Orestea – Elements

Already embracing a fair wash of attention and acclaim through previous EP This is An Overture and a spirit sparking live presence, UK outfit Orestea have pushed their creative bar on again with their striking new album Elements.  Bringing rich essences of melodic rock and alternative metal together in collusion with what can only be described as pop virility, the Guildford hailing band weave a seriously infectious proposition which boils time and time again within an album which has body and imagination bouncing.

Cored around the energy and craft of guitarist Lloyd Wilson, bassist Mike Quinn, and the vocal magnetism of Lisa Avon, a line-up completed by guitarist Johno Madgwick since recording the album, Orestea irrepressibly build on a potent reputation earned through songs and performances alongside the likes of alongside Ashestoangels, Forever Never, ESO, and Wednesday 13 as well as plaudit drawing sets at festivals such as Bloodstock, Download and Guildfest, in swift time upon Elements. As soon as opener Welcome to Surviville comes forth, there is a sense of fresh adventure and assured maturity in songwriting and sound at work. Drama accompanies the approaching sound just as harmony soaks the vocal invitation of Avon whilst imagination instantly infests every twist and turn as the song settles into its rock pop temptation. Driven by the rhythmic web cast by drummer Jack Slade across the release, the song simultaneously rumbles upon and serenades the senses, that adventurousness continuing to fuel guitars, keys, and the heart of an excellent opener setting the creative template and heart of things to come.

The following Here’s The Plan immediately saunters in with a vibrant air, melodies and metallic riffs uniting around Avon’s increasingly potent tones. Her voice is an instinctive roar, as much a seductive flame as it is a steely incitement and as virulent as the sounds around her. Though maybe not quite finding the boldness of its predecessor, the track keeps attention and pleasure burning bright before the album’s title track sizzles on ears. The dancing enterprise of the guitars brings its own raw edge to match the biting and dark temptations of drums and bass, the latter’s grumble especially magnetic in the heated contagious blaze of the song.

References to the likes of Paramore and Don Broco seem to crop up more often than not and it is easy to hear why but as fourth track Ghost of Letting Go steps forward, Orestea only establish their own individual character upon thought and sound. The song is a fiery ballad built on the metallic strains of Quinn’s bass; a song with irritability in its roar and harmonic grace in its calm which only captivates before Alive or Just Existing shows the band is just as adept at kicking up a storm though that attack is unsurprisingly bound in an infectiousness which has the body bouncing and energies rising. It is pure pop rock ‘n’ metal mastery and another pinnacle upon the already praise stamped proposition.

Through the reflective beauty of Getaway, Avon sheer radiance within its warm atmospheric contemplation, and the rowdier stroll of Eggshells, ears are treated to further invention and an enjoyably inescapable persuasion which The Wreckage continues as it burns in ears with emotion and sonic flames like a drama woven sunset. All three leave pleasure and thoughts enamoured before Got Your Back echoes their persuasions with its own enticement if one not quite matching their heights of those but only due to personal preference.

The album is completed by the emotive sigh of Burning Bridges, Avon and music a release of emotive intensity which caps a fine album with a melodic passion hard to not get wrapped up in. It is a fine conclusion to a release which confirms Orestea as one stirring proposition with still the potential of even greater adventures ahead. If being over fussy, there are times within Elements when the band might have pursued its imagination and invention with even braver boldness but it is just a greedy quibble upon something which excites from beginning to end.

Elements is out now @ http://shop.orestea.com/product/elements-album

https://www.facebook.com/oresteaband/    https://twitter.com/orestea

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Never Found – Sorrow And Cyanide

It seems Welsh band Never Found has been thrilling fans for quite a while now, but that potent knock on the broadest attention and success has yet to be made. Until now anyway as the band’s debut EP Sorrow And Cyanide is the kind of persuasion to give the British rock scene a mighty nudge. A gripping fusion of punk, metal, and riotous rock ‘n’ roll, the four-track encounter is a warts and all incitement that easily grips ears. Comparisons to the likes of Bullet for My Valentine and Aiden have been already and frequently sent the way of Never Found, but as proven by the EP, that reference only tells part of a flavoursome tale.

The seeds of Never Found began with vocalist/guitarist Daniel Barnes and bassist James Sweeten, their vision of a band starting its first steps back in 2009, though it was three years later when things began to really escalate in purpose and sound. That was the year drummer Kieran Ivey joined up to give the band its missing heartbeat. Since then Never Found has become an eagerly followed live proposition, playing with bands such as Fearless Vampire Killers, Ashestoangels, and William Control amongst many along the way. With their line-up more recently completed by guitarist Sam Redmayne, they are now ready to make a big statement towards bigger spotlights; Sorrow And Cyanide the first potent line in that creative declaration.

   It opens with Just Like Hollywood, a track careering through ears from second one upon a charge of punk riffs and battering rhythms driven by the instantly strong tones of Barnes. As Clash/Sex Pistols like chords and ferociously lined punk roars erupt in sound and voice, the song quickly brews an aggressive virulence with its own line of contagious hook littered enterprise, and an adventure unafraid to embrace hardcore and harsher metallic spicery. Tenaciously and bruising, the track provides a gripping and thrilling start to the EP, but sound wise, it is just one shade to be discovered within Sorrow And Cyanide.

The following Choking Me stalks and rises up against the senses with a much more metal leaning, barbarous rhythms and acidic grooves entwining ears as Barnes vocally and enjoyably carries on employing a punk seeded incitement. With the bass of Sweeten a grouchy and bestial stalking at the heart of the growing infection too, the track springs a confrontation as antagonistically grouchy and spikily catchy blend of As I Lay Dying and Lost Prophets to entice and impress.

King Of Nothing follows a similar if less intensive pattern as its predecessor, and maybe loses some of its predecessor’s spark and potency because of it, but with more great vocal enticing and strong muscular enterprise walling in spicy adventure through the guitars, the track leaves satisfaction only full.

Fair to say it is swiftly outshone by Take Me Away though, the EP closer enticing hues of grunge cored rock ‘n’ roll into its volcanic landscape of metal voracity and punk rock rebelliousness. Almost like Green Day meets Gruntruck and Reuben, with the results stirred up by Skinlab, the track is a powerful and favourite dynamo to end the excellent EP.

Demandingly we are now expecting big things next time around from Never Found just because of the impressive introduction offered by Sorrow And Cyanide, but to be honest more of the same would not be a major disappointment either, as long as some of the promise oozing through this great release is intensified.

The Sorrow And Cyanide EP is out now @ http://www.neverfound.bigcartel.com/category/cds

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

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Elements – Where We Once Begun

The band’s bio states that this year a line-up change for UK alternative rockers Elements has coincided, maybe sparked, a new sound from the band. With their new EP Where We Once Begun our introduction to the Southampton hailing quintet, we cannot say if the shift is dramatic or subtle, but for sure thanks to five tracks of rousing rock ‘n’ roll, their new release shows it has been a potent one.

Formed in later 2013, Elements quickly made a mark locally with their self-titled debut EP and a live presence which has earned them a reputation as one powerful proposition and seen the band share stages with the likes of Bad Rabbits, The Afterparty, DEAD!, Ashestoangels, The Hype Theory, and Public Service Broadcasting. As mentioned the band has recently undergone a personnel change which, taking the Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero) produced Where We Once Begun as our evidence, seems to have lit a fire in the creative belly of the five-piece.

   Once EP opener Shaman storms through ears, rapidly stirring up enjoyment and appetite, the band without being wholly unique, reveals freshness and adventure to their music which just grabs attention and sets them apart from the masses. Fair comparisons have been raised to bands such as early Biffy Clyro, YouMeAtSix, and Don Broco but there is plenty more rippling through songs suggesting something individual to Elements. The first track aligns winey blues wrapped tendrils of guitar with a flirtatious almost electro shuffle which is not too far away from the persuasion Blondie once blossomed. It blends well, the song brewing a virulent tempting to which the skittish beats of Ash Martin and the dark lures of Max Bakker’s bass add their own potent seduction. Vocalist Graham Rogers is just as vibrant and inviting, his powerful tones backed well by those of Bakker and guitarist Ollie Butler who alongside fellow string craftsmen Robin Small spins a web of hooks and melodic spicery to match. It is a contagious riot of sound and energy, and a quite irresistible start to the release.

High Time For Being Free comes next, emerging without a breath from its predecessor with its own brand of sinewy riffs and heavily coaxing grooves ridden by the vocal roar of Rogers. As the first track, it leaps on and bounces through ears with an infectiousness which is muscular and tenaciously anthemic, whilst showing a different shade of colour to the band’s sound. Major surprises, as across the EP, are not open bait yet there is again that fresh air and rich enterprise to it which only lures you in deeper before Plotting Treason Or Saving The World uncages its own chest beating anthem littered with blues honed grooves, merciless hooks, and a sultry air which dynamically ignites in a blaze of the chorus.

Up next is the melodic shimmer and emotive energy of Make It Out Alive which takes release and listener into another new landscape of sound and adventure. Again the imposing strength and sonic muscle of the band is a heady proposal but employed in a new strain of sonic fire and provocative drama. The track does take a little longer to grip but leaves a flavoursome and inventive taste in the mouth before Torchlight brings the EP to a fine close with captivating and aggressive melodies courted by tangy grooves and flaming vocals.

Where We Once Begun is not going to set the alternative rock world back on its heels but it does announce Elements as one of its more exciting emerging bands, so much so that already there is a tingle of anticipation for their future something akin to that felt when Jimmy Eat World first broke.

The Where We Once Begun EP is available from August 17^th through all stores.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

The Dead XIII – Catacombs

Just over a year ago, UK horror metallers The Dead XIII, without majorly startling ears made a potent introduction with their Creatures Of The Night EP. It certainly whetted the appetite and revealed the potential of the band forging out a distinctive presence in the British metal/rock scene. Now the Mancunian quintet unleashes their debut album Catacombs, an encounter which weaves all the promise of its predecessor into a hefty slab of skilled and thrilling enticement. Whether the band has quite found that unique voice can be argued, for us it is still something brewing, but there is no doubting that the album is a potent nudge to awaken national attention and push the band well away from the crowd.

The Dead XIII escaped their crypts in 2013 and was soon breeding an increasing number of loyal fans through a live presence which over time saw them sharing stages with the likes of The Fearless Vampire Killers, William Control, Dead, and Bad Pollyanna. Creatures Of The Night lured new blood to the band with its Wednesday 13 meets Misfits like sound in 2014, a base which The Dead XIII has torn and sculpted into a more mature, inventive, and predatory proposal. Fresh from the British Horror Story Tour with Ashestoangels and Farewell, My Love, vocalist Kurt Blackshard, lead guitarist Ste Mahoney, keyboardist/guitarist Symon Strange, bassist Paul Ryan, and drummer Spike Owen reveal the evolution that has coursed through their songwriting and sound over the past year with Catacombs, and provide a rather tasty offering at the same time.

    The album opens with its lead single XIII; guitars instantly weaving a mesh of sonic bait before the song erupts into a cauldron of electronic and guitar driven causticity. The distinctive tones of Blackshard quickly enter the building drama oozing from every aspect of the song, his unpolished and ghoulish dark tones another magnetic lure to an already heftily enticing encounter. There is a whiff of Marilyn Mansion and White Zombie to the track, as well as The Defiled, hues which collude to create a contagious trespass of the senses and a mighty and irresistible start to the album. It is a potent first roar matched by Frostbite and its fiercely aggressive tenacity aligned with a wintery atmosphere cloaking keys and vocals. Whereas the songs on the previous EP rarely strayed from their core design, here as in its predecessor, the song is unafraid to twist further unpredictable and imagination bred flirtations of sound and ideation into its appealing intrusion.

Daemons shows its teeth straight away with thumping beats piecing carnivorous riffery. The keys almost as quickly spread their sinister gothic charm and melodic resourcefulness into the ravenous tempest of the song where again there is an energy and intensity which never relents from badgering, almost bullying the listener. It is a great union, warm inviting textures contrasting the imposing bellow of the song whilst rhythms and the growling vocals temper the provocative tapestry of the keys and melodies. It is fair to say that every track is aural theatre, and each song upon Catacombs a mouth-watering dark escapade perfectly epitomised by the third song on the album.

The album’s title track is its successor, another proposition which gets straight down to the virulent nitty-gritty of its devilish invention and uniting horror metal/punk resources. Once more the grizzled delivery of Blackshard is like the barker or crypt-keeper to dark deeds and deathly delights within the song, and whereas on the last EP his tones occasionally tested with their one dimensional presence, in song and album they reveal, as the music, that they have evolved and discovered their deep potency.

The pair of Be-Were and The Greatest Escape richly catch the imagination next, the first encroaching on ears with stalking riffs and jabbing beats around a demonic fusion of singular and mass anthemic vocals whilst the second, being arguably the most openly Misfits toned song on Catacombs, dances on ears with a voodoo-esque array of hooks and again mass vocal roaring. Both tracks captivate with its slithers of heavy metal seeded enterprise from Mahoney whilst the latter further grips though it’s entwining of intimidating rhythmic and metal textures with melodically searing flames erupting within the song’s smouldering heart.

Not quite living up to those before it, lacking the creative spark which ignites its companions, Haunter with its corrosive metal breeding still leaves appetite and satisfaction content next before making way for the outstanding and ravenous Lay Siege To Hell. The song is unbridled and bruising rock ‘n’ roll but equally bold with sidesteps into electronic/techno adventure and a host of ever changing hooks and scorching guitar imagination adding up to another boisterous rousing of body and psyche within Catacombs.

The closing stretch to the album begins with Can’t Escape The Grave, more highly agreeable rock ‘n’ roll to lose your inhibitions and soul to and ends with Apothesis, a death infused, ambience crafted encounter which is as much post-hardcore and blackened metal as it is horror metal, and quite enthralling. It too does not quite match earlier tracks yet it is the most inventive and increasingly fascinating offering on the album revealing the depth to The Dead XIII invention still brewing and to be explored ahead.

There is no doubting that Catacombs is a must explore treat for horror and gothic metal/punk fans. It is not the perfect offering with some tracks a little too similar in some areas and hues of other genre bands seeping into play, but one impressive leap forward for the band and undeniable impressive romp for ears. As things moved forward between EP and album, evolution will see the same ahead as The Dead XIII progresses and we for one cannot wait whilst continuing to devour Catacombs right now.

Catacombs is out now

RingMaster 13/08/2015

Copyright RingMaster: MyFreeCopyright

Masamune -Tension & Resolution

Tension & Resolution is the devilish encounter introducing UK alternative rockers Masamune to their broadest audience yet, five tracks which just get under the skin in an attention grabbing debut on first hearing to become even more dramatically compelling over time. The release also shows there is still plenty of scope for the band to evolve and build even more virulent persuasions, and that alone just breeds healthy anticipation.

Hailing from Sunderland, Masamune began in the autumn of 2009 when guitarist Steven Kane, bassist James Wallace, and drummer Jack Johnson came together musically for the first time. Crossing each other’s path via the internet, the band’s founders were soon creating their own songs and performing across the North East of England before in 2012, the trio decided to push things to another level and recruited vocalist Neil Anthony in the year’s closing weeks to complete the line-up. The years have seen the band play alongside the likes of Fearless Vampire Killers, Fort Hope, and Ashestoangels as well as taking part in a Channel 4 television show with comedian Al Murray as their roadie. Musically they have drawn references to the likes of Muse, Red Hot Chili Peppers, and Queens of The Stone Age, all understandable suggestions especially the first of the three, but as the EP’s first song shows there is much more fresh body and flavouring to the Masamune sound.

     Tension & Resolution opens with The Bloodlines and a tangy guitar melody. Its lure is soon backed by a rolling persuasion of drums and in turn an instantly captivating bass groove amidst richer guitar enterprise. Things relax for the entrance of Anthony, his expressive tones courted by a dark bassline and crispy beats whilst a flirtatious almost smiling tease of guitar contrasts the darker emotion of the moment. It is a beguiling passage slowly increasing in drama and intensity and eventually erupting in a feistier blaze of riffs aligned to potent harmonies from Anthony and Wallace. More tantalising temptations, like hooks and grooves from across the band, continue to play with the imagination and feed a growing appetite as the song provides a strong start to the release.

The following Silhouettes opens with just as rich bait as its predecessor began with; a single seduction of guitar cast in a familiar yet indefinable suggestiveness the lead into an increasingly busy and fuzzy web of enterprise. That Muse essence is an open breeze across the song, colouring nicely the original and flowing ideation of Masamune. It is another offering which ebbs and flows in energy, though it provides a livelier and more infectious bounty for ears and thoughts to eagerly embrace. The catchy beats of Johnson are deceptively anthemic and matched by the alluring bass coaxing sculpted by Wallace whilst around both, the guitar of Kane and the increasingly impressing vocals of Anthony sparkle and entice.

     Run & Hide saunters in next on a thick bassline and a welcoming shuffle of beats before opening up into a harmony loaded stroll of melodic rock with evocative expression around an infectious swing. Steely bursts of riffs add to the captivation, as do the spidery strands of guitar endeavour, it all aligning for another gripping and enjoyable persuasion before making way for the melancholic charm of The Song About Ghosts. Though it carries imposing shadows in its body there is also plenty of radiance through melodies and harmonies, an inventive rhythmic tempting, and in the chorus a Brit pop hue to twist things up. The track maybe does not quite match up to the last couple of songs yet it too is an unpredictable and resourcefully engaging encounter which persistently draws ears back.

The EP is concluded by House Of Mirrors, a highly enjoyable finish with its snarling riffs and magnetic sonic tenacity. Once again rich inescapable hooks snare ears and the imagination whilst the ever enslaving basslines of Wallace add their addictive qualities to the mix. The song is enthralling and an invigorating close to a fine first encounter with Masamune.

Though some songs within Tension & Resolution just fall short of finding the spark to elevate them to even higher stature, the band seemingly holding back at times rather than taking a step into the creative ‘unknown’, there is no denying that the EP is one seriously satisfying debut and that the future of Masamune is looking very exciting.

The Tension & Resolution EP is available now through all stores and via http://masamune.bigcartel.com/product/masamune-tension-resolution-ep

https://www.facebook.com/masamunemu         http://www.masamunemusic.com/

RingMaster 26/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

MASAMUNE reveal ‘Tension & Resolution’, on 25th May

MASAMUNE RELEASE NEW EP WITH TOUR DATES IN THE PIPELINE!

“Masamune bring all the rock you need to the places you need it most” – Al Murray (Planet Rock DJ / Comedian)

Masamune are prime to release their own stamp of Alt-rock to the masses this Spring, in the shape of their blistering new EP ‘Tension & Resolution’, out everywhere from Monday, 25th May.

Sparking glowing comparisons to Muse, Red Hot Chili Peppers and Queens Of The Stone Age, Masamune hail from Sunderland and unleash a barrage of explosive riffs, a powerful rhythm section, and memorable vocals that infectiously burrow through your cranium.

Consisting of Neil Anthony (vocals), Steven Kane (guitar), Jack Johnson (drums) and James Wallace (bass and backing vocals), Masamune have shaped an original sound which brings together a pool of both modern and contemporary influences, from the dynamics and intricacies of Muse, to the crossover groove of Red Hot Chili Peppers, and right through to the contemporary cool of Queens Of The Stone Age.

Although originally conceived in 2009, it wasn’t until 2012 that Masamune really solidified as a unit. The band soon set about playing shows. They have now extensively gigged throughout the North, and along the way they have snagged supports with ‘Fearless Vampire Killers’, ‘Fort Hope’ and ‘Ashestoangels’. The alt-rockers have also appeared in the Local Heroes section of Kerrang! Magazine, as well as taking part in a Channel 4 television show with comedian Al Murray as their roadie.

The quartet’s stunning debut EP ‘Tension & Resolution’ boasts five hearty cuts of groove tinged alt-rock, from the pounding rhythms of opener ‘The Bloodlines’, to the crafty RHCP/Incubus-inspired guile of ‘Run & Hide’. This debut record needs to be heard and will command your attention. With shows and festivals waiting in the wings during the summer months, this year promises to be a very busy one for Masamune.

– MASAMUNE RELEASE ‘TENSION & RESOLUTION’ ON MONDAY 25th MAY THROUGH ALL STORES –

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

Kill The Silence – Self Titled

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20^th through all stores.

https://www.facebook.com/KTSilenceOfficial      https://twitter.com/ktsilenceband

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net