Mr Ted – El Dirty Sex

Amongst the mischievous and devilry loaded protagonists which help make rock ‘n’ roll so fun there is one certain rascal which is beginning to stand out more than most and that is UK outfit Mr Ted. We had a hint of their devilish manner, intent, and enterprise through a split release with Bisch Nader earlier this year on Society Of Losers and it is in full rebellious mood with debut album El Dirty Sex, again unleashed by the Liverpool label.

Consisting of Merseyside bred Peter Williamson, Mark Hughes, Phillie Collier, and Mark Charles Manning, Mr Ted create a sound embracing the best diablerie of punk and noise rock and the similarly roguish hues of grunge, alt rock, and other rapacious flavours. It emerges within El Dirty Sex as one captivatingly disobedient incitement as ridiculous in its antics as it is irresistible in its character and exploits with unbridled fun fuelling all.

Though hard to pin down with comparisons there is definitely something akin to Aussie band I Am Duckeye to the Mr Ted sound but as the album shows it develops new aspects in noise and misconduct song to song. The album opens up with Rage Quittin’, and immediately gets its bounce going as rhythms jump about with funk instincts. In no time riffs and hooks are adding their enticement with vocals matching their boisterousness yet all the while a darker, heavier edge infests the lining of the song; its doomier hue bringing thicker body to the instinctive predation of the quickly compelling encounter and its Houdini meets the previously mentioned Australians natured stomp.

It is an outstanding start to the album quickly matched by the alt rock shenanigans of The Bean Song with its animated moves and virulent hookery. Darkly hued rhythms incite and entice from the first second, guitars and vocals casting a web of temptation which effortlessly worms itself into ears and body with the inevitable involvement achieved by its monkey tricks including exploiting the equally infectious lure of The Kinks with a big grin.

The outstanding Shame is next up and similarly thrusts its inescapable hooks forward from the first breath; grooves which swing with knowing relish of their subsequent success in getting hips and lust to do their bidding. As crispy favourites fall as part of its lyrical observation, the song buried itself deep in the passions and psyche adding layers of voracious rock ‘n’ roll by each irresistible minute to seal such slavery before Sea Of Platelets shares an indie pop breeding and psyche rock shaping with matching eagerness; a touch of Television Personalities only aiding its thick persuasion.

Originally their part in that earlier mentions split release, Muscle Milk steps up next. Its lean but easily coaxing beginnings lead ears into the awaiting thick mass of dextrous sound; again grooves and rhythms inherently tempting in its rapacious but mercurial doom/sludge mixed body of contagious trespass. Still as irresistible as it was earlier this year, the track epitomises the core of a Mr Ted song and all the mischief and creative perversity found.

Through the punk ‘n’ roll ferocity of One 2 Panda, a predominantly instrumental track just as devious in its intrigue wired suggestiveness as it is predatory in its noise punk menace, and the feral contagion of the Happy Song, the album’s claws just dug deeper while Sexy Legs displayed its own funk and pop rock enterprise to take body and imagination on another energetic ride with unpredictability and misbehaviour for company.

El Dirty Sex goes out on the magnetic antics of firstly Andrew WK Party In Ireland, its title unsurprisingly giving clue to the major spice in its punk rock riot which also has a bit of Stiff Little Fingers to it with a Flogging Molly spicing breaking upon the folkish hues that emerge in the fun. Pickled Eggs and Snakes concludes the release, providing eight minutes of inimitable temptation taking essences of The Beatles, The Scaffold, Mischief Brew, and Half Man Half Biscuit in its increasingly volatile shanty. As everywhere though, it soon spreads its own unique voice and character of sound to leave us so hungry for much more.

Released in September we are a little late to the party but El Dirty Sexy has an open invitation which will never go out of date and should definitely be accepted.

El Dirty Sexy is out now via Society Of Losers Records; available @ https://mr-ted.bandcamp.com/album/el-dirty-sexy

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Pete RingMaster 19/11/2019

Copyright RingMasterReview: MyFreeCopyright

Jack & Sally – Who We Become

Formed in the winter of 2018, British alt rockers, Jack & Sally, are poised to badger eager attention with their debut EP, Who We Become. With a sound embracing the snarl of punk and contagion of pop to its rousing rock roar, the London based trio have already teased ears with a pair of well-received singles and it is easy to suspect they will find escalating praise with the unveiling of their next offering.

Who We Become is a concept record based around a character named Macy, an undefined figure who could be “anyone in this world” who becomes a major protagonist in “Nevernia”; a land that reflects the worst aspects of modern society.  The release opens up with Superstar, a song instantly drawing ears with its singular but potent guitar melody. Vocalist Ben Felix enriches that initial coaxing with his brooding bassline before adding his equally alluring vocals to the mix. Subsequently the gentle beginning ignites; guitarist Joshua Jacobs’s riffs and hooks casting an enticing fiery web within which the punchy beats of Pravir Ramasundaram pounce. By now metal and classic rock threads are colluding with punk and pop rock dynamics, the track merging the familiar with the adventurous and unpredictable.

It is a strong and stirring start soon eclipsed by Nevernia, a track baring its pop punk instincts and heart from its first spirited breath. Swinging rhythms and riffs burst from the speakers, the earthier tones of Felix as animated as the sounds providing the galvanic incitement around them. Again imagination and great twists add to the character and temptation of the song, moments of almost new wave like enterprise only adding to its stature and persuasion before Tomorrow’s Revolution steps forth with a more classic metal lined proposal but still with a pop infused punk ‘n’ roll breath to its rock holler.

Both tracks revel in the multi-flavoured breeding of the band’s sound, the fresh and familiar once more making a highly appealing proposition and riven by a strong vein of imagination as proven again by Long Way Home. The band’s new single, it is a more even paced encounter lit by keys and a melodic sway in music and voice, emotive flames lighting its invigorated balladry.

The EP closes with Macy, a song also coloured by emotion seeded keys, a piano bringing it into intriguing view before the song breaks into another lively slice of pop rock drama. There is something familiar about the track but an essence we have yet to define and one which only added to its contagious presence.

Who We Become easily gripped ears and attention from its first lungful of sound and endeavour; providing a great full introduction to a band which could be looking at rather rewarding horizons as they build on and evolve the release’s thoroughly enjoyable adventure.

The Who We Become EP is released November 8th through Engineer Records with new single, Long Way Home out October 11th.

https://www.jackandsally.co.uk/   https://www.facebook.com/jackandsallyuk   https://twitter.com/jackandsallyuk

Pete RingMaster 08/10/2019

Copyright RingMaster: MyFreeCopyright

InAir – Dreamful

There are many aspects to the sound and songs of British trio InAir but the ones which impress most is the almost nagging quality which effortlessly entices swift returns and then the increasing temptation which rewards every listen. The evidence is most ripe within new EP Dreamful, a handful of tracks which immediately made a strong case for continued attention but truly blossomed in ears and appetite with that incessant curiosity.

Hailing from Reading, InAir introduced themselves with a praise gathering debut EP in 2017, A Different Light revealing the rich flavouring to their alternative/electro rock nurtured sound. Equally live the threesome of lead vocalist/bassist Joe Conneely, guitarist/vocalist Aaron Iley, and drummer/vocalist Connor Shortt has drawn potent acclaim, sharing stages with the likes of Arcane Roots, Defences, Chasing Cadence, Junior, Veridian, From Inside and Death Remains. It is easy to expect the band to again entice eager support for Dreamful such its contagious enterprise. Whether it is their breakthrough moment time will tell but it is hard to deny that point is on the cards at some moment in time.

Control kicks things off, its calm melodic invitation soon engulfed in a fiery eruption. As swiftly though it relaxes into a reserved but catchy stroll as Conneely’s tones proceed to share the song’s heart. All the while that volatile edge still simmers, boiling up with rhythms a tenacious enticement throughout as guitar sparked flames ignite the drama of the encounter. It is an absorbing mix of sound and imagination, fresh and familiar flavours woven into one powerful body.

The following Chemicals is similarly bred, electronic enterprise colluding with rock and metal inspired hues to create a dramatic proposition further enhanced by the emotive strength of vocals. Each though carries an infectious lining which increasingly got under the skin, the dynamics of rhythms adding to this tempting as intimacy fuels the narrative and melodic breath of the song. Eclipsing the opener, it too is maybe just a tad outshone by its successor, Talk To You. It is only slight if it is as together the outstanding pair provides the pinnacle of the EP, the latter an impassioned and lively slice of melancholy draped contagion with potent crescendos and searing eruptions.

The release is completed by firstly Regress, an equally combustible slab of electronic and melodic intensity as anthemic as it is thickly emotive, and finally Life Finds A Way. The closer like those before it simply grew in persuasion and stature by the listen, its unassuming yet enticing beginning breeding some of the EP’s most riveting and rousing flumes of sound and contagion to erupt.

Dreamful is a release which commands attention once given the opportunity, whether it demands it enough will determine if now or in the future InAir really make their mark on the UK rock scene but it is easy to feel they will.

The Dreamful EP is out now.

https://www.inairband.com/   https://www.facebook.com/inairband   https://twitter.com/InAirUK

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Rat Face Lewey – The Fall Of Man

Their new album might just declare The Fall Of Man but with eight slices of inventively rousing rock ‘n’ roll it also announces the rise of Rat Face Lewey.

The London based alt-rockers have certainly felt praise and support since emerging nine years back but with their latest offering it is easy to suggest that the British trio could now spark major attention. East Midlands hailing, Rat Face Lewey was formed by brothers, vocalist/guitarist Jonny and bassist Mav with Gregg on drums. Their sound rose on the inspirations of bands such as Nirvana, Red Hot Chilli Peppers, and The Manic Street Preachers and in 2013 formed a well-received debut album in the shape of Wonder Before Mess, a number of its tracks finding a place and longevity on playlists throughout the globe. A couple of Matthew Hyde produced singles in Dead in the Ground and Digital Prison two years later only enhanced the band’s reputation and rise up the ranks of the British rock scene, a position under the threat of far loftier heights through the ear gripping holler of The Fall Of Man.

The album opens up with Tell Your Friends About Me and a combined vocal introduction which had ears on keen alert before earthy riffs and punchy rhythms took a firm hold. Swiftly a hard rock scented amble breaks free as vocals continue to impress, eager catchiness soaking every wire from the guitar and each controlled yet boisterous rhythm. Imagination equally is at potent play as the song twists and turns with magnetic enterprise revealing that the band’s sound has moved far away from those early influences to find its own predominate identity though at times there is a great Terrorvision like whiff to it.

As strong and stirring as it is, the first track is quickly eclipsed by its successor. Comfortable entices with an engaging guitar beckoning which soon sparks a bouncing punk ‘n’ roll stroll with a Green Day-esque hue to its infection. Contagious in every essence, the track incited mutual spirit and bounce before The Pirate Song washed up on the shores of temptation, a guitar shimmer springing a shapely melody which in turn ignites a rapacious hook equipped rock canter. Continued animation in that hookery combined with anthemic vocal calls singular and united shape our favourite moment within the album, its shanty like swing the froth to its creative ale.

Replaced is next up, another calm but resourceful thread of guitar ensuring close attention confirmed by Jonny’s voice before being surrounded by a larger web of stirring sound. Mav’s bass again provides a delicious gnarly tone to its throaty lines whilst all the while the song shares unpredictable twists and tenacious turns to prove a rival for that best moment choice as too does its successor, Fight My Noose, thanks to the best opening to a track on the album. Straight away it nagged at the senses, guitar and bass stirring instincts with their united persistence. As the song continued to expand there is no lessening of its potency and manipulation, a punk breeding firing up song and passions alike.

The album’s title track follows, prowling with feral breath even as harmonies and melodies wrap its untamed heart. Defiance and angst soak its every note and syllable, its enraged roars as gripping as its melodic and sonic adventure.

The final pair of This Turtle and Belong to Yourself equally reveals additional shades to the band’s sound. The first is a contagious slab of punk ‘n’ roll bordering on pop virulent but hungrily muscular with the second a fire of melodic and infectious energy as composed as it is impassioned and imaginatively crafted. While maybe not as commanding as those before it, it makes for a fine end to a richly enjoyable and accomplished release which should put Rat Face Lewey firmly on the map.

The Fall of Man is released Sept 6th.

http://www.ratfacelewey.co.uk/   https://www.facebook.com/Ratfacelewey/

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright

Tirade – Nothing Dramatic EP

Back in 2016, UK rockers Tirade unveiled their self-titled debut EP, a release suggesting the potential of “something truly distinct and unique in sound and songwriting” whilst making for a rather pleasing and infectious introduction. Three years on and the Manchester hailing outfit step forward again to realise much of that promise within the Nothing Dramatic EP, a collection of contagion loaded tracks which argue the intimation of its title.

Whether Tirade has brought the full potential heard in that first release to life in Nothing Dramatic we question as while getting caught up in the individual creative webs of its songs it is easy to feel there is still plenty more to be discovered within by the quartet but there is no escaping the new wave of imagination and craft let alone instinctive catchiness fuelling five ear grabbing, appetite sparking encounters.

Nothing Dramatic opens up with its title track and immediately had ears pricked with its initial spindly riff, a hook even more enticing as a mass of noise bred temptation brews up around it. Straight away an infectious coaxing is at play, becoming even more mischievous as the band’s alternative rock bred sound erupts with a devilish swing and melodic tempting. The vocals of bassist Jake Tilley are just as magnetic as the enterprise around them, his and drummer Stevo Somerset’s manipulative rhythms caging the inventively magnetic exploits of guitarists Josh Pearl and Alex Young. Blending muscular and forceful textures with more poised and seductive hues, the song sets a high bar for the release and a moment which remained our favourite though closely nudged throughout the EP.

No Time follows with a moodier temperament though swiftly boisterous energy steers its controlled but eager stroll as vocals, harmonies and emotive melodies wrap a darker rhythmic breath. That instinctive contagiousness to Tirade songs again needs no invitation to make its persuasion as a diversity of hues and imagination continue to shape the mercurial landscape of the ear hooking track.

Similarly To Be Honest brings a tapestry of ideation and flavours to court the imagination, the song twisting with individual craft and turning with united adventure before Burned Out springs an almost punk/new wave like dexterity upon its pop ‘n’ roll canter. Both songs simply grabbed ears and appetite, the first with maybe less imposing invention than within tracks around it but with ease none the less while its successor uncaged a virulent and resourceful proposition come trespass of creative audacity to set another major moment within Nothing Dramatic.

The closing Well Spent proved just as sharp and ambitious, familiar and openly new threads of imagination woven into another seriously infectious snare of sound unafraid to reveal calmer melodic caresses within a landscape of enticing drama and angular temptation. It is a great and striking end to a similarly impressive release which only left us wanting to hear more.

Tirade themselves admit the likes of Lower Than Atlantis and Don Broco provided an inspirational seed to Nothing Dramatic and definitely there are strong hues of both to its rousing holler yet again the band’s sound has an even stronger voice of individuality which if still not in full roar is heading the right way as suggested in their definitely and highly recommended encounter.

Nothing Dramatic is released August 30th.

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Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Dogtooth – What For?/Away

Though formed in 2013 and having a well-received debut EP out four years later, Dogtooth come to The RR as a new proposition through a new two track AA sided single. A quick introduction and visit to the Scottish band’s music and previous songs revealed that they have been a potent potential fuelled enticement for a while but the new dual temptation of What For? and Away simply outshines all the exploits that came before.

As mentioned the Breakthrough EP two years back took Dogtooth to a whole new richness of attention whilst continuing to impress with their live presence. It is easy to expect recognition and praise of the band’s indie/alternative rock bred enterprise to increase now through the bold exploits of both What For? and Away; both songs confirming that theirs is a sound which is really developing its own identity.

The Killers has been suggested as a reference to the band’s music but straight away as What For? strolls through ears and especially as it settles into its eager almost teasing temptation an Inspiral Carpets like hue rises to the fore. Even so it is simply a single flavouring in the band’s indie rock audacity as the guitar and vocals of John Hewitson swing across the rhythmic enticement of bassist Craig Morrison and drummer Robert Lang. There is a great grumble to that bass which earths the loftier melodic threads which spring from the guitar while Lang’s beats just enjoyably nag throughout.

Eagerly infectious, the song is more than matched in craft and temptation by Away; it our favourite of the two with ease without diminishing the strength and impact of its companion. The track strides in with a rapacious rhythmic intent and is immediately bound in the delicious sonic wires of Hewitson’s guitar. Quickly, the song reveals a whole fresh web of imagination and devious textures to trap and enslave attention and appetite. Each twist brings potent drama and turn sets irresistible temptation, the song something akin to a mix of Asylums, The Horrors, and Scars with a hint of The Cuban Heels and quite superb.

Evolution in the band’s sound is on-going with both tracks suggesting bigger bolder things to come but there is a new maturity in their songwriting and craft which is most striking and as exciting, Dogtooth for sure heading to bigger things.

What For?/Away is released August 16th.

http://dogtoothofficial.com/   https://www.facebook.com/dogtooth.001/   https://twitter.com/dogtooth4

Pete RingMaster 16/08/2019

Copyright RingMaster: MyFreeCopyright

The Survival Code – Crosses To Carry, Coffins To Fill

With their attention grabbing second album still a rousing presence in our ears, alternative rock outfit The Survival Code have returned with another collection of pleasure fuelling tracks in the shape of the Crosses To Carry, Coffins To Fill EP. It brings more of the sounds and individual flavour which the band firmly established within their last offering but songs which swiftly reveal their own individual character and temptation.

Formed back in 2012 by Dublin hailing vocalist/guitarist Gary McGuinness, the London based band slimmed to a duo as Hopelessness of People escaped their craft and imagination last year. Since then a change has seen drummer Simon Hartop, formerly of The Barbs, join McGuinness, Crosses To Carry, Coffins To Fill the first encounter with the new line-up and another which confirms The Survival Code as one of the most refreshing and potent propositions on the British rock scene.

With the EP seeing the band link up once again with producer Matt Hyde (Trivium, Slipknot, Ash), Crosses To Carry, Coffins To Fill quickly hit the spot with its opener. The Innocent immediately leaps upon waiting ears, riffs and rhythms a nagging pleasure as McGuinness’ guitar springs one of the shapely hook sharing grooves which go to help define the band’s sound. As virulent as within the last album, inescapable catchiness fuels the song in sound and the songwriter/guitarist’s persuasive vocals; full participation in its roar inevitable and swift.

Darker hues line next up Something Beautiful, a track though instantly just as contagious as its predecessor even as its relatively calmer contemplation and attack leads to thicker intensity and energy. The delicious throaty tone of bass is just one compelling aspect to the eager encounter, vocals and guitar enterprise as magnetic whilst skilfully backed by Hartop’s manipulative rhythms; imaginative twists and turns adding to the track’s pure infectiousness.

If the first pair is the epitome of catchy, So Serious is simply viral, taking little time to entangle ears and appetite in its choice hooks and wiry antics. Wrapping its temptation around the senses whilst taunting the body into involvement, the devil of a song casts a web of rock ‘n’ roll temptation where every groove and hook is riveting, each rhythm and syllable cunning and it all relentlessly stirring.

Just as animated and invigorating is Cycles, its eager canter and hearty roar alone enough to buoy body and spirit. As with all tracks the bold and imaginative essences and textures making up tracks come with a thought stoking lyrical insight and a vocal declaration which stirs thoughts. Twisting and turning with increasing prowess and invention, the song makes way for EP closer, Magnetic. It too is a proposition wrapped in shadows and with a more intense gait and breath rising, a proposal with volatility and tempestuousness in its heart, it only adds to the release’s increasingly compelling and potent presence.

Certainly Crosses To Carry, Coffins To Fill shares the attributes which made the band’s previous album so powerful and adventurous but The Survival Code also tease of new horizons and creative dramas within the outstanding encounter; a new lure proving the band one of the most exciting proposals out there right now.

Crosses To Carry, Coffins To Fill is released August 16th via Good Deeds Music.

 https://www.thesurvivalcode.co.uk/    https://www.facebook.com/thesurvivalcode    https://twitter.com/thesurvivalcode

Pete RingMaster 16/08/2019

Copyright RingMaster: MyFreeCopyright