Sonic Tides: talking Oceans with guitarist Tom Hollands

The release of a new EP suggests 2018 is set to be a potent and busy year for Brighton, UK based Oceans. It is a multi-flavoured, ear grabbing incitement of the band’s post hardcore and alternative rock blended sound building on their previous encounters whilst venturing into new imagination. We recently had the pleasure to dive into Oceans and their new offering with guitarist Tom Hollands, exploring their beginnings, fresh endeavour and more….

Can you first introduce the band and give us some background to how it all started?

Much like the actual Oceans, we are a band made up of 5 mostly water based entities: Zach Silver – vocals, Conor Hyde & Tom Hollands – guitars, Jack Warren – bass and James Gillingham – drums. We all either lived, partied or performed alongside each other before the current line-up was formed, that and our shared desire to create made Oceans happen!

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Collectively we’ve all played in bands or made music of many different genres. Perhaps without being fully aware of it we draw on this when writing – We’re all quite different as musicians too so I think we’re bound to end up with quite an eclectic sound.

What inspired the band name?

We came to Brighton and based it on things we saw – So it was either something to do with seagulls, falafel (love it), or the ocean… No unfortunately that’s not true; our guitarist Conor got it from a Mallory Knox song!

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

The idea has always been to try to make music that we love and hopefully others do too, and to do this as a career – We always strive to be somewhat original yet familiar enough to still fit into a scene.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Most of us didn’t have any real direction until we decided to pursue music. We also love playing live and like most bands can’t wait to hopefully play to bigger crowds and do more tours!

Since your early days, how would you say your sound has evolved?

We’re evermore critical with our songwriting and I’d say we’re starting to really refine our sound – The music has grown darker sonically and thematically and we’ve tried to strike a balance between more poppy hooks and heavier riffs.

This has been more of an organic movement of sound or more the band deliberately trying new things?

Although it’s felt like a natural progression, we’re actively trying to make the best songs we can and sometimes that means tearing apart or scrapping ideas we’ve worked on for ages and doing something completely new instead.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

We all have rather different tastes in music; artists that have had a considerable impact on us are Incubus, Don Broco, Black Peaks, Deftones, Marmozets… There’s so many. We’ve heard of some bands that will try dozens of different melodies or ideas before settling so we’re just trying to be as critical as possible!

Is there a regular process to the band’s songwriting?

We don’t have a set method, however it usually starts with guitar riffs written at home and then built upon bit by bit in rehearsals. We all have a say in every part of the process so it really is a collective effort. Now we do demos and backing tracks to try out synths and things like that.

Where, more often than not, do inspirations to the lyrical side of your songs come from?

Our singer Zach writes the lyrics – Subject matter is usually based on personal struggles or stories relative to what’s happening in our lives (get over ourselves, right?) – We try to leave things open to interpretation, we want our audience to be able to relate.

Could you give us some background to your latest release?

Our new EP, Far From Composure dropped on March 13th. It’s available on practically all platforms and we see it as a big milestone for Oceans.

How about some insight into the themes and premise behind it and its songs?

Thematically the EP spans elements of coping with mental instability and it’s causation due to physical condition, relationships with yourself/others, escapism… The premise of this EP was to really capture our progression as a band from previous works and most importantly create something very emotive that connects with listeners. We also wanted to write big riffs, hit stuff and make loud noises.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Our intention has always been to enter the studio with finished songs, however we always end up adding bits and pieces and coming up with extra ideas – We actually recorded a whole extra song last time!

Tell us about the live side to the band?

We play with a lot of energy and really like to throw ourselves about, I’d like to think if you don’t enjoy our recorded music at first our live set would… Captivate you… (Pun FFO Marmozets…)

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

It can be tough for any new band to branch out from their hometown and it certainly hasn’t been any different for us. It helps being driven for sure – We lost count long ago of the amount of gigs we’ve played around trying to make a name for ourselves. We’ve had our fair share of bad luck but we’ve found that the harder you work the more chance of creating positive opportunities you have – Though there are many other factors to consider!

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Social media has played a big part in enabling us to reach people we otherwise wouldn’t have been able to. However, working round changing algorithms and the like can be difficult when trying to connect with fans (Or gain new ones). It’s a big discussion, though now it’s pretty much a necessity for new artists to engage in social media. Like with anything, it’s really about figuring out how to utilize it most effectively for your band, we’re definitely still learning! I’d say do what you can without losing sight of what’s important, the rock and/ or roll (or whatever genre you play). Cliché I know…

For further dips into Oceans check them out @

https://www.facebook.com/pg/oceansukband   https://twitter.com/oceansukband     http://instagram.com/oceansukband   http://oceansuk.bandcamp.com

Pete RingMaster 13/04/2018

Copyright RingMaster: MyFreeCopyright

Puppet Kings – Very Cool & Groovy

With its title pretty much summing up its contents, the Very Cool & Groovy EP is the new offering from UK rockers Puppet Kings. Enticing ears with four tracks of beefy riff loaded rock ‘n’ roll, the release easily has attention in its hands rewarding it with a thoroughly enjoyable time.

Formed around 2011/12, Puppet Kings emerged from the ever potent Brighton music scene though the trio is now based in the Surrey/West Sussex/South London area. A self-titled debut EP was well-received in 2012; a strong introduction subsequently followed with increasing success by the single The Gift That Keeps Giving of the following year and the Timebomb EP in 2015. Those encounters coincided with a growing reputation gaining live presence which has seen Puppet Kings share stages with the likes of Skindred, Therapy?, Kobra & The Lotus, Sons Of Icarus and We Are The Ocean, Black Peaks, and Heck a ross the UK over the years. Fusing hard and classic rock with metal bred strains for their eventful sound, the threesome of guitarist/vocalist Tom Cochrane, bassist/vocalist Neil Sawyer, and drummer/vocalist Harry Lehane are now hungry to provoke bigger attention with Very Cool & Groovy.

It opens up with the swiftly captivating Wanderlust, riffs and melodic enticement soon colluding in their persuasion of the listener. Probing rhythms court the sultry grooves emerging within the heated and quickly infectious proposal; strong and similarly alluring vocals completing the tempting scene. There is a swing to the song’s gait and magnetic enterprise in its melodic and sonic interplay while the chorus is one where it would simply be rude not to join in with.

The excellent start is followed by the similarly spicy and tenacious Taurus. It too has a tempting range of jagged hooks and nagging riffs to get caught up on whilst the band’s potent vocals spark as magnetically as the inventive web cast by Cochrane’s guitar. As with the first track, there is something familiar to the song though nothing easy to pin down, just an overall feel to its otherwise individual hard rock nurtured rock ‘n’ roll.

Latest single Rich N White comes next with blues lined grooves teasing and taunting the senses as bass and drums stroll. Though maybe not the song we might have chosen for its lead single, there is no escaping its instinctive catchiness and the accomplished craft shaping its increasing persuasion, the song simply growing in pleasure listen by listen. Equally it shows the lyrical presence of the band is no lightweight proposal either as the song looks at the current state of the world before Other Side brings the release to a close. Straight away it is swinging with juicy grooves as riffs press and rhythms jab, the bass carrying an inviting swagger alongside more of the band’s enticing vocals. The chorus does not quite live up to the build-up, its moment a touch predictable compared to the inventive enterprise and imagination leading up to it but again listener involvement is easy as Very Cool & Groovy proves its name is as apt here as anywhere within its appealing body.

Whether Very Cool & Groovy is the break through moment for Puppet Kings time will tell but if not its potential suggests that the moment is on the cards while giving ears a rather pleasing time.

Very Cool & Groovy is out now @ https://puppetkings.bandcamp.com/

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

Pete RingMaster 04/09/2017

Copyright RingMaster: MyFreeCopyright

Kovax – If There Was Ever Any Doubt

Since emerging around the time 2015 turned into its successor, UK outfit Kovax has been busy creating and earning a potent reputation for their alternative rock nurtured sound. Now they release If There Was Ever Any Doubt, a debut EP which suggests busy will become hectic as the Leeds hailing quartet awakens the ears of national attention and more.

Musically, the band sits creatively between the likes of Japanese Fighting Fish, Black Peaks, Refused, and Reuben and as for so many, they caught our ears with the release of their two track debut single Godot soon after coming to light. It was an offering drenched in potential now boldly realised within their first EP; an ear pleasing enterprise which If There Was Ever Any Doubt pushes to new imagination. Since that first encounter, Kovax has released its successor in Monkeys to a similarly potent welcome and shared stages with the likes of Youth Man, I Cried Wolf, and Nova Hands across the UK. Last December, Pete Freeth, Joe Phillips, Isaac Turner, and Dan Hey entered the studio to record If There Was Ever Any Doubt, its release in May surrounded by the band’s ever busy live exploit.

Breathe starts things off, the song instantly dousing ears in a tide of melody infused riffs as Freeth’s distinctive voice provides an expressive growl to already appetising proceedings. Dropping into mellower moments with keen hooks the track continues to grab attention, the calm leading to rousing crescendos which seem to become more inflamed with every outburst. With rhythms commanding and backing vocals eager, there is little escape from the song’s temptation, its more tempestuous air adding greater bait to devour before Atlas strolls through calmer waters. It is a restrained climate though still holding a volatile air in its surroundings, shadows which at times ignite with punkish tenacity and energy around equally controlled vocals and melodic persuasion.

It is a strong back-up to the impressive start to If There Was Ever Any Doubt but both tracks are eclipsed by the final pair with Waves first up. From its great nagging lure of riffs to its imposing rhythms and striking vocal dexterity, the irresistible encounter has ears and imagination enslaved.  There is mischief in its voice and hooks, devilment in its boisterous interplay of textures with even the more controlled moments having their own strain of punk fuelled enterprise; a mix which simply leaves a greed for more.

Final track Kennel is not slow in satisfying the hunger, its voracious collusion of angular hooks and spiky riffs aligning with grumbling rhythms and a theatre of voice amidst calmer suggestion. It all makes for an almost schizophrenic tapestry of sound and enterprise driven by a similarly volatile energy and invention. As its predecessor, the track rigorously impresses. The two tracks are easily the finest proposals from Kovax to date backed by another pair which do not lag behind on infectious invention and creative zeal either.

Their first two singles suggested big things could be on the horizon from Kovax, their debut EP confirms it but with the promise of even broader success ahead of them if they continue in the inventive and compelling vein of If There Was Ever Any Doubt.

If There Was Ever Any Doubt is out now on iTunes @ https://itunes.apple.com/gb/album/if-there-was-ever-any-doubt-ep/id1219359665 and other online stores.

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

Pete RingMaster 09/05/2017

Copyright RingMaster: MyFreeCopyright

Falls – Cream EP

falls-promo_RingMasterReview

As its fifth month swung and revelled in the noisy, raucous, and ridiculously addictive strains of eclectic rockers Falls, so the final throes of 2016 have been ignited in the best possible way with the Welsh band’s new EP. Cream is the creatively salacious sister to the earlier acclaimed One Hundred Percent Strong EP, itself a proposition as inimitably rousing and twisted as its breath-taking successor now proves to be.

Emerging in 2013, Falls had a great many of us intrigued and hooked by following year with their debut EP Dirtbox. Self-tagging their sound as gash pop/fuck rock, it romped and enticed ears and psyche into the Flintshire quartet’s devilish bedlam of imagination and sound. Its success and the band’s swiftly growing reputation was cemented and accelerated by a live presence which saw a constant wave of new fans won and stages shared with the likes of God Damn, Blacklisters, Press To MECO, and Black Peaks around tours with others such as Allusondrugs and Shikari Sound System. As their two track single Mastiff in 2015 saw a new essence of control and imagination blossom in the band’s sound so One Hundred Percent Strong took things to another level with its bold maturity and skilled quick fire twist and turns. Cream is more of the same but at times showing an even keener touch in anthemic aggression and headstrong invention.

As its predecessors, the heart of the new EP is an unruly party clad in the insatiable hunger of a myriad of styles and flavours. Maybe best described as Asylums meets Hawk Eyes under the psychotic guidance of Jane’s Addiction, it grips ears and hips straight away as opener Berries! prowls with surly riffs and firmly kissing beats. With a touch of groove metal to its heavy harmony basted rock ‘n’ roll, the track flirts and rumbles, soon embracing the warm vocal tones of guitarists Martin Gallagher and Philip Kelsall alongside those of bassist Ben Griffiths as it erupts and calms across its virulent canter. Driven by the heftily persuasive swings of drummer Steff Jones, it quickly recruits body and appetite, rewarding them with mischievous dips into stoner and glam pop temptation.

cream-artwork_RingMasterReviewThe irresistible start to the EP is only accentuated by Daytime N U, a sweet talking romancing of the senses with warm vocals entangling a funk infested groan of bass amid energy dictating beats. Once into its fiery stride with the guitars casting spicy flames around the mellow charm of the vocals and the metronomic infection of the rhythms, the song shows itself a master of body and spirit. System Of A Down is often used as a reference to Falls, maybe not so much in its sound but the unrelenting hunger and craft at turning on the spot through a kaleidoscope of textures and twists; the second track reveals exactly why.

The punk roar of Live Delicious is next, leaping at ears with brawling energy and vocal irritability. Underlining it as ever is a funk bred contagion, reserved right now but just waiting to grab those eager hips as riffs growl and grooves sear. As carnivorous as it is inescapably infectious, the track vociferously snarls and incessantly bounces like a pissed off raptor yet still finds room for a chorus which breeds only addiction.

Cream closes with the epidemic of pleasure that is Liberator. At times as grouchy as its predecessor and as dynamically catchy as anything offered yet by the band, the track bounds through ears with the instinctive aggressive pop of Baddies aligned to the sinewy weight and attitude of Reuben, Pulled Apart By Horses like melodic flames licking their collusion as the funk psychosis of a Halfling’s Leaf plays. The result as ever is something distinct and unique to Falls providing an exhilarating end to another attention stoking triumph from one of the UK’s most exciting bands.

The Cream EP is out now via Naughty Strawberry through http://fallsband.co.uk/

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

Pete RingMaster 06/12/2016
Copyright RingMaster: MyFreeCopyright

Eight Days – More To Life

eight-days-band-promo-shot_RingMasterReview

Seemingly tagged as melodic hardcore more often than not but showing a hefty side in hook laden punk rock in their new proposition, British trio Eight Days is one of those bands knocking on the door of broader attention. Since emerging on the first breath of 2014, the London based outfit has earned a reputation of being one of the more potent forces within the underground scene. Evidence of that strength linked with a generous invention for ears and imagination to embrace can be found in the More To Life EP, a release suggesting that Eight Days might soon be going above ground to tap into national attention.

With inspirations said to come from the likes of Norma Jean, Black Peaks, Blink 182, and Yellowcard, Eight days released their debut at the end of their first year. The well-received No Idols EP was followed by the band rampaging across the UK on numerous tours before sophomore EP, Surrounded By The Ones Who Want Me To Fail, was unveiled to greater acclaim, proving that the months had also seen the band’s songwriting and sound blossoming.

More to Life is another step forward in all aspects by Eight days, a quartet of songs as raw and emotionally intrusive as they are fiercely infectious with dramatic hooks and surprising twists to the fore. There are still areas where uniqueness is a less obvious proposal but continuing as they are, that is something easy to suspect being remedied in the future.

eight-days-cover-artwork_RingMasterReviewThe EP opens up with Was It All Worth It and straight away the track has attention hooked as a melody, with a mix of warmth and shadow in its character, wraps enticingly around ears. A rising storm of rhythms led by the feisty beats of  Lewis Fife with the brooding rumble of James Carty’s bass alongside soon join the invitation, it all taking the listener into the turbulent yet catchy heart of the song where the guitar of Ben Brazier casts suggestive melodies and inventive hooks around his emotion flushed vocal squalls. It is a potent mix captivating from start to finish, melodic and post hardcore textures engaging each other in an arguably less than original but certainly potent way for a strong start to the release.

The band’s imagination kicks up a gear from hereon in starting with Unclear as the threesome bring some stronger punk rock elements into their bruising dramatic roar. Carrying a touch of Cancer Bats to its bellow, the second song bounds through ears with venom and animosity though again the instinctive catchiness of their song’s gaits and swinging rhythms make it all very enticing. Spicy hooks and unexpected twist and turns in the imagination of the song makes it stand out in no time, group shouts and the predatory growl of the bass adding to a creative drama not as obvious in its predecessor.

It is a fresh invention and boldness even more persuasive in the following Counterweight. From its first breath, the song is throwing tangy grooves and virulent hooks at the listener while Brazier’s throat is raw through ire fuelled confrontation. The track is irritable rock ‘n’ roll, an irrepressible trespass on the senses and the biggest highlight of the already impressing release.

A growling grouchy bassline opens up final track Walls; hard and melodic rock spiced flavours mixing with the band’s instinctive aggressive enterprise. At times a twist away from taking best song honours from its predecessor, the song is a fine end to a very satisfying release.

More To Life is proof that Eight Days are something fresh in a crowded melodic hardcore scene and once they find that real uniqueness there may be no stopping them.

The More To Life EP is out in stores on Friday 14th October and @ https://eightdaysuk.bandcamp.com/album/more-to-life and http://eightdaysuk.bigcartel.com/

https://www.facebook.com/EightDaysUK  https://twitter.com/eightdaysuk

Pete RingMaster 13/10/2016
Copyright RingMaster: MyFreeCopyright

Hercules Morse – Equine Size Comparison

hercules-morse-online-promo-shot_RingMasterReview

Last December saw British alternative rock quartet Hercules Morse impress and grab attention with the release of debut EP Edge Of Life. It was a vigorously infectious collection of songs seeded in the rousing rock ‘n’ roll of bands such as Foo Fighters and Queens Of The Stone Age. There was also an unmistakable individuality in sound and character of songwriting to the release which suggested the Southampton hailing band had something fresh to share with the British rock scene. Its successor Equine Size Comparison confirms that thought and more, offering five tracks which grab ears with their invention and again mercilessly catchy prowess. It continues from where its predecessor left off, inciting the listener in spirit and body while revelling in another step forward in the imagination of Hercules Morse.

With shows alongside the likes of Turbowolf, Band of Skulls, Brant Bjork, Tiger Cub, Orange Goblin, Black Peaks, Blaze Bayley, and Dinosaur Pile Up under their belts since forming in 2014, Hercules Morse have earned the praise and support of various UK magazines, music sites, and radio shows through their energetic live presence and that impressive first EP. As the quintet of virulence posing as songs grips ears here, it is easy to expect the same kind reactions for Equine Size Comparison but in greater eagerness and across broader spotlights.

As with previous songs, the new EP mixes the familiar with new imagination resulting in encounters which instantly feel like existing friends while venturing into fresh pastures. It all starts with Asleep At The Wheel, a proposition entangling ears in bluesy grooves and swinging rhythms from its first breath. Riffs and hooks are as quickly in the mix, all inviting the listener to take notice as melodies and the potent vocals of rhythm guitarist Steve George stroll the weave of persuasion. The growl from the bass of Paul Shott colludes devilishly with the scything swings of drummer Guillaume Redonnet-Brown, both driving the energy and heart of the song as lead guitarist Harry Gardner spins imaginative melodies while vocally backing George.

hercules_morse_-_cover_artwork-jpg_RingMasterReviewIt a powerfully infectious and anthemic start which simply continues through The Boss, a song with as many similar lures to its body as new twists and turns to get the teeth into. There is a swagger to the track which borders mischievous, rhythms at the core as it flirts and the band roars musically and vocally. As with the last EP, there is no escaping Josh Homme/ Dave Grohl led influences across Equine Size Comparison and especially this second song though at times it equally reminds of nineties UK band Skyscraper while simultaneously exploring its own adventure.

Nobody’s Fool has a slightly mellower energy though rhythmically it still has a bite and imposing charm driven by the naturally infectious craft of the band. Caressing ears with its lively melodic enterprise, the track easily captivates, if without sparking the spirit as mightily as those around it, before Do It Right strolls in on a dark almost predacious bassline aligned to matching riffs. In no time though, the band uncages another virulent saunter; hooks and grooves equipped to seduce and rhythms loaded with fiercely enticing bait as vocals swing from lure to lure with matching energy and character. Rock ‘n roll does not get much more contagious than this song and indeed the EP in general as proven by its final treat.

Offering an opening prowl of riffs and tempestuous eruptions reminding of Billy Talent, Chemical Lullabies proceeds to blend its own calmer melodic moments with fiery exploits; the Canadian band continuing to be a suitable reference to a thoroughly enjoyable and increasingly gripping proposition. It is a mighty end to a powerfully engaging and enjoyable next step from Hercules Morse, a band heading in the right direction to awakening the hungriest spotlights.

Equine Size Comparison is out now @ https://herculesmorseuk.bandcamp.com/album/equine-size-comparison

http://herculesmorse.co.uk/   https://www.facebook.com/herculesmorseuk   https://twitter.com/herculesmorseuk

Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

Falls – One Hundred Percent Strong

FALLS Promo_RingMasterReview

We all have bands, and no doubt many, which almost with their first creative breath spark an instinctive and lustful affair between their sound and ears. For us UK noise poppers Falls is one such union, a riotous quartet which spins webs of invention so contagious that they make the common cold seem lazy. Back in 2014, the band had us hooked with their self-tagged gash pop/fuck rock via the Dirtbox EP. Now they have unleashed its successor, One Hundred Percent Strong; a bigger, bolder, and even more devilish affair to rapture over.

Formed in 2013, Falls has been a hungry and irresistible live presence from day one, tours and shows with the likes of Allusondrugs, Shikari Sound System, God Damn, Blacklisters, Press To MECO, and Black Peaks among their own headlining conquests. The Dirtbox EP equally sparked attention upon its release, eclipsed the next year by the band’s two track single Mastiff which saw a host of radio play and support from the likes of Huw Stephens, Zane Lowe, Steve Lamacq, Alex Baker, and Sophie K. Ahead of a co-headlining tour with I Cried Wolf and an appearance at ArcTanGent in August, Falls is now uncaging One Hundred Percent Strong, a four-track stomp sure to outshine its predecessors in acclaim to match the leap in sound and invention.

There is a more mature and accomplished feel to the songs with the band’s latest offering, but without defusing the loco imagination and quick fire twist and turns which have already marked out their sound and imagination. In fact those elements have been honed with an even keener creative devilment to keep ears and the imagination as busy as the song’s instinctive rock ‘n’ roll does the body. With everything combined, Falls’ music is like a mix up in a noise infested pop factory blending early XTC with Hawk Eyes as seepage from Melvins adds a thrilling contamination.

front cover one hundred percent _RingMasterReviewIt all starts with the kinetic shuffle of Get Well Soon; a track instantly accosting ears with throbbing bass grooves and rolling beats as the guitars of Martin Gallagher and Philip Kelsall perpetually cast wiry hooks and teasing riffs. That alone is enough to infest the psyche and lift the spirit, but add the rousing vocals of the band, with one of the three string pickers leading though no idea which, and you have instant emotional arousal. The track continues to swing and thump, even as its pop fuelled chorus dances provocatively on the imagination. It is simply glorious; we all find manna for the ears in certain songs and this is ours.

Though it is quickly matched by the even more tenacious and slight psychotic Shady Nasty. Again grooves and hooks are swift bait around the lively inviting beats of Steff Jones with the band’s vocals further harmonic and mischief making fun. There is also a volatility to the encounter, at times it almost intimidating ears with the resonating snarl of Ben Griffiths’ bassline a prominent enticement though it is just as compelling in the warmly flirtatious moments too.

SWARM comes next and lives up to its name as riffs crawl incessantly through ears, though there is no particular urgency to their incitement. Instead the song writhes around with steely grooves and off-kilter exploits within a web of punk hooks and noise rock sensibility. Ultimately, it is as funky as it is ferocious, as poppy as it is cantankerously inventive and pure alchemy for the senses and at this point our very greedy appetite for the release.

There is no relaxing of the twisted tempting and addictive ingenuity with closing track Death In Disco Shoes either, the track leaping around like a hyperactive sugar fuelled teenager not knowing whether to party hard or be creatively responsible and doing both with unbridled zeal.

It is an exhilarating end to one of the year’s major propositions so far and no doubt will remain so. Falls and One Hundred Percent Strong are noisy, raucous, and prone to addictive habits; the very best kind of rock ‘n’ roll.

The One Hundred Percent Strong EP is out now via Venn Records digitally and on 7” vinyl @ https://www.vennrecords.com/shop/music/fallsvinyl/

https://www.facebook.com/fallsband   http://www.fallsband.co.uk

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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