Maziac – Forged

When a release instantly and impressively smacks you in the face and proceeds to tease, taunt, and fascinate thereon in you know there is something rather special in the brewing. Forged is one such proposition, the new album from UK based outfit Maziac devouring ears and attention from its first breath and only continuing to captivate with its eclectic body through every passing second.

Formed in 2017, the London residing trio of guitarist/vocalist Tony Best, bassist/synth player Tim Stokes, and drummer Marc Vachon have already faced potent fan and critical praise through their first EP, the Justin Hill (SikTh) mixed and mastered Parallel unveiled in the May of 2018. Its success alongside the band’s rousing sound and live presence has led the band to share stages with the likes of The Ever Living, Epsilon, Derange, On Hollow Ground, and Winchester; it all adding to their growing reputation. All previous acclaim though should be quickly paled by that destined to be garnered by Forged, one of the year’s brightest gems so far.

Again recorded with Hill, Forged erupts with an immediate predacious hunger, opener Symptomatic a tempest sweeping in and consuming the senses. Rhythms bludgeon as riffs dismantle the senses, Best’s vocals just as urgent and rapacious as a cyclone of djent/technical and alternative metal/rock disgorges its rabid temptation. It is a starting introduction which only continued to incite and thrill as the song reveals its craft and prowess. As quickly and continually proven, Maziac have a sound which enjoyably proves very difficult to pin down with references to others but certainly within its ferocious sonic kaleidoscope essences resembling bands such as Fear Factory, Deftones, The Contortionist, Between the Buried and Me, and Spineshank swirl.

It is a stunning start keenly and powerfully matched by the following Escapism. Relatively restrained in comparison, the track still prowls with a definite predatory intent; its rich body wrapped in melodic wiring as alluring as they are cutting. Best’s vocals equally have a calmer harmonic edge in a delivery as varied as the sounds around it, the band’s alternative rock instincts a thick colour to the inventive metal of the song. It is hard not to think of the track as a beast, stalking and preying on willing ears tempted by sonic plumage of inventive temptation.

Cortisol teased an already eager appetite right away with the rhythmic rapping of Vachon, his beats taunting attention as the guitar brews up its subsequent eddy of bold enterprise and melodic flaming. The song’s progressive nature shapes its imagination; rock ‘n’ roll contagiousness fuelling the animated gait of unpredictability. There is a touch of Voyager to the track as too Muse but once again, it emerges solely Maziac before Prisoners saunters in with its swiftly beguiling lures. A whiff of The Kennedy Soundtrack shades its beginnings, a Muse-esque hue adding to the mix as the riveting track unfurls its intrepid enterprise and adventure to challenge for best track honours.

The melodic intimation of brief instrumental Vicissitudes had the imagination conjuring ready for the far more feral but composed dynamics of Again. Once more progressive and djent elements collude in its buoyant design, Stokes’ bass not for the first or last time a rousing snarl of incitement in the midst of skilled melodic and sonic endeavour. It is fair to say that as potent tracks are on first listen, each following play only reveals fresh depths and textures for greater rewards as no better proven than here.

Deceptive of its title, Allure instantly embroils ears in a pestilential cauldron of metal but soon relishes the band’s melodic dexterity and the almost poppy catchiness that breeds. It is a thunderous encounter teasing with glimpses of the peace at the eye of the storm, never giving in to predictability or anything less than compelling while closing track, Resolution, casts its own experiment in texture and tone to bring the album to a fine close. In certain moments almost primal in its climate and in others like a melodic sunspot, the song just enthralled as another aspect to the Maziac sound and imagination is shared.

With Forged ringing in our ears it is easy to be excited about what is ahead for and from Maziac because as suggested, they have created one of the year’s finest moments so far.

Forged is released July 5th; available @ https://maziacband.bandcamp.com/album/forged

https://www.facebook.com/MaziacBand/   https://twitter.com/maziacband

Pete RingMaster 05/07/2019

Copyright RingMaster: MyFreeCopyright

Wake Up Hate – Deep Sleep EP

 

Photo Cred: Roxy Faith Alexandria

Some encounters immediately strike home others need time and attention to complete their full persuasion. The debut EP from Florida hailing alternative rockers Wake Up Hate sat somewhere in between. Certainly it made an enjoyable ear grabbing proposition from the off but with subsequent plays it unveiled its extensive tempting as the adventure and potential of its creators fully emerged.

Stepping forward late last year, the Orlando based outfit consists of vocalist Jake Adkins, guitarist Matt Browning, and drummer Triston Blaize. Quickly the trio released their first single, a song amassing over 60,000 streams since its release in late December. It declared their music a tapestry of textures employing heavy snarling riffs through to provocative ambiences, a blend which provokes thoughts of the atmospheric prowess of Linkin Park, the melodic intensity of Papa Roach, and the steely rapacity of Spineshank across their new seven track rich Deep Sleep EP.

The release begins with that previously mentioned single, The Cycle bubbling up from an industrial hued distance to surge through ears with voracious dexterity. Its deliberate stroll stalks as it invigorates; keys and guitars spinning a dark yet rousing web punctuated by uncompromising rhythms. Adkins vocals are just as magnetic with the track a mix of the familiar and individually fresh with unpredictability its companion.

Easy to hear why it has made such a potent impression since its release, the single makes way for next up A New Way to Hate. It too erupts with force and threat in its initial coaxing, a tempting only blossoming as its melodic and atmospheric intimation brews in keys and the fiercer throes of guitar. As its predecessor, it is a track which commands attention and like the first, sets a lingering impression and pleasure easy to embrace.

Over the Edge follows, the song a swift melodic smog of suggestion and emotion prowled by a great gnarly bassline. The band’s pop instincts flourish within its fire, catchiness as vocal as its tempestuousness and though the track did not quite rival those before it, there was no escaping being firmly held by its craft and enterprise as moments of real imagination and ferocity struck.

The EP’s title track equally captivated with a mix of rock pop engagement and creative as well as physical severity. Haunting melodies and intimation soaked keys collude with tides of metallic antagonism and angst across its landscape, the song another which needed further time to fully seduce but only teased ears and appetite towards thick pleasure from its first trespass.

Similarly Love Me Like a Hurricane took longer to enslave but with its inflamed and rousing chorus and kaleidoscope of enterprise never left thoughts looking forward or; a challenge that Not Worth Saving quelled with individual if not complete success. Even so both songs only added to and built upon the potency of the release leaving Blind Apologies to conclude the impressive offering.

The fascinating final song is an emotive haze of sound and passion, its cosmopolitan hues rich spice in its dramatic balladry as it brought the EP to a strong and alluring close. It is early days for Wake Up Hate but the song and its inventive confederates more than hint that we might just have something special emerging in our ears. Certainly the potential is there and the enjoyment.

Deep Sleep is out now.

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

Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Erica Drive – The Hate, The Hurt, The Healing

Having introduced themselves in fair style with their self-titled debut EP, UK outfit Erica Drive have provided an even more potent roar for ears to enjoy with its successor The Hate, The Hurt, The Healing. Offering up four tracks built on a blend of pop punk and alternative rock, the new EP is an easy to embrace affair showing revelling in the growth in the band’s sound and songwriting since its predecessor.

Formed in 2017 when vocalist/guitarist Matt Underdown and guitarist Frank Harding started working on song ideas, the Bournemouth hailing band soon became a quartet with the addition of guitarist/vocalist Sam Firmin and drummer Damien Carter. Already stirring up the local live scene, the band released their first EP which subsequently earned over 10,000 plays on Spotify.  The four then became five with the addition of bassist Damian Bruton, the quintet soon after joining producer Mike White (Wolf Culture) to record The Hate, The Hurt, The Healing, with its mastering duties eventually handled by John Naclerio (My Chemical Romance).

The EP swiftly grabbed ears with opener All We Are, the EP’s lead track which does exactly that, leading the release in sound, adventure, and enterprise. As rhythms place a sturdy hand on the senses, guitars cast a dextrous web of riffs and sonic endeavour, a formidable fusion quickly commanding attention. Things relax a touch as Underdown’s vocals add their melodic tones, the song hitting a lively stride inflamed with pop punk boisterousness. Carter’s bold swings drive the captivating encounter with relish, the guitars shaping its body for the equally alluring vocals with Firmin providing potent backing to Underdown’s lead.

The following Better Man almost teases with its opening union of chirping guitar and reflective voice; a calm start growing in drama and muscle with every passing second before hitting its own tenacious stride. Imagination and enterprise accompany its every move, it too simply impressing and pleasing by the listen.

The final pair of Anchor and The Fall provides a just as enjoyable second half to the EP, the first a punchy infectious affair as catchy as it is rousing. Our favourite moment within the release, the track mixes a vociferous snarl with virulent catchiness but equally a composed restraint at times which emphasizes its melodic prowess. In turn the closing track maybe did not stir the appetite as fully as its predecessors, but with its intimate heart and melodic caresses provides a highly satisfying conclusion; the fire in its belly only adding to its enjoyment.

It is fair to say that the Erica Drive sound is not truly unique yet but it has freshness and vitality which added to the band’s instinctive imagination provides a thoroughly enjoyable listen whilst suggesting they could have a rather exciting future ahead as they breed real individuality.

The Hate, The Hurt, The Healing is released April 12th.

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

Pete RingMaster 11/04/2019

Copyright RingMaster: MyFreeCopyright

C Wired – Angel Circuit Engaged

Linking lyrical prowess and imagination with its musical rock equivalent, C Wired drew potent plaudits with eclectic debut EP, Omega, and recently repeated and out shone its adventure with successor Angel Circuit Engaged. Offering six slices of rock ‘n’ roll woven from an array of rock ‘n’ roll flavours, it is an encounter which has proven rather magnetic.

C Wired is Chuck Whyard, a singer-songwriter adept at casting potent imagery in word as in a sound embracing everything from alternative and indie rock to country and blues flavoured rock ‘n’ roll. It makes for a diverse mix and songs as proven on Omega early last year which are as individual as they are united in the C Wired touch. Since that well-received debut, Whyard has pulled in and established a hard rocking band to hit the live scene and bolster an already adventurous sound, Angel Circuit Engaged seeing the craft of guitarist/moog synthesist Addison Smith, bassist Andrew Renner, keyboardist Wil Houchens, and drummer Daniel Kelly alongside its frontman.

Angel Circuit Engaged opens up with its title track and swiftly offers up a multi-scented breeding, grooves and rhythms uniting to impose temptation. Whyard’s vocals are just as alluring as too the warm flirtatious lure of the keys, each matching the instinctive liveliness of a song just as eager in its calmer repose. Inviting from the off and more rousing with each play, and featuring Sol Philcox-Littlefield on guitar, it makes for a highly enjoyable opener.

Its success is followed by Botticelli Baby, it too making a richly enticing intrigue loaded entrance before slipping into its unpredictable stroll. As rhythms pounce and bounce, sultry streams of guitar light up the song’s suggestive body, surf rock hues adding to its already colourful fuel of styles. The track did not quite hit the spot overall as its predecessor but has moments of delicious rock ‘n’ roll in its bait and nothing less than keen imagination in its twists.

There is a great fire in the belly of next up Climb The Mountain, a fevered volatility which may not truly erupt but gives an already strong track greater drama and texture to create the EP’s best moment before Persian Woman rivals its success with a web of styles and tapestry of melodic enterprise from the ever enticing keys and inventive guitar, again provided by Philcox-Littlefield. Bolder by the moment, the song captivated with ease with Angels Are Not Afraid of the Dark sharing its own melodic and lyrical intimation soon after, both an authoritative tempting throughout the release. Another slow burner in comparison to others it effortlessly left ears richly satisfied.

The EP closes up with the excellent Little Sisters, a rocking stomping slice of rock ‘n’ roll with a penchant for pop revelry. It was a conclusion which the body effortlessly bounced to and appetite indulged in especially its fifties nurtured dynamics and mischief.

Produced by Addison Smith, Angel Circuit Engaged is our first taste of C Wired and sure not to be the last as it was rather easy to find a rather contented appetite for their sound; something we can be sure we will not be alone in.

Angel Circuit Engaged is out now across most stores.

https://www.facebook.com/cwiredband/

Pete RingMaster 02/04/2019

Copyright RingMaster: MyFreeCopyright

Mr. Strange – WTF

As the world, whilst strolling along the path to self-destruction, becomes more and more fuelled by chaos, dissonance and bigotry, so rises up dissenting voices and alternative fractions in all walks of life.  UK hailing outfit Mr. Strange is one such proposition, a band which vaunts the alternative and freak show of life with a sound just as bold, brazen, and bare-faced celebratory and in full and irresistible chorus within new album WTF.

A 3-piece electro-rock outfit from the Isle of Wight, Mr. Strange began in 2006, a creative offshoot to the criminally unrecognised but glorious cult circus/steampunk-rock band, The Shanklin Freak Show which was led by vocalist/songwriter Mr. (Saul) Strange. With a handful of studio albums under the belt bookending TSFS, Mr. Strange became a rousing live proposition out of the former’s demise. We find ourselves among a vast flock already hooked and compelled by the creative parade escaping the talents of all members over the years so as a best of album WTF was only going to have the body bouncing and spirit racing. Featuring 20 “fan favourites and live staples” including many updated and revamped, the album is a summing up of past glories and the doorway to a trepid new adventure; quite simply the perfect introduction and invitation to the multi-styled electro rock escapades of Saul Strange, bassist/guitarist Ant Strange, and live drummer Damian Strange.

For existing fans of the band there will be a strong tinge of sadness listening to WTF as so many of its tracks feature the work of Gary ‘Stench’ Mason, an accomplished and creatively potent guitarist as well as a true gentleman and friend sadly no longer with us. The album is as much a legacy and celebration of his craft as the band’s voracious sound and Saul’s manipulatively skilled songwriting and it sets out a massive lure from the off with Wonderful World of Weird. It is a truly magnetic summoning, getting under the skin from its initial hum before leading the body on a rousing swing thereon in as it marches into the hectic imagination and prowl of the band’s kaleidoscopic musical.

It’s quirky flirtation and bidding is matched by that of the following Carousel, a track bridging the antics of The Shanklin Freak Show and Mr. Strange with nagging boisterousness. Its dark circus is the obverse shade to the mischievous tone of its predecessor, a like-minded but heavier, caliginous counter-part just as devious in its lure of body and vocal chords before the same kind of full captivation is repeated through the electro sizzle of Disco Bitch.

As Brain Dead Boogie greedily infests limbs with its skilfully frantic rock ‘n’ roll and Clockwork Man lays its own haunting bait and grip on ears and imagination, it is already hard to imagine many resisting the album’s devilish cure; even more so as the latter’s sinister metronomic crawl shares a subservient body with the shameless declaration and electro dance of I Like Girls…, it yet another inescapable musical voluptuary.

Twisted Family brings the freaks all together in its Tartarean gathering next, again sharing a celebration of the aberrance in man swiftly prowled by the predacious Lizard Man 3.0 which immediately sets about weeding out the wonder rich anomalous from the corrupted inflexible. Both tracks are bred in the circus rock of TSFS but evolved to greater calls with the ever exploratory prowess of the Mr. Strange sound, the second especially blossoming into a fresh thrilling beast.

From album to album Mr. Strange has explored individual directions and distinct flavours, each unique to another but as proven across WTF any song sit easily amongst each other no matter their breeding as shown by the seamless way the disco pop of Addiction nestles against the ravening exploits of the previous pair and the surf ‘n’ roll of the exceptional Psycho Surfing a Go-Go,. One of our all-time Strange anthems, the track is pure addiction, a compulsive stomp woven on the purest essences of rock ‘n roll and all its deviancies.

In turn the rapaciously creeping psychotic saunter of Anti-Light lends its tenebrific lures to the coquettish shadows and reflection of the band’s cover of the Pet Shop Boy’s It’s A Sin which then lies comfortably against the untamed serenade of Music Box. All three feed the diversity and untypical prowess of the release, the middle track, which its creators never quite had us hooked with, finding a whole new level of persuasion.

Deviant Ritual is another song which became a major infestation within the Electric Pornography album and stands a major incitement within WTF, its mutant electro waltz pure slavery not too distantly matched through the iniquitous ramble of Sodom Nights featuring the vocal charms of Bridget Gray and immediately after courtesy of the eerily atmospheric, Stygian beauty clad Playground Twist, this another essential offering from the Mr. Strange songbook. It is one of four songs which are exclusive to the download version of the album and as much as a physical copy is forcibly recommended you do not want to miss out of any of the quartet either.

Through the body using swing of Exile and the similar electronic exploitation uncaged by Villain, participation and pleasure drips lust and even more profusely for the album’s previously unreleased track, an insatiably rousing merger of Dead Or Alive’s Spin Me Round and the band’s own just as tenaciously vampy Do It Like Pete Burns.

The glorious celebration of Mr. Strange concludes with the duskily wistful and radiantly mesmeric There’s Consequences, a final slice of instinctive temptation. WTF provides all the evidence needed to declare songwriter and band one of the truly fresh and exciting trespasses on the senses and imagination around. It does breed slight disappointment as other tracks like the truly wonderful Jonathan and the seriously anthemic Fire were not included but that is just down to personal favourites of which we will all have plenty we could easily add to all the deserving proposals within WTF.

There are some bands which are almost guaranteed to enthral and recruit just given the chance, Mr. Strange is one and here to provide the perfect doorway to their unique spectacle of unquenchable goodness is WTF, you just have to enter through its threshold.

WTF is available now across most stores. For more info and Mr. Strange check out…

http://www.mrstrangemedia.com   https://www.facebook.com/Official.Mr.Strange   https://twitter.com/MrStrangeTweets   https://www.youtube.com/user/MrStrangeMedia https://www.instagram.com/_mr_strange_/

Pete RingMaster 02/04/2019

Copyright RingMaster: MyFreeCopyright

Neverlanded – F.u.U

Voracious in breath, bold in imagination, and a touch irritable in character the sound fuelling the debut EP from UK trio Neverlanded makes no concessions to expectations as they provide one of the more exciting and intriguing introductions heard over recent months. A feisty and uncompromising mix of grunge, alternative rock, and punk rock with an appetite for stoner hues, it is within the F.u.U EP, a striking confrontation as belligerent as it is brazenly adventurous.

Roaring out of North London, Neverlanded consists of vocalist/guitarist Pete Bloom, bassist/guitarist Niki Jester, and drummer Jaca Freer. Initially formed as an online project in 2017, the band has since released a trio of singles to stir up some attention which F.u.U, its full title being the Fluffy Unicorns United EP, can only forcibly escalate. Inspirations to the EP’s sound include the likes of Placebo, L7, Silverchair, Garbage, Nirvana, Cranberries, Pixies and Refused; a selection which gives you a good inkling of its breeding and heart if not its open individuality to those influences.

Neverlanded are giving the Margo Broom (Arrows of Love, Yassassin, Calva Louise) recorded EP available free to anyone who donates money to Mermaids UK, a charity the band eagerly and effortlessly supports in its work supporting children, young people, and their families to achieve a happier life in the face of great adversity including raising awareness about gender nonconformity in children and young people amongst the general public.

F.u.U pounces from the speakers with Brainsane first up, an initial melodic lure enough of a coaxing to set the senses in the face of a swift wall of noise though that too is a quick trespass as sonic calm and vocal prowess bridges another raw surge. Within it all Jester’s bass immediately proven manna to personal tastes but was as resourcefully matched by the biting swings of Freer and the fuzzy exploits of Bloom’s guitar. There is a definite Nirvana meets Pixies spicing to the song but that only added to its imposing magnetism and tempting snarl.

The following MesS.O.S. bursts from the speakers with punk ferocity but soon bounced along with appetite gripping unpredictability and noise rock infused grunge bred self-appraisal. That initial punk causticity still persists though fuelling the track’s rousing antics and agitated frenzy; the result a brief and severely appetising slice of punk ‘n’ roll before This Friend of Mine soothed an inflamed spirit with its invitingly crawling melodic stroll. It is a track where you can see those Placebo and Pixies references seeded but again flavours embraced and mutated into Neverlanded’s own inimitable sonic concoction. A blend of the feral and seductive, the track simply added to the compelling persuasion of the EP.

Scream4icecream completes the quartet of incitements, a song from its first bass amidst crispy beats burrowing under the skin and increasing its slavery through vocal snares and sonic wiring. The track is superb as are all enticements within an EP which had us quickly hooked and greedy thereon in.

How Neverlanded evolve from this impressive moment we will see but anticipation of that adventure is as ripe as the enjoyment with F.u.U was rich; so go explore and remember you can support a great cause at the same time.

The F.u.U EP is released April 1st, for more info go to https://www.neverlanded.com/home  and https://www.facebook.com/neverlandedband/

Pete RingMaster 02/04/2019

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