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.

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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

Muskets – Violent Paradise

Providing another of the year’s more tantalising offerings is UK outfit Muskets, a band which is no stranger to keen attention but on the edge of greater recognition one suggests thanks to their latest offering. Violent Paradise is a captivating collection of songs fuelled by the alternative rock/grunge sound which has made the band’s previous releases very welcome but an EP venturing into richer and varied pastures as maturity, shadows, and a broader palette of flavours flourish within a bold landscape of sound and imagination.

The Brighton hailing band has persistently nudged success and full attention since the release of their debut album Chew in 2017 via No Sleep Records who now also bring us the new outing. Numerous tracks have received extensive radio support along the way but it is not too hard to feel that Violent Paradise could and should spark even bigger reactions and success the way of the quartet of Alex Cheung, Joe Phillips, Harry Steel, and Corey Eyres.

The EP opens with the swiftly irresistible Uncertain Purpose, a track which teased and hooked ears and appetite from its slightly manic opening alone. Quickly it hit its infectious swing, guitars and rhythms a feral incitement within and the dissonance of all glorious elements mischievous. The vocals of Cheung add to the devilment of the track’s contagious trespass as hooks and grooves collude in creative delinquency. It proves a rousing slice of grunge punk with a great Asylums-esque character placing a quick and firm grip on best track honours though its briefness does prove a frustration if one soon defused by the tracks to follow.

Detention is next up, the song also sharing instant teasing quickly joined by similarly tempting melodic guitar bait before it all erupts in a lusty clamour from within which those early lures still eagerly entice. Slipping into its relaxed stroll only brings greater catchiness as pop rock instincts breed more vital hooks and grooves. It is a delicious blend of enterprise and melodic imagination which as the first is only more keenly devoured by the listen.

It was hard not to be fully engaged in the slim but potent invitation bringing Empty on Cigarettes into view next; the surf lined swelter of guitar a calm but again thick enticement from which just as sultry harmonies and melodies hug the senses. The song’s seduction is total and its darker hues intriguing and with XTC like whispers to its breath and imagination makes for another lofty highlight of the release before the EP’s title track uncages its raucous holler. Grunge pop infused rock ‘n’ roll, the track swings and stomps with inescapable tenacity, every infectious element a virulent excuse for body and vocal chords to join its boisterous romp.

The album is completed by Killjoy and Natural Selection, the pair among the most adventurous and compelling moments within the release. The first song brews a post punk climate through sonic lures and a moody bassline, drums adding to the Gang Of Four/Killing Joke hued opening. Soon the serenade of the track’s heart is smooching with the senses as again melodies and harmonies flourish in the brooding calm that follows. It is a volatile climate though which sees flames of guitar and emotive roars brewing and erupting, their senses scorching persuasion just as rousing and magnetic before the cycle thrillingly repeats.

The final track is an acoustic hug revelling in the band’s vocal and melodic prowess though it too has a tempestuousness in its heart which threatens more than escapes but brings gripping tension to the elegance and beauty breeding the transfixing encounter.

Both tracks provide an inspiring and captivating close to the EP with the latter especially beguiling, a release which has the temptation of the devil and the exploits of an imagination carrying an appetite to taste whole new adventures. Already we eagerly and greedily await the next temptation of Muskets.

Violent Paradise is out now via No Sleep Records, available @ https://muskets.bandcamp.com/album/violent-paradise

https://www.facebook.com/muskets   https://twitter.com/musketsuk

Pete RingMaster 09/08/2019

Copyright RingMaster: MyFreeCopyright

Phoxjaw – A Playground For Sad Adults

We are not sure what it is in the River Avon and water supply of Bristol but the city is one of our favourite and persistently fruitful sources of musical invention and ear grabbing artists. It has provided a lengthy list of striking propositions over recent years alone to which Phoxjaw has added their creative name. The band has just uncaged their second EP, A Playground For Sad Adults; a collection of tracks which are as dramatic and unpredictable as they are feverishly contagious.

Phoxjaw have a sound which rebelliously defies pinning down especially within A Playground For Sad Adults. It is alternative rock bred to give it a base which made for an appealing lure in the band’s last EP, Goodbye Dinosaur… released last November. Within its successor though, it has evolved into a whole fresh and bold proposition of flavour and imagination which firmly puts the band’s first EP as well as a great many releases this year in the shade.

Released through Hassle Records, A Playground For Sad Adults opens with the brief lure of its title track; the piece sepia toned coaxing which inspired intrigue alongside trepidation as to what lurked ahead. What was waiting was one of the best tracks heard, Melt, You’re A Face Of Wax emerging from the raw shadows of its predecessor with an immediately enticing melodic strand of guitar within calm but suggestively imposing beats. Quickly the web spun by guitarists Josh Gallop and Alexander Share wraps the imagination, the bass of vocalist Danny Garland prowling the already instinctively catchy and increasingly richer and bolder incitement. A momentary calm surrounds the opening moments of the latter’s magnetic voice, the beats of Kieran Gallop still a crisp encouragement as guitar wires share their temptation. Crescendos of drama and creative theatre only add to the rousing character and a soon eager appetite for the song’s animated adventure.

The track is superb and never matched but certainly rivalled by things to come starting with Monday Man. It too took barely a breath to grip appetite and attention, bass and drums united in delicious bait before guitars sprung their own virulent enticement. In no time a pop rock energy and catchiness floods the expanding encounter, Garland’s vocals leading the tempting with zeal as melodic and sonic invention collude in equally magnetic persuasion. By the second greater urgency and dissonance emerges, firing up the roar and intensity of the song but never lessening the pull of its contagion before Whale, Whale, Whale brings its own catchy wiring and ravenous appetite to the release. Instantly a ferocious intent accompanies the senses shaking surge of incitement, a nagging groove taunting and enslaving ears within the turbulence of sound and emotion. It is a tempest though which breaks for melodic intervention and emotional reassurance but ultimately stalks and harries pleasure into inescapable subservience.

Bodiesinthewall casts another slice of unique drama within the EP, its initial presence a shadow clad and portentous calm from which a poppy stroll and mischievously catchy seduction eagerly springs. Like a blend of Maximo Park and Fatima Mansions, the song was craftily under the skin in no time and manipulating participation with just as much relish right up to the nightmarish expulsion of all its fears and discord, though that too only leads to another contrasting climate, this time a carousel of melodic and vocal enchantment.

Bringing the release to a stirring close, The Curse Of The Button Man is a cinematic yet intimately stirring slice of creative imagination. As its predecessors, the song is a cauldron of flavours and hues which defy precise labelling whilst providing a drama and experience which eagerly lingers in thought and appetite. Dark and intimidating, predacious and relentlessly infectious it is a glorious nightmare bringing a stunning release to a mighty close.

Phoxjaw gave numerous reasons to keep a close ear upon them with that first EP but a suggestion which has now become a rabid demand through A Playground For Sad Adults, one of the year’s most compelling and thrilling moments.

A Playground For Sad Adults is out now via Hassle Records; available @ https://phoxjaw.bandcamp.com/album/a-playground-for-sad-adults

https://www.facebook.com/phoxjawofficial/   https://twitter.com/phoxjaw

Pete RingMaster 02/08/2019

Copyright RingMaster: MyFreeCopyright

Caustic Minds – Black Oil For A Soul

With a rather potent reputation in tow courtesy of their highly energetic live performances, alternative rock outfit Caustic Minds has a certain buzz brewing up around them and one sure to be only accelerated by the recent release of the band’s debut EP. Five tracks strong, Black Oil For A Soul is quite simply an encounter which makes you just stop and pay attention.

Formed in Germany in 2007, Berlin based Caustic Minds has a background as rich as their sound. Vocalist Laura Jiménez Alvarez comes from Mexico City, while guitarist Daniel Viseras Calvache is Granada in Spain hailing. With bassist Michiel Sybers born in Antwerpen, Belgium and drummer Chris Crabtree British/German bred, it is a cosmopolitan mix as flavoursome as the blend of hard rock and indie enticement they conjure up between them. Over time the band has had references to the likes of Queens Of The Stone Age, The Dead Weather, Arctic Monkeys, and Black Sabbath shared upon their sound though for our ears Black Oil For A Soul tantalises and captivates like a hybrid fusion of Karn8 and My Baby.

Persistently compelling in its enterprise and bold in its character, the EP immediately had ears and imagination enslaved with opener Eyes On Fire. Never relinquishing its favourite track grip from its first escapade, the song instantly harries and tempts with a stalking fusion of stabbing beats and siren scythes of guitar. Instantly magnetic, the track only escalates its lures as a swagger breaks out in a sure stroll ridden by the similarly captivating tones of Alvarez. With a groove which infests hips without invitation and an instinctive roar that demands unity, the imagination soaked track easily gripped body and appetite.

Though for personal tastes the release never quite reached those major heights again, its presence and enterprise is a lofty adventure that continues to beguile, next up Baby Doll providing a fiery blaze of punk shaped rock ‘n’ roll with progressive breath to its winds as melodic seduction fuels its great unpredictability.

Similarly Destroyer teased and taunted the imagination; its immediate launch part prowl part strut and all fascination. Intoxicating in its bluesy charm and eye balling in its attitude, the temptress of a song proved another irresistible holler which never fed expectations before Blacklist brought its own beguiling lures to the party. Rising on spirals of sonic and melodic heat, the track is another which teases as it tempts. Like flames in a fire stirring thoughts and gripping attention as its spellbinding hold sprung creative shapes the song simply flirted with the imagination as vocals and individual enterprise trapped ears.

The EP closes up with Carry On, another moment within the EP that enthralled with ease as its seductive moves and shameless grooves toyed alongside the ever compelling barracuda toned bass of Sybers. As each track and the EP as a whole, the closer is all sensuous bait and steamy endeavour honed into rock ‘n’ roll that shamelessly and skilfully entices and firmly attracts.

Black Oil For A Soul more than suggests that the boisterous murmur around Caustic Minds is sound and about to boil over beyond the German borders the band is already putting under their spell and as a bonus ‘name your own price’ release on the band’s Bandcamp site, it is one encounter no one should be ignoring.

Black Oil For A Soul is available now @ https://causticminds.bandcamp.com/

https://www.facebook.com/causticminds/

Pete RingMaster 29/07/2019

Copyright RingMaster: MyFreeCopyright

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