Murder FM – Happily Never After

murderfmcover_RingMaster Review

Murder FM is another band which over recent times has been the subject of enthusiastic talk, their live presence, EPs, and singles sparking increasing awareness on both sides of the Atlantic. Now the band is poised to release their debut album and show all what the fuss is all about. Happily Never After is a rousing proposition, a collection of skilfully crafted and creatively eventful songs that just seem to lure attention back time and time again. It is hard to say that the release constantly set a fire going in the passions or is going to send a major tremor through the metal/rock scene, but there is no escaping that Happily Never After leaves ripe enjoyment whilst making a potent springboard for future and bolder Murder FM adventures ahead.

Hailing from Dallas, the band has persistently enticed ears with their tenacious fusing of varied rock essences and industrial bred metal. Early singles alerted a great and increasing many to their presence, lures reinforced by a reputation gaining live presence and a host of impressive videos, all luring in fan and media appetites alike. Over time the band has supported and shared stages with the likes of Rob Zombie, Deftones, Five Finger Death Punch, Black Veil Brides, Korn, Sick Puppies, Lacuna Coil, Pop Evil and many more across the US and into Europe. More recently the quartet of Norman Matthew (vocals, guitar, programming), J6 (bass, backing vocals), Matt X3r0 (guitar, backing vocals), and Jason West (drums) signed with Famous Records Global for the world-wide uncaging of Happily Never After, easily the strongest step yet in the band’s continuing ascent.

MFMREVOLVER_RingMaster Review   The album opens with Legion, a track which is in no hurry to own ears but instantly springs a web of engaging rhythms and electro bait crowded with enticing vocal roars. It is a restrained yet compelling lure which is soon stirring up a nest of fuzzy riffs and electronic sizzling as vocals prowl and in turn launch the anthemic heart of the track. In no time the song has an air of Korn meets Dope to it but equally has a scent of artists like Marilyn Manson and Society 1 whilst creating what is not exactly unique but certainly an organic character of its own. It is a magnetic and blistering start to the album, a masterful trap which has ears and appetite on board ready for what is to follow.

We The Evil is the immediate proposition, it similarly brewing up an industrial seeded tempest of sound rife with sinew swung beats and grouchy riffs from bass and guitar. Vocally too, there is nothing but attitude as well as great diversity as the band, led by Matthew, all add their individual and eager tones. Even stronger Manson like colouring wraps the track as it stirs up the blood and imagination, powerfully backing up its predecessor without major surprises but plenty of tasty endeavours.

The bruising weight and carnivorous riffery of Last Breath captures ears next, the gnawing of guitar on senses swift infection which only increases as the band imaginatively slips into mellower melodic scenery. With vocals matching the slightly calmer waters, it is a tantalising twist which becomes part of a great revolving surge across the rest of the track through both textured extremes; its success emulated by the punk/alternative metal hued Machine Gun Kisses which again has a Korn-esque feel to its rapacious enterprise and contagious swing.

Four tracks in and Happily Never After is on a thick roll of adventure and persuasion, and as if it ‘knows’ full persuasion is in hand, from this point begins exploring far more boldly varied and unique pastures. Firstly Burn steps forward with a Deftones meets Cold like offering, to be followed by the grungier metal soaked Slaves, both increasing in sheer magnetism over time. The industrial nature of early songs is now a more distant whisper, as Murder FM shows more resourcefulness and imagination in songwriting and sound, it is still not game changing but brings a fresh unpredictability and spice to ears and release.

We get slithers of Black Veil Brides and My Chemical Romance in the classic/modern heavy rock shaped Lethal Lovers next, essences which just seem to work if adding open familiarity to proceedings, whilst Like Glass offers an electronic coaxing and evocative keys initially, before creating its own emotional and musical drama honed from the same kind of template as its predecessor. Neither track matches up to the songs before them but it would be unfair to say they left satisfaction and a want to hear more barren.

With Happily Neverafter and Rainy Day Parade, Murder FM again please without finding the key to stronger reactions, and for personal tastes Happily Never After plays like a release of two halves, the first a storming and irresistible anthem of sound and insatiable energy and the second though arguably the more creative theatre of invention and adventure on the album, after Slaves lacking the kick and incendiary elements to incite the same instincts and thus passions.

Completed by a corrosive remix of We The Evil by Tommy Lee, Happily Never After is nevertheless nothing but enjoyment from start to finish and easy to recommend all taking a good listen to at the very least. We can only think Murder FM will get bigger and bolder with every passing release as the potential in this first album is realised with fresh imagination and originality. A happy thought indeed.

Happily Never After is available from August 7th via Famous Records Global with worldwide distribution by Pavement Entertainment.

https://www.facebook.com/pages/Murder-FM-Official     http://www.murderfmmusic.com/

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

Falling Red – Empire Of The Damned

Falling Red Online Promo Shot

    There is something very familiar about Falling Red and their explosion of heavy metal soaked with dirty hard and sleaze rock fire, a fusion which wakes up the passions like a merger of Motley Crue with Black Veil Brides and Black Stone Cherry. That aspect though is only a positive in the hands of the UK band which picks up well-trodden and arguably exhausted existing enterprise and brings it back to life in an invigorating and thrilling contagious rampage distinct to themselves. New album Empire Of The Damned is a storming riot of addictive hooks and incendiary grooves thrust into the heart of high octane anthemic and hard hitting rock ‘n’ roll. There is an eager buzz around the band right now and the album shows exactly why.

     The Carlisle band formed in 2007 and has been stirring up audiences earning a strong reputation from almost day one with their renowned and incendiary live performances. Over the past years Falling Red has supported the likes of Sebastian Bach and Steel Panther, to strong acclaim, and sparked further attention with the Hasta La Victoria Siempre EP and 2010 debut album Shake The Faith. With successful headlining tours also under their belt the quartet of vocalist/guitarist Rozey, guitarist Jayde Starr, bassist Dann Marx, and drummer Dave Sanders set about creating and recording their Pledgemusic funded second album with Matt Elliss (The Black Spiders, The 1975), the mastering undertaken by Pete Maher (U2, Rolling Stones, Linkin Park) last year. Consisting of eleven insatiably ravenous and passionate encounters, the release is an anarchic and belligerent blaze of virulent rock infectiousness which easily ignites the senses and emotions.

     Opener Time To Rise is a short scene setter, a breeze of melodic guitar behind defiant words which raises its temperature and cult cover lrgintensity the further it declares its intent before a closing gentle coaxing makes way for the immediately antagonistic The Devil You Know. Punchy beats and energy charged riffs stalk and stroll through the ears whilst the vocals of Rozey hold a mischief to their fiery tempting. It is not a dramatically imposing and striking track but one which wakes an eager appetite for the album and gives a healthy indication of what is to come. Skilfully presented and fired up with an obvious passion, the song makes an infection clad access into the album.

    Its potent invitation is soon put in the shade by the outstanding We Escaped A Cult, the new video single from the band. A radiant drizzle of guitar elegance provides the first breath of the song with skittish percussive invention dancing around its luring as Rozey again picks up strong attention. Soon into its heavy stride the track stomps into the imagination with addiction forging grooves and again openly predacious rhythms but equally with a charm and devilry that leave the emotions alert and enthused to join the action. With a Manson-esque swagger and great anthemic group vocals equally as flirtatious with the passions, the contagion is a masterful and thrilling encounter.

    The groove driven Break Me takes little time in stealing its slice of the brewing fixation with the album, the sinew framed romp of taunting rhythms and toxically virulent riffery irresistible with the bass of Marx not for the last time having delicious rapacious savagery to its tone. That lure makes a similar call on the next up Outcast, Marx leading the song into another instantaneous and virulent temptation on the emotions. Shadow cloaked at the start evolving into a melodically flaming blaze of hungry rhythms and bold sonic causticity, the track then takes its allurement up multiple degrees with one of those salacious grooves which street corners were made for. It is a beast of a song with enticing of epidemic proportions as it makes a riotous rival for best song honours.

    The exciting stature of the album is continued with Disposable, a twisting and swerving hook driven song with more enjoyable toxic bait than a rat trap, and the title track, though the second of the two takes longer to make its full persuasion. From an accomplished and engaging slow start the song is soon flexing muscle and intensity with passionate melodic and vocal expression to feed intrigue and satisfaction. It does not make the swift union of other songs with emotions even though everything about it sweats craft and enterprise. As suggested given time the track does reveal a depth and strength which is hard to dismiss or avoid as it adds another strong aspect to the album’s impressive character.

     As The Defiled reminding We Are Reckless and the punk toned rocker No Sanctuary step forward with their irrepressible energy and adventure pleasure is kept at a high even if passions may be less intensively ignited, both nevertheless high octane provocations which still only invite eager attentiveness. The album is certainly stronger in its first two thirds than its last but as the scintillating predatory Lonely Way To Die with its acidic melodies and psyche infecting grooves shows there is still a bruising, exhilarating, and snarling proposition lying in wait to ignite the rioter in us all. Followed by the more predictable yet refreshingly digestible rocker Change For No One, Falling Red brings Empire of the Damned to a vigorous and imaginatively lustful close. The band may have been the rising storm on the radar of a great many but with their new album you can only see the awareness of the whole of the country’s rock ‘n’ roll community finding a greedy attraction towards their recognisable but still original tempestuous musical anarchy.

www.falling-red.com

https://www.facebook.com/fallingredofficial

8.5/10

RingMaster 26/01/2014

Copyright RingMaster: MyFreeCopyright

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Peepshow: Brand New Breed

For all those with a fervour for the likes of Black Veil Brides, Duff McKagan’s Loaded, Backyard Babies and CrashDiet then new rock n roll rebels Peepshow will be right up your eager veins, even more so if you like a good twist of the likes of My Chemical Romance, Wasted Sinners and Motley Crue to spice things up. Juices dribbling from the corner of your anticipation?…then the new album from the band, Brand New Breed is ready to satisfy.

Brand New Breed is the follow up to the self released and acclaimed debut album from the Scottish quintet of vocalist Johnny Gunn, guitarists Rusty Gill and Dagan, bassist Hex, and Hammy on drums. From its success and praise the band moved on to supporting the likes of Duff McKagan’s Loaded, Backyard Babies, and CrashDiet, an obvious natural and ultimately successful fit. The latter of the three bands were so impressed that they had Gunn co-write three songs for their most recent album Generation Wild.

Having to date not heard their debut, we have been reliably informed that Brand New Breed moves their sound on to a fuller and more mature level without losing their eager and irrepressible energy and attitude. Less antagonistic and more melodically driven too has been mentioned especially with the addition of keys to their sound bringing a slightly more symphonic and expansive feel. What is evident is the new album is an insatiable feast of rock music which leaves no one in doubt of the adrenaline driven energy and craft it is borne from.

From an atmospheric awakening intro hailing something striking and formidable approaching, which many bands are now employing in differing styles it seems,  the album erupts with the first single from the album Let Go, an impressive and irresistible opener to excite and rile up senses and emotions. Its electro start does not quite reveal the energised attack to follow though the band soon put that right as the fine vocals of Gunn lay satisfying upon the ear. There is a slight Wednesday 13 edge to his vocals though the smoother bulk of his delivery sets him apart and ahead of most . With riffs pumping up the blood with great power and the rhythms of Hammy firm without being combative it is an instant highlight to the release.

Live Free Or Die swoops in straight after with equal satisfaction.  With pure anthemic power and a muscular hard rock vein the track leaves one struggling not to join its call. The keys sway within the stiffer aggression adding acute warmth to the insistent song. The track chugs like a veteran rock song whilst bristling with fresh and youthful exuberance making an infectious pleasure something the description and result can be placed upon the following excellent Trouble. Arguably the best song on the release it lights up the ear with sharp melodies and an acidic solo that leaves sparks in its wake.

Peepshow is unafraid to and are skilled at mixing things up in sound and delivery too, with the likes of the stomping classic rock fuelled Only A Dream,  power ballad Feed On Me, and the full emotive slow burner Irreversible, showering the ear with strong and varied creativity. The third of these is a masterful display from Gunn, he is a vocalist that will light up many songs and hearts over the time to come.

With more powerful songs like Suffer, the outstanding and contagious title track with a bass from Hex to make knees buckle, and the belligerent Waking The Dead, bringing the album to a close it fulfils all needs from the senses from start to finish. Muscular without being destructive and catchy without losing credibility, Brand New Breed is a fine and pleasing album that will find an eager swarm of hands and ears heading its way upon its release on May 28th.

Peepshow does  not make the kind of music that gets first choice on our daily playlist but with Brand New Breed they might just change that.

www.peepshowonline.co.uk/

RingMaster 15/05/2012

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