’s Corpse Flower Records on the horizon, and if anything matches or can actually surpass the outstanding The Knuckledragger we are all in for a thrilling bruising.

The Knuckledragger EP is available digitally and on Ltd Ed 7” vinyl from August 25 via Triple Eye Industries.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

http://www.zykotika.com/

Damn Dice – The Great Unknown

Damn Dice Promo Shot_RingMaster Review

If some new metal infused hard rock ‘n’ roll is on the agenda then checking out the debut album from Damn Dice would not be a bad move. Unleashing twelve tenacious slices of hard rock, a dozen slabs of fiery, adrenaline fuelled stomps, The Great Unknown easily suggests the London based rockers are a band to keep a close eye on. It starts with a bang, ends with another invigorating stretch of songs, and though for personal tastes its middle section ebbs and flows in persuasion a touch too much, the whole album leaves full enjoyment as its prime legacy.

Damn Dice began in 2011 and quickly made a potent impression and impact with a live presence which in no time had a UK and European tour supporting LA Guns on its CV. The next couple of years saw the band reinforce their strong emergence whilst luring increasing acclaim through impressing headline shows and the release of their Wild ‘N’ Ready EP in 2013. It soon had the likes of Classic Rock AOR, Powerplay, Black Velvet, and Music Week offering eager praise whilst the single/video from it, Take The Fight saw the band regulars on Scuzz TV and indeed radio. Now the band is ready to make a hefty nudge on broader attention with The Great Unknown, an encounter as rousing as it is skilfully crafted, as riotous as it is familiarly infectious.

Recently Damn Dice has grown to a quintet with the addition of Diego, but it is the foursome of vocalist Alex, guitarist Wallis, bassist Marco, and drummer Fransoa who has ears ringing with opener Power. From a controlled and sonically suggestive start, the track is soon living up to its name with a charge of bone splitting beats and hungry riffery. Aligned to the quickly impressing tones of Alex, he supported as strongly across the rest of the band, and featuring an already grouchy presence by the bass, band and song is soon a virulent anthemic temptation. Bands such as Skid Row, KISS, and Hardcore Superstar are suggested as references to the Damn Dice sound, and certainly essences of them and others are open hues in the character and energy of the song though it matters little within the rampant fun of the encounter.

Damn Dice Cover Artwork_RingMaster Review   The seriously enticing start to The Great Unknown continues with What Now? and its initial rhythmic coaxing which courtesy of the bass, borders bestial. Its growling is the spark to a great contrast of niggling hooks and infection spewing grooves with vocals and melodies just as magnetic in one of the band’s previous singles. It springs a web of addictive enticement and inventive enterprise though again there is something recognisable to the encounter which fair to say only add to its allure before Driven brings its antagonism lined classic hard rock resourcefulness to court ears. Not as immediate in its persuasion as the first two, the song eventually proves to be just as inescapable for body and voice, as too the following Down, both songs easy to lock on to anthems sure to inflame any hall or speaker over time. The fourth track has an even more old school colouring to its fresh romp but as enjoyable as it proves to be, it is from here that The Great Unknown struggles for a while to match its early prowess.

To be fair though with The Way To Go from a sizzling electro touch going on to offer a bouncing boisterous shuffle of riffs and rhythms whilst Caught In The Ride and Words uncage a snarling catchy canter and evocative flame of emotion respectively, satisfaction is left smiling and the body catching its breath in their wakes. The latter two songs also unveil a spicy sonic enterprise and melodic imagination which only lures ears before Bang Your Head hits the album’s earlier plateau again next, its full throttle charge equipped with commanding rhythms and rip-roaring riffs and enslaving vocals. Once more Damn Dice are not exactly tapping into the hard rock unknown but its weighty slavery of ears and thick tempting is unavoidable before it quickly moves over for the equally dramatic and incendiary rampage of No Fear. As a few songs on the album, its start is thrilling drama but whereas others at times never manage to live up to their entrance in the rest of their bodies, the song continues to build a theatre of craft and adventure, not forgetting an invigorating anthem that only leaves a hunger for more and more you get with the outstanding Take The Fight. Unafraid to throw in a dose of rock pop for its contagious chorus, it takes little time to see why the song raised such enthusiasm and focus when released previously, its potency just as fierce and forceful now.

The album is brought to a close by the sinew built, rhythm swinging Rock (Like You Mean It), a song which arguably feeds expectations a touch too much yet still grows to be a more flavoursome beast with every listen, and lastly the compelling croon and passion of the excellent Home, where musically and vocally Damn Dice just reinforce the diversity of their sound to give a last treat for ears.

The Great Unknown is nothing less than thorough enjoyment from start to finish with certain stretches where it really gets to grips with wants and tastes. Different songs will work for individual appetites but if hard rock and metal infused rock ‘n’ roll hits your sweet spot then Damn Dice and their album is well worthy of an hour of your time at the very least.

The Great Unknown is released August 24th through most stores.

RingMaster 24/08/2015

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