Media Stres – E.V.I.L. II

Photo by Lucija Obadić

Photo by Lucija Obadić

Media Stres is an alternative rock band from Croatia which has already made some potent nudges on ears with their previous releases but now offers their biggest incitement on the broadest attention with new EP E.V.I.L. II. The five track release is the continuation of debut album E.V.I.L. (e-Virus Influenced Love), an encounter released in two parts with its second revealing the fulfilment and more of the potential fuelling earlier propositions.

Hailing from Cakovec, Media Stres emerged in 2012 drawing on inspirations from the likes of Biffy Clyro, Placebo, Muse, Royal Blood, and Punčke for their imaginative weave of sound ranging from alternative and progressive rock to post-punk and dirtier hues. Demo EP Fear and Panic was released in 2013 as the band unleashed their live presence and hunger which has since seen them play over sixty shows in Croatia as well as in countries such as Serbia, Hungary, Slovenia, Austria, and France. The first well-received part of the album, E.V.I.L. was unveiled in the December of 2014, an introduction for a great many to the band which quickly marked out Media Stres as a prospect to keep a close ear upon. Now the trio of guitarist/vocalist Karlo Komorski, drummer/backing vocalist Matej Obadić, and bassist Aleksandar Hutinec complete their first full-length with E.V.I.L. II, whilst setting down a new plateau to their adventure and invention, not forgetting compelling sound.

AlbumCover2_RingMaster ReviewWhereas its predecessor was themed by a narrative concerned with the impact of technology on society and how corrupt that society became with said technology, E.V.I.L. II is the exploration of people living in the shadow of two super states and having to decide to which of the two they belong. It opens up with the scene setting Nations and instantly bold rhythms from Obadić provide an anthemic lead into the waiting narrative, the gnarly tone of Hutinec’s bass quickly adds its suggestive tempting to the coaxing too. In no time the equally dramatic tempting of Komorski’s guitar stirs up song and air, providing a sonic breeze around the hypnotic lure of increasingly pungent rhythms. It is thick captivation crowding ears and appetite, one blossoming further as Komorski unveils the song’s tale with his potent vocals as the song bristles and feistily simmers with an essence of Muse and at times something slightly Manic Street Preachers like.

The outstanding start slips into the just as enthralling and quickly addictive Right or Wrong. Making a more reserved but no less gripping entrance with bass and percussive jabs early bait, the track is soon entangled in the sonic and melodic enterprise of guitar and a spicing which plays in many ways like a mix of Fatima Mansions and Interpol. The moment when the protagonists in the album’s story have to choose their homes, the track paints the drama of the situation with a fiery blend of contrasting textures and intimidating shadows which line every shaft of melodic light and infectious flume within the intensive oppression involved. A progressively lit slice of contagious rock, the excellent track is matched in success and drama by the grungier tones of Consolation and its Bowie-esque colouring to another rhythmically and sonically dynamic incitement. Even with its rousing rock ‘n’ roll, the song’s emotion is dark and fuelled by a loss of hope again enjoyably presented by the vocal expression and strength of Komorski whilst bound in the band’s provocative endeavours.

The break out of world war is the canvas for End Times, an apocalypse sound-tracked by the song’s lively canter with melancholic melodies and, as ever, powerfully alluring vocals and highly persuasive rhythms. The song is persistently boisterous in its gait, its swing a perfect temper and spark to the solemn weave of words and emotions cast in something akin to The Smiths and Teardrop Explodes with again that Fatima Mansions like creative spicing involved.

Hope with its brooding climate spawned from the initial magnetic groan of bass completes tale and release. Shadows again encroach alongside the scything strikes of guitar and rhythmic rumblings whilst a solemnity coats the sultry melodic tendrils veining the rebuild of a desolated land and an increasingly receptive imagination to the invention and evocative theatre of Media Stres. The track is superb, matching all that came before and leaving a lingering compulsion for ears and thoughts to keep E.V.I.L. II alone a persistent companion.

The first EP of E.V.I.L. was an impressive and resourceful adventure but its successor simply overshadows it in every aspect. Media Stres may still be a secret yet to be discovered by a great many but expectations and hopes are that the band is set to receive the full attention and support their striking invention and music undoubtedly deserves.

E.V.I.L. II is available now @ https://mediastres.bandcamp.com/album/e-v-i-l-part-2

http://mediastres.com.hr/   https://www.facebook.com/MediaStres/

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

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

Years Young – Hiraeth EP

YY_RingMaster Review

Like their sound, Years Young is a band which only grows on ears and appetite; the evidence coming with debut EP Hiraeth. With the UK quintet revealing more depth and adventure to their invention song by song, the six track encounter is an engaging proposition fuelled by rich emotion tinged in shadows and sadness, its songs equally coloured with provocative melodies and a rousing intensity. It does not explode in ears and thoughts but builds track by track into a captivating roar for a very solid introduction to the Lincolnshire band.

Formed late November, the band took their time honing a sound inspired by the likes of Biffy Clyro, Mallory Knox, and Don Broco, whilst building to a launch which would grab attention. Since emerging they have shared stages with the likes of Funeral For a Friend, Fearless Vampire Killers, October Drift, and TrueHeights amongst many and in the August of last year released first and well-received single Miracles. Now, as the band undertakes a UK tour, the Roni Szpakowski recorded Hiraeth EP provides an endearing invitation for national awareness to embrace Years Young.

Mastered by Brian Lucey, band and EP make their entrance with that early single. Miracles immediately drizzles an elegant melody over ears before riffs and rhythms align to a more forceful sonic coaxing as things grow into fuller view. It relaxes again as the potent vocals of guitarist Luke Colclough strokes ears, his warm tones matched by those of drummer Ollie Griffiths, but quickly builds in energy and intensity as the guitars of Danny Binnington and Colclough imaginatively entwine the vocals. It is a fine tempting given even more creative enterprise by the bass of Gary Butler, its bulging lures dancing with a smiling revelry at times and in other moments casting thick but magnetic shadows. Continuing to inventively entertain and prompt a keen appetite, the song only, as the EP, impresses more and more with each listen.

Hiraeth Cover_RingMaster ReviewThe following Finding My Feet swiftly shows a bolder and feistier energy but again it comes controlled and neatly hugged by melodic and vocal expression. The bass probes and rhythms poke as the song reveals its plaintive heart, guitars casting another imaginative web as the song invites attention before making way for the evocatively melodic and anthemically enticing temptation that is The Sign. As its predecessor, the song smoothly merges lively bounds and emotive reflections in an enthralling landscape of inventive textures and increasingly alluring twists, just with more resourcefulness and tenacity to its imagination.

Across the EP and in varying degrees, each song seems to incite a thicker hunger to explore more, whether through an accumulative effect of the strong songwriting and inviting sound or by songs like the dynamically and sonically enflamed Electric taking aspects of those before it to new levels of exploration as it does to the gentle but roaring croon of the highly enjoyable Paper Mountains. Both songs lay easily and evocatively upon ears and thoughts, a strong trait of the EP emulated in its closer and best track Sleeping Easy. Straight away there is an intensity and sturdy edge to the song, even as it serenades with fire fuelled melodies and vocal angst; an imposing drama which demands attention and stirs up the emotions.

The track is a great end to a thoroughly enjoyable first taste of the Years Young sound. It is early days and fair to say an individual uniqueness has yet to majorly emerge within the band’s music, but for a first flavour Hiraeth potently pleases and leaves a wish to hear more; a success many a band would like to have with their debut encounter.

The Hiraeth EP is out now via most online stores.

Remaining dates on the Years Young UK tour:

31st January – Scunthorpe, The Lincoln Imp (with Allusondrugs)

16th February – Huddersfield, The Parish

19th February – Rotherham, The Trades

4th March – Birmingham, o2 Academy 3 (with The New Blacks)

19th March – Leeds, Verve Bar

21st March – Sheffield, Corporation

http://www.yearsyoungmusic.com/   https://www.facebook.com/yearsyoungmusic   https://twitter.com/yearsyoungmusic

Pete RingMaster 18/01/2016

Copyright RingMaster: MyFreeCopyright

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

Maybe We’re Dead Already – Shrapnel

Maybe We're Dead Already_RingMaster Review

Scottish rockers Maybe We’re Dead Already have just released their new EP On The Way Down, a six track roar of alternative and hard rock led by lead track Shrapnel. Sent over to us as a teaser and presumably the initial bait/single for the bigger release, the track is a grizzly and grouchy stomp of tenacious rock ‘n’ roll which certainly sparks a want to hear more.

Hailing from Glasgow, Maybe We’re Dead Already emerged in 2013, formed by guitarist Matthew Sharp and bassist Steven Bowie. Quickly they became a gigging whirlwind across Scotland earning potent reputation backed by their self-titled demo EP from which certain songs found strong airplay on the likes of Amazing Radio. Now it is On The Way Down and prime weapon Shrapnel poised to stir up more attention and further afield.

Big boned rhythms and fiery riffs open up the track, no major surprises but plenty of energy and raw tempting charging ears from the off and matched in strength by the vocals of guitarist Paul Morton. Hooks and rhythms swiftly collude to create a web of bait which alone grips the appetite, leaving the imagination to the vocals and the creative flames shooting from the guitars across its bows.

Inspirations for the band come in the shapes of bands like as Foo Fighters, Biffy Clyro, Truck Fighters, Led Zeppelin, and Queens of the Stone Age, and certainly a couple of those are influential hues to the grungy rock ‘n’ roll on offer. Eagerly driven by the formidable swings and tenacity of drummer Cree Hoggan, Shrapnel is a rousing, easy to enjoy persuasion.

We have yet to hear the rest of the EP it comes from but Shrapnel suggests that is also well worth checking out for similarly enjoyable hard-nosed rock ‘n’ roll.

Shrapnel and the On The Way Down EP are out now @ https://itunes.apple.com/gb/album/on-the-way-down-ep/id1056714108

http://www.maybeweredeadalready.co.uk/   https://www.facebook.com/maybeweredeadalready   https://twitter.com/mwdaband

Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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

Conquer Rio – Be My Lady

Conquer Rio band pic_RingMaster Review

Taken from their recently released self-titled EP, Be My Lady is a stirring and magnetic lure into the melodic prowess of UK band Conquer Rio. The new single is a blaze of pop rock as infectious as it is evocatively impassioned in sound and voice, the kind of back-up to an initial introduction sure to round up another horde of eager and happy fans.

Conquer Rio artwork_RingMaster Review     The seeds of the band in many ways go back to “a pair of children meeting in nursery for the first time.” They were Tom Jordan and Lewis Melia who linked up years later to form Conquer Rio in 2011. Taking inspirations from the likes of Biffy Clyro, Twin Atlantic, The Script, The Killers, Foo Fighters, and Arcade Fire into their own invention, the Warrington hailing band has increasingly drawn attention and support over the past years. The playing of the Etihad Stadium Magic Weekend twice, the Old Trafford Super League Grand Final in 2013, and supporting Scouting for Girls at the Warrington Music Festival are amongst their highlights to date; the release of their EP and now new single sure to rank up there as moments sparking new spotlights upon the band.

With a line-up of Jake Bate, Dan Cobley, and Ben Roberts alongside Jordan and Melia, Conquer Rio swiftly have ears enticed through a great opening bassline, its throaty lure soon joined by a spicy blues web cast by guitars and emotively strong vocals. The potent start only intensifies through a quickly upon ears rousing chorus, its infectiousness spreading to other elements of the song as things blossom into  familiar yet unpredictable temptation. From a gentle but inviting start the track continues to grow and build towards a tenaciously anthemic roar of a climax, and fair to say if early on only ears are involved in the song by its end Be My Lady has the whole body rocking and roaring along.

It is true that there are no major surprises within Be My Lady but also that Conquer Rio offer a track which has their creative character all over it, attributes only confirmed by the EP spawning the single. This is a band heading towards another busy year in 2016 and with songs like Be My Lady a very successful one.

Be My Lady is out now with the Conquer Rio EP available @ https://itunes.apple.com/gb/album/conquer-rio-ep/id1041643121

https://www.facebook.com/ConquerRio  https://twitter.com/ConquerRioMusic

Pete RingMaster 09/12/2015

Copyright RingMaster: MyFreeCopyright

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

Slow Riot – Cathedral

 

artwork_RingMaster Review

Eighties inspired post punk is seemingly on a surge right now, its seeds being blossomed into varied but distinctive incitements of sound and imagination echoing the genre’s origins. One such band making one of the most compelling persuasions is Irish band Slow Riot, a trio from Limerick who recently released an irresistible dark beauty in the shape of the Cathedral EP. The four track release is an evocation of shadows and solemn emotions cast in a creative calling on the imagination, but one equally bred with epic overtones and an emotive intimacy reflective of something found within its title’s landscape.

Formed in 2013, the threesome of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff recorded Cathedral with producer Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at the Manic Street Preachers’ Faster studio in Cardiff; additional assistance coming from in-house engineer Loz Williams and the Manics’ James Dean Bradfield through the offering of use of equipment and instruments. From the off the release stirs the senses and imagination but equally the physical body is also gripped by the forcibly rousing prowess and thick insistence of sound.

SR_RingMaster Review   The EP opens with the band’s new single Demons, the lone beats of Cosgrave luring in attention and appetite with an anthemic coaxing. The melancholic charm of Duff’s guitar is soon involving an emotive melody too, it laying evocatively over the persistent arousal of rhythms now also equipped with the solemn resonance of Clancy’s bass. His dour yet alluring vocals are close behind as the song brews more of a Joy Division meets Interpol like croon for a formidable captivation only enhanced by a more fiery nature emerging in the guitar and a flowing crystalline elegance spread by keys. Each element evolves new hues to the slim but varied layers as the track continues, it all building up into a strongly potent beginning to Cathedral.

It is a start for personal tastes quickly eclipsed by the next pair of songs though, City Of Culture the first up. A great scuzzy mix of guitar and bass aligned to boisterous beats sets song and ears off in eager union, a sparkling melody soon adding to the enticement as Clancy’s vocals’ twist around on the riveting web spun by all the already contagious elements. There is a touch of The Sound to the song but more so bands like Scars and Crispy Ambulance with the discordant clang of The Fire Engines in there for good measure. Ultimately though, these are spices only bolstering a virulent tempting unique to Slow Riot.

Just as stunning is the following Adele, a transfixing slice of dark balladry becoming increasingly infectious and addictive as sonic seduction merges with repetitious mastery around the thick potency of the vocals. A revolving incitement set somewhere between My Bloody Valentine, The Slow Readers Club, and Artery, the glorious track reveals not only more of the craft in songwriting and delivery of the band but also the depth of their sound’s imagination and diversity.

Cooper’s Dream brews a character more similar to the Joy Division-esque embrace of Demons, but again outshines the excellent start to the EP with its individual weave of sonic expression, haunting lingering hooks, and a just as enjoyably galvanic rhythmic recruitment of eager involvement. As the EP, the track worms under the skin, infects the psych leaving ingrained lures and rapture in its wake to ensure a perpetual return to its nest of climatic builds and roaring crescendos bound in melancholy entwined restraints is always a lively intent.

The track provides a superb end to a superb release, a full introduction to Slow Riot sowing the seeds to thick anticipation of their next move and lusty enjoyment in their first.

The Cathedral EP is out now via Straight Lines Are Fine @ https://itunes.apple.com/gb/album/cathedral-ep/id1007359990

https://www.facebook.com/slowriot.theband/       https://twitter.com/slow_riot_band

Pete RingMaster 25/11/2015

Copyright RingMaster: MyFreeCopyright

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

This Year’s Ghost – Yesterday Becomes Tomorrow Today

Band_RingMaster Review

This Year’s Ghost might not be a particularly familiar name for many right now but with more releases like Yesterday Becomes Tomorrow Today, it is hard to imagine that remaining the case. The five-track EP is a rousing blaze of anthemic melodic rock woven from the varied strains of alternative rock, grunge, and melodic metal, and though in some ways it is not particularly unique there is no escaping the fresh and arousing character to the roar of sound and release.

Formed in 2012, London hailing This Year’s Ghost consists of vocalist/guitarist Paul McKenzie, bassist/backing vocalist Joe Kusionowicz, and drummer Jake Tellinghusen. Last year saw the release of the Winter Earth EP, a release recorded with producer Meyrick de la Fuente. It was the start of a year which sparked good interest the way of the band, a UK tour and numerous other shows adding to the growing awareness of their emergence. Yesterday Becomes Tomorrow Today is the next step, a release sure to increase the swell of attention crowding around the band and alone reason why those in the know keenly shout about the trio’s compelling exploits.

THIS YEAR'S GHOST - COVER _RingMaster ReviewART     Recorded with producer Matt Hyde (Slipknot/Machine Head/Funeral For A Friend/Gallows), Yesterday Becomes Tomorrow quickly stirs up ears and an eager appetite with Death Of A Gift, its entrance of fuzzy guitar and brewing intensity a potent coaxing. In no time it is into a reserved but fiery stroll with the superb tones of McKenzie strongly impressing, as too the web of grooves and sonic endeavour escaping his guitar strings. Band inspirations include the likes of Biffy Clyro, Pearl Jam, and Alter Bridge, and fair to say in the opener alone you can feel those essences colouring the song’s inviting roar, but equally This Year’s Ghost casts its own identity in the rich melodies and vocal harmonies shaping the excellent drama of the song.

The stirring start continues with December Sun, a track featuring guest vocals from Stitch D of The Defiled. Straight away as melodic persuasion gallops in on hefty beats and grouchy bass, ears and appetite are gripped, even more so as the vocals croon with expression and quality. Though not as energetic as its predecessor, dynamically the song is a rampant stallion of sound and invention, its metallic side the flaring nostrils and melodic invention the heart of one impassioned and arousing encounter.

Carry Us In Blue similarly aligns a carnivorous rhythmic enticement, especially from the bass, with harmonic and melodic flames; the union breeding the emotive intensity escaping through the pores of the track’s tempestuous but controlled bellow. Whereas the first two songs immediately stir the senses and emotions, the third is more of a smouldering persuasion but one subsequently leaving ripe pleasure and a captivation of the over time. Though Silver Tongue hits with a swifter temptation it too blossoms more over numerous plays, its inflamed seduction a success unwilling to rush things but increasingly successful whilst adding to the rich enjoyment arising from Yesterday Becomes Tomorrow.

The EP is completed by the provocative infectiousness of Black Dogs, another where bass and drums are predatory, vocals and guitar sonically radiant, and all unite to craft a fire of imaginative sonic expression and intensive lyrical reflection, something which applies to the whole of the increasingly impressing release.

Bolder originality is the only thing you could offer up as something missing within Yesterday Becomes Tomorrow Today, an essence though easy to assume will emerge as the band evolves and grows. Other than that the EP borders on the majestic; a thickly pleasing proposition which might not change your musical life but easily doffer up This Year’s Ghost as a new long term friend.

The Yesterday Becomes Tomorrow Today EP is available now via iTunes.

https://www.facebook.com/ThisYearsGhost   http://www.thisyearsghost.com  https://twitter.com/thisyearsghost

Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

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

Calm For The Restless – Destroyed But Not Defeated

Calm For The Restless Promo shot_RingMaster Review

Roaring out of Hertfordshire, British alternative rockers Calm For The Restless show that the early promise of debut EP We Started A Fire from a couple of years back has, if not yet come to full realisation, been honed, reinforced, and expanded with Destroyed But Not Defeated. The band’s second EP is a roar of sound and passion which persistently grabs the imagination. At times its songs do undulate in success with personal tastes but from start to finish the encounter has ears involved and attention held whilst brewing a want to hear more.

The beginnings of the Stevenage quintet go back to 2007; the band founded by vocalist Don Macauley and rhythm guitarist/backing vocalist Mart Bradford. Drummer Mike Westwood was soon enlisted but other line-up and location issues led to the band going on hiatus before returning in 2012. The trio recruited bassist Mark Randall not long after, with lead guitarist Tom Holbrook linking up the following year. We Started A Fire was also recorded and released in 2013 too whilst around it and since, the band has been a hive of live activity across the south of England. Now Calm For The Restless are pushing forward with the national release of the enjoyable Destroyed But Not Defeated EP, an encounter fair to say revealing and revelling in, the open potency of the songwriting and sound of the highly accomplished outfit.

Calm For The Restless Cover Artwork_RingMaster Review     Musically Calm For The Restless embrace ears in tenacious rock ‘n’ roll taking inspirations from bands such as InMe, Incubus, Biffy Clyro, Muse, Billy Talent, Brand New, and Foo Fighters, and it is the latter which is most comparable to the rousing After Tonight which opens up the release. Guitar and energetically jabbing beats engages ears first, their inviting bait soon enveloped by but still adding to an infectiously lively stroll of riffs and tangy grooves. The drums sticks of Westwood are a rapid blur of rapier like rapacity from the start and remind as gripping within the now slightly more restrained gait of the song. The expression rich voice of Macauley equally makes a potent impact, his entrance seeming to spark even more eagerness in the melodic and grooved resourcefulness of the band whilst the song’s chorus is thick with Dave Grohl and co flavouring, a spicing which only lures ears deeper into the captivating tapestry of the song. The band’s current single, it is a thrilling welcome to band and release and one reason alone to go check Calm For The Restless out.

The following Shadow Of A Man opens on a warm but almost sombre enticing which soon blooms into an emotive reflection of melodies and voice. Guitars caress and suggest before rhythms incite a more boisterous blaze of intensity and sound for the chorus, though it is a slim crescendo in the mellow impassioned landscape of the song which seems to add just a little more angst and drama each time it erupts. The track fails to make the same impact of its predecessor but across its fascinating body, Calm For The Restless spin a weave of inventive twists and imagination sparking sounds to keep intrigue and interest high.

The excellent Blue comes next, bubbling sound the first beckoning, jabbing riffs, rumbling rhythms, and the ever alluring tones of Macauley the even more gripping second. Billy Talent is listed in influences to the band and though sound wise they are wide apart, the sculpting and thoughtful yet organic use of anthemic hooks and angst fired passion mutual skills. The track just grows within ears, every passing minute more enthralling and tempting than the last until it becomes a fire bursting with sonic flames and burning energy, all the time licking at the senses with just irresistible hooks.

Lost To The Ocean like the second song is missing something compared to those around it but again its catchy tone and creative pop punk like character only leaves a good and persuasive time behind. There is a glimpse and at times a loud whisper of distinctive ideation and uniqueness across Destroyed But Not Defeated, and yes here too but not as openly and vibrantly which is maybe why it lacks the richness of temptation of say Bury Me In The Waves, its predecessor. To balance that though the penultimate song still leaves full contentment in ears and thoughts before the closing encounter slips on sultry acoustic charm to fascinate with. Increasingly more dramatic and intensive as it grows, the song from a good if unsure start brews up into another highly pleasing and provocative roar from Calm For The Restless.

The potential of the band’s first EP is a ripened if not yet fully developed promise in Destroyed But Not Defeated but offering a wider and fuller look into the creative depths and imagination of the band. They feel like a band on a mission musically and emotionally and with more steps as potent as Destroyed But Not Defeated one suggests bright times ahead.

The Destroyed But Not Defeated EP is available digitally from September 4th through all stores.

Pete RingMaster 04/09/2015

Copyright RingMaster: MyFreeCopyright

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