Bool – Fly With Me

Frustratingly it is far too easy for things to fly under the radar in a time where nothing is secret thanks to the extensive landscape of the internet, but one proposition we insist you do take notice of is Fly With Me, the new album from Bool. The German outfit roar in ears with a strain of alternative rock which infests the appetite with its grunge character and grips the imagination with an array of nagging hooks and rousing enterprise; it all coming together here for one of the year’s most compelling moments yet.

The band’s sound is maybe best described as Bush meets Morphine harassed by Damn Vandals and Fatima Mansions but from that mix thrills with its own unique personality of sound and craft. It demands attention and rewards with every passing second of bold and impassioned rock ‘n’ roll. Formed in 2007, Bool stirred up acclaim and an already growing reputation with the My Spirit, their third release realising the potential already heard in its predecessors. Recorded with producer Jon Caffery (Die Toten Hosen), Fly With Me hits and owns a whole new plateau for the band’s sound and invention, offering a relentlessly harassing and addictively creative trespass to lust over.

It opens up with Here We Are and a flame of guitar before, and not for the last time, a swiftly compelling bassline with its growling tone entices courtesy of Marc Fröhlking. The initial blaze settles down a touch as the vocals of lead guitarist Karsten Dittberner step forward, the bass continuing to offer delicious bait alongside as the crisp beats of Jens Geilert descend. Soon the fiery adventure of Dittberner and fellow guitarist Michael Malfeito rise again, the cycle repeated throughout with increasing energy and adventure.

It is a boldly striking start quickly matched by the more composed but no less sonically seared Soul Train. Emotion drenches every note and each syllable dropping from Dittberner’s throat with a crystalline melody a glassy temper within the growing tempest. Commandingly contagious and wonderfully irritable in many ways, it too lingers in ears and thoughts just as successors Shut Up and Kick Arse do. The first of the two is even more reined in which brings a tension and drama especially to its brewing crescendos which is raw seduction. Dittberner is a magnetic vocal presence potently backed by his companions, while together the quartet unite in imagination and dexterity with that earlier Bush reference at its enjoyable strongest. The second of the two has a Nick Cave like edge to its opening Doors-esque climate, hues which caress the brooding heart of song and sound before the track slips into an almost predatory stroll of primal rock ‘n’ roll at its inventive best with a rolling energy more than living up to its title.

My Own Heaven is a melodically grilled pyre of emotion which ebbs and flows through calm and volatility, each passing moment a web of arousing catchiness and suggestive enterprise around the addictive dynamics of Geilert while the following Revolution uncages a riveting holler of punk ‘n’ roll which has the body bouncing and spirit roaring. It is testy and flirtatious, a true treat among many within Fly With Me.

Bool equally show they are adept at caressing the senses as the dark yet elegant serenade of Hey You shows, its melancholic beauty and melodic croon pure enticement before You and Me stomps in with its own tenacious rock ‘n’ roll. Again Gavin Rossdale and co feels a big inspiration to the track but one which is easily welcomed within its infectious incitement. Essences of metal and heavy rock add to its theatre, a potent incitement more than matched by the rawer edged and dramatically textured Desire where again rhythms simply grip the instincts as the guitars create a web of sonic flames to be trapped by as vocals share their plaintive heart.

Through the even tempered if again tempestuous sonic reflection of Same Mistake, a song which feels very familiar for no obvious reason, and the similarly intimate balladry of Yesterday, there is no urge to pull away from the album, each rich captivation even if not quite reaching the heights of those before them. Fair to say both easily get under the skin as too next up Love is the Answer, a theatre of sound and temptation which barely hides its tension within keys and string woven melodies. The song is certainly a slow burner but over time grows to be one of the most memorable and essential lures of the album.

The release closes up with Right or Wrong, a song which pleases immediately but also takes its time to fully persuade and ignite the passions which, if without the stirring triumphs of its companions, it surely does. It is a potent conclusion to an album which for us has become an addiction in no time.

Fly With Me is the wake up call to one exciting band in Bool, be sure you do not miss the trip.

Fly With Me is available now through Boersma Records through most online stores.

http://boolofficial.com/    https://www.facebook.com/BOOLofficial/

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

The Simpletone – Angels’ Share

the-simpletone-band-pic_RingMasterReview

There are some releases which just demand success. Whether they get it in the increasingly fickle attention of the modern music fan is never a given but Angels’ Share, the new album from British rockers The Simpletone, does all the right things to make that commanding statement.

There is little we can share about the 2010 formed band other than its line-up is made up of John Davison, Craig Seymour, Glenn Eastoe, and Tom Cahill, it hails from St Neots in Cambridgshire, and has previously released the albums, Rampenny in 2012 and Dark Matter two years later, both seemingly well-received propositions. A UK tour with New Model Army in 2014 has been one of many live highlights for the band built on their stirring fusion of heavy and melodic rock with grunge, stoner and numerous other essences. It is a mix of flavours making for a striking proposition and imaginative proposal in Angels’ Share and songs which just roar with anthemic majesty and fiery enterprise.

The first of the ten cuts gripping ears and an early appetite for the band’s invigorating rock ‘n’ roll is Outta Control. Instantly a spicy groove winds around ears, leaning in closer as tenacious rhythms and riffs join its opening bait. Effect coated vocals equally lures keen ears as the song swaggers along with steady but rapacious grooves and a suggestive melody. The restraint stopping the track from exploding as it hints it might throughout is an inspired move, the song teasing and almost taunting along its enterprise shaped body. The heavier throb of bass and flames of harmonies only add to the lure of the song with guitar craft similarly as magnetic.

The following Love Street (Modern Mystery) keeps the rich enticement going with its punk folk lined stroll, simple but potent riffs colluding with swinging beats as vocals paint a suggestive picture. Its catchiness is a swift persuasion rapidly backed by the boisterous antics of the guitars as the track carries on the great variety already showing in the band’s sound, diversity more than confirmed by their mighty new single Storm Chaser. At over eleven minutes it is an epic persuasion which serenades the senses with melodic and harmonic caresses initially before building a bolder energy amidst an addictive rhythmic prowess. Weaving strands of space and progressive rock among other textures into its ever evolving adventure, the song is a kaleidoscope of melody heavy rock drawing on an array of decades while creating its own fresh, individual, and ever changing landscape of imagination. Like a mix of Skyscraper (the nineties UK band), Life of Agony, and Voyager, the track barely feels like its length and relentlessly has the listener compelled.

angels-share-cover_RingMasterReviewThe fact that next up Black Box still manages to eclipse it slightly shows the quality of its own exceptional design. A spirit stoking beast from its first touch, the song canters with muscular tenacity and fiery invention bred to virulent proportions as its mix of hard and heavy rock consumes ears and imagination. The track is exceptional, as punk in many ways as it is feisty rock ‘n’ roll with a drama of character and craft that demands attention and involvement.

Fire in the Sky steps up next with a growl in its basslines and a contagious swing in its rhythms, guitars and vocals dancing within their addictive tempting as soulful blues lined grooves bring an incendiary heat to the proposal. Like a seventies inspired union of Therapy? and Reuben, to try and offer a comparison, the song forcibly hits the spot before making way for the slower stoner-esque prowl of Nehemiah, an incitement pulling sludgy textures into its increasingly exotic and suggestive theatre. It is seriously compelling stuff, another song blossoming through an array of twists and flavours as it grows in ears.

The melodic charm of Day by Day is a similarly riveting proposition, the graceful yet sinewy instrumental finding a place between XTC and Tool as it seduces the imagination, setting it up for electrified air and nature of As Above so Below. Courting ears with a rapaciously formidable core in its raw riffs and bold rhythmic, the track wraps it in a melodic spiciness and mellower harmonic seducing which echoes elements of bands like Bush, Alice In Chains, and Sick Puppies yet sounds little like any.

If we tell you that Easy Come lacks the same galvanic sparks of its predecessors do not mistake it for a weak link within Angels’ Share; the song a highly persuasive slice of rock ‘n’ roll with guitar craft which shines like a beacon as the bass uncages a funk inspired personality. The fact the track is outshone by others is down to their might, a strength revelled in again by album closer Hunters. Whether by coincidence or design, there is a Horslips feel to the song certainly early on, and of fellow Brits KingBathmat but as across the album, things are soon woven into an addiction of sound and creative hooks roaring The Simpletone.

It is a glorious end to one treat of a release which deserves all the praise and attention it should and surely will get. Angels’ Share is another rousing encounter to add to our lustful favourites of 2016 list and no keener a recommendation we can offer.

Angels’ Share is out now across most online stores and on iTunes @ https://itunes.apple.com/album/id1169473074?ls=1&app=itunes

http://www.thesimpletone.com/    https://www.facebook.com/thesimpletoneband/

Pete RingMaster 16/11/2016

Copyright RingMaster: MyFreeCopyright

Clone Age – Fuse

CA_RingMasterReview

Though inspirations are unknown, it feels a safe bet to suggest that Queens Of The Stone Age and especially Foo Fighters is among them going by Fuse, the highly enjoyable debut album from alternative rock band Clone Age. Ten tracks fuelled by energetically dynamic and melodically thick rock ‘n’ roll, the release is an impressive introduction to a Croatian quartet which, on this evidence, has the potential to break into much broader spotlights.

Formed in 2002, Clone Age has gone through line-up changes and creative breaks over the years whilst also earning a fine reputation across gigs and festivals for their live show, wining numerous regional awards into the bargain too. It was 2014 which saw the present union of vocalist/bassist Robert Kriković, guitarists Adrijano Valpatić and Nenad Rešetar, and drummer Marko Lajtman come together; a moment in time which seemed to spark a new creative energy and chemistry in the band leading to the writing and recording of a host of new songs which make up first album Fuse.

Recently released via Croatian label Dallas Records, Fuse gets straight to work on ears and imagination with opener Give Yourself To Me. A lure of guitar entices first, it quickly joined by the potent tones of Kriković, which in turn soon welcomes the beefy beats of Lajtman amidst a thicker sonic roar. That initial nagging hook enjoyably continues as the track breaks out big melodies and rousing vocals; it all courted by one tempestuously throbbing bassline. As quickly as the song’s sounds blossom so too does the Dave Grohl and co scent, a flavouring never dissipating in song and album yet at no point does Clone Age or Fuse become replicas without their own imaginative ideas and creative characters.

The feisty and quickly satisfying start moves aside for the following Should I Care and the continuation of the album’s attention grabbing prowess. Less imposing than the first, its melodies smouldering on the ear, the track still unveils a potent catchiness which colludes with a seductive landscape of imaginative and sultry textures aligned to stylish sounds. At times more hard rock than alternative rock sculpted and in latter moments a bluesy proposal, the song simply hits the spot with increasing ease before passing its triumph over to We’ll Make It to try and emulate. That it does with its rhythmic shuffle and vocal tempting within an anthemic bellow which again is as familiar as it is fresh and greedily devoured. In sound and voice, Clone Age has the knack of inviting and involving the listener in body and emotion, a continuing success across Fuse which maybe is at its height in this rip-roaring protagonist of the spirit.

art_RingMasterReviewAddition shares its own spicy hook and groove laced bait next, its swaggering body and reflective blues laced nature carrying a touch of Alter Bridge and Sick Puppies to it to great effect. The guitar craft and imagination of Valpatić and Rešetar enthrals and excites throughout, the former also providing some great backing vocals to reinforce the emotive potency of Kriković.

A calmer time comes with the southern laced and lively balladry of My Little Miracle, its gentler embracing coming with maybe the most tenacious and bold rhythmic proposal from Lajtman on the album whilst Wake Me Up whips up the body and passions with its bouncing gait and instant hook lined flirtation. There is a whiff of nineties indie rock to the song, but equally a disarming post grunge/alternative rock pop magnetism which has hips swaying and the imagination gripped with consummate ease.

From one pinnacle to another and the mightily addictive Never Enough. From its opening thick and grouchy bassline, the song is in command, writhing spice rich grooves quickly adding to the fascination. Relaxing a touch as it hits its mischievous stride, a pulsating spotting of fifties seeded keys start their seduction, popping in and out of the sinew spun and vivaciously hungry flames of heavy rock ‘n’ roll. Like Squeeze meets Bush meets QOTSA, the track is glorious; rock ‘n’ roll manna for the senses and passions which almost alone provides one of many imposing reasons for checking out album and band.

Save Me might have a less unpredictable and dramatic air and character to it next, but the song is an appealing tapestry of harmonic vocals and fiery guitar enterprise around a steelier rumble of bass and kinetic beats. It lets no one down in pleasure and anthemic potency before What’s My Name offers up its own restrained but infectious smoulder of melodic suggestiveness and emotive reflection. Hinting at further nineties grunge influences without being pinned down; the track is as intriguing as it is compelling.

Alone completes Fuse with a fusion of power pop and again grunge inspired alternative rock. Taking ears on a heady and contagious ride of sound and energy, it sums up the invention and recognisable but commandingly fresh sound and exploits of Clone Age perfectly; and tells you all you need to know about the band’s ability to write songs which almost demand physical and emotional involvement.

Clone Age will most likely be strangers in name and sound to you right now but it is something you should amend with Fuse. The reward is an adventure of rock ‘n’ roll to improve any day.

Fuse is out now via Dallas Records across many online stores.

https://www.facebook.com/cloneageck   https://cloneage.bandcamp.com

Pete RingMaster 16/03/2016

Copyright RingMaster: MyFreeCopyright

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Walk In Coma – Narrenturm

Walk In Coma Promo shot_RingMaster Review

Providing plenty for the imagination to get its teeth into as ears are intimidated and aggressively roared into, UK metallers Walk In Coma give us one heftily enjoyable tempest with new EP Narrenturm. Offering a fusion of varied metal and heavy rock flavours within a perpetually mighty bellow of intensity, the release unleashes a raw and caustic climate over a constantly twisting canvas of invention. Inspirations, including Machine Head, Lamb Of God, and Architects, are open within the Walk In Coma sound but it does not prevent Narrenturm being a confrontation bristling with potential and raging freshness.

Hailing from Southend-on-Sea, Walk In Coma was formed in 2006, quickly stirring up support and a potent reputation through their live endeavours across the capital and south of England. The years have seen the quintet also share stages with numerous bands, including of Breed 77 and Funeral For A Friend, alongside their own successful headlining shows. Now a release, already waking attention online, gets to put its big nudge on a national spotlight, Narrenturm attempting to awaken wider flung appetites to back the band’s continuing hunger to play live.

Walk In Coma Cover Artwork_RingMaster Review     The release opens with the ambient suggestiveness of Fool’s Tower; the brief instrumental as atmospherically portentous as it is melodically captivating, and growing in intensity with each passing chord to lead ears and thoughts into the bestial jaws of the following Raising Hell. Instantly a Pantera like growl infests a groove loaded assault of sound and attitude, that Machine Head reference a rich tone within the southern spiced temptation. The bass of Tom Case develops a glorious swagger within the track, seemingly inspiring a similar stroll and swing to Mark Elliott and James Cater’s guitar enterprise. It is a compelling and quickly virulent incitement only added to by the ethereal touch of keys and the ferocity of Joe Reid’s beats.

Just as impressive and impacting is the grouchy growl of Alex Adlington’s vocals, a delivery hinting at good variety in his armoury on the first song and realised within next up Nein. As grooves and riffs collude to create an infestation of inescapable persuasion, Adlington reveals a cleaner touch to his prowess yet still with a dirty snarl that can easily slip into predatory antagonism at any given moment. It is a strong essence within the equally imaginative twists and creative throes of the song. There is a touch of Bloodsimple meets Architects to the encounter but equally the grungy/melodic flavouring of a Bush or Gruntruck rears its head at times too.

Asylum lives up to its title straight after, its body of sound accomplished and volatile with a sense of welcome adventurous bedlam to its nature whilst Retreat stalks the senses, its Devildriver meets Mudvayne animus crawls maliciously over the body. In all songs, the heaviness and hostility of the band sound and energy over wraps the imaginative and often sublime craft and invention working away within the storm a touch, but never really defusing the potency and fascination of such elements and ideation, as shown by this gripping pair of tracks.

Narrenturm is concluded by the rapacious furnace of The Fire, a track not quite living up to what came before with consistency but at times sparking a lusty reaction for its persistently riveting musical and emotional ire. The track is all the same a fine end to an increasingly mighty release. It is still early days for Walk In Coma in many ways but they are, according to the thoroughly satisfying Narrenturm, heading in the right direction to bigger success.

Narrenturm is released through all stores on Friday 23rd October.

http://www.walkincoma.co.uk    https://www.facebook.com/walkincoma     http://walkincoma.bandcamp.com/releases  https://twitter.com/walkincoma

Pete RingMaster 22/10/2015

Copyright RingMaster: MyFreeCopyright

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Freaks Like Me – Philosophies For The Modern Ant

FLM - bandpic01

It is probably no surprise that there is a healthy essence of Kurt Cobain and co to the Freaks Like Me sound, considering its members also make up the world’s No.1 Nirvana tribute band Nervana, but that is only part of what is a rather compelling and enjoyable proposition on offer in the trio’s debut release. The Philosophies For The Modern Ant EP is a contagious and rigorously captivating encounter which has body and imagination leaping in tandem with its energetic and invigorating enterprise. As mentioned there is no escaping the rich familiarity of the band’s main inspiration across the songs but with its grunge sounds merged with punk ferocity and melodic rock tenacity, what emerges is an admittedly less than original but easily more than richly satisfying incitement. Think Nirvana meets Sick Puppies in the embrace of early Bush and you get a great hint of what is on offer.

Consisting of vocalist/guitarist Jon O’Connor, bassist Dave Eve, and drummer/backing vocalist Steve Kilroy, Freaks Like Me emerged when the threesome decided it was time to explore and offer something different and fresh from their highly successful and acclaimed Nervana presence which has been going since 2009. The seeds of their union go back much further though, Eve and Kilroy meeting in the early 2000s in London while recording an EP with Gods Little Joke. Playing together in Ireland in 2007, the pair met O’Connor in Dublin after a show, reconnecting with him later when looking for a vocalist for their new project. The rest is history, with a new turn and direction in its narrative coming with Freaks Like Me.

1. FLM EP - COVER_FRONT - FINAL   Recorded in London, Boston and Holland, Philosophies For The Modern Ant, on the back of successful shows in Europe and the US, instantly has ears and attention gripped as opener Better Off Blind sets things off. Hefty riffs and similarly intensive grooves encase ears initially before the song relaxes into a more familiar grunge bred tempting. Melodies and a snarl equipped bassline court the slightly grizzled tones of Jon O’Connor, his voice sharing the raw essence of again Cobain and similarly Gavin Rossdale, it all creating a restrained but open drama to the song. It is fair to say that the EP starts with a recognisable and unsurprising offering but equally a captivating one which like the warm up act to the main show, gets anticipation and appetite in the mood.

All In A Lie is a different beast of a proposition, its instant almost predatory splatter of riffs and sonic discord within a carnivorous assault of bass led rhythms, immediately irresistible. It is a riveting and thrilling entrance loaded with rugged hooks and ravenous grooves. Submission to its raw and imposing suggestiveness is swift, especially with the effect drizzled vocals which are soon riding the tempestuous and aggressive onslaught. Bearing down on the senses with seemingly increasing creative turmoil, urgency, and seduction, the intoxicating tempest is quite outstanding, sparking as its successor at times thoughts of UK based band Feud along the way.

If the bass exploits of Eve have already seduced the passions across the first two tracks, he steals them outright within Cynical. A dirty repetitious temptation from his manipulation of strings is simply irresistible as it provides the start and spine to the raucous and fiery encounter. It is an old school punk lure in many ways, a resonating simplicity which steers song and its creativity to striking endeavours. It again has many recognisable twists and aspects to its adventure but this time of a more post punk seeded comparison a la Gang of Four.

Both Down and Idol Fall keep EP and pleasure blazing, the first with virulently infectious expulsions masked as choruses. As in the previous song there are glimpses of a post punk flavouring, hints of Flesh For Lulu spicing the melodic radiance spilling from the heart of the otherwise thickly Nirvana-esque swamp of abrasive rock ‘n’ roll. The second of the two is again drenched in the flavours of the band’s other project, but it is spicery twisted and woven into fresh and inventive imagination which easily enthrals thoughts and ears, especially in its unexpected and transfixing psyche rock detour.

Closing song Poppies and Rain provides an absorbing croon to end on, but a shadow wrapped one with portentous rhythms and haunting sonic suggestiveness crowding its melodic and melancholic elegance. The song is a bewitching finale to an excellent debut from Freaks Like Me. Certainly there is little startling new about Philosophies For The Modern Ant but it is potently fresh and stirringly invigorating, and most of all thoroughly enjoyable. What more could anyone want?

Philosophies For The Modern Ant is available from April 7th via Pavement Entertainment through most online stores.

https://www.facebook.com/freakslikememusic

RingMaster 07/04/2015

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://reputationradio.yooco.org/

Oceanic – City Of Glass

Oceanic PR 2

Not sure exactly why but the depth and quality to the Israeli metal/rock scene always surprises, even despite covering numerous releases and artists from its creative well. You have the likes of Orphaned Land, Ferium, and Desert amongst a great many stirring up the world scene with their varied sounds, and from within the underground bands like Walkways making their mark. To the latter you can now add Oceanic, a band beginning to draw and earn potent responses to their presence and debut album, City Of Glass. Formed in 2009, the Tel Aviv quartet has inspired strong and increasing attention, especially over the past couple of years, and now with their first album nudging greater awareness, Oceanic has the potential to be another breaking into broader spotlights well beyond their homeland.

The band’s sound is melodic/alternative rock but with an appetite to throw in unique twists of progressive exploration and feisty imagination. As shown upon City Of Glass it makes for a fascinating and unpredictable proposition which can offer familiar essences in a fresh and often offbeat design. There are moments where things just confuse and miss their target but for the main, album and sound are one captivating tempting. The band itself has grown its stature and reputation in the Israel underground scene through appearances at events like Progstage 2012 and in supporting the likes of Pain of Salvation. Band experiences are not restricted to Oceanic alone either, bassist Or Lubianiker having toured as part of bands for Marty Friedman and Gus G whilst playing on Yossi Sassi’s album Desert Butterflies. The ex-Orphaned Land guitarist is now returning the favour by producing City Of Glass, and providing guest guitar, vocal, and bouzoukitar enterprise within certain songs on the release.

A Scanner Darkly starts things off and swiftly has ears and attention intrigued; it’s atmospheric opening inviting but also oppressively hazy. It is a tantalising mix veined by gentle melodic Oceanic - City of Glass - Front (sRGB)coaxing and soon joined by the gentle husky vocal reflections of guitarist Idan Liberman. The song gently immerses senses and imagination, broadening its intensity and provocative textures with smooth and warm persuasion. Before long its passion and energy breaks through the calm though, crisp beats and a dark bassline uniting with fiery enterprise from the guitars of Amir Manbar and Liberman, whilst the latter’s vocal tones also elevate in emotion and roaring vivacity. The song by now offers a mix of Palms, Bush, and in some ways System Of A Down, melodies and harmonies blooming in a fiercer cage of beats from Gal Shochet and throaty bass suggestiveness from Lubianiker. The song continues to ebb and flow in its intensity, increasingly impressing and exciting ears and imagination.

The following Wind Up In Barrel (Tribute To Walter) continues the strong start, raising the album’s game straight away with its rolling rhythmic start. A sudden drop into an emotive calm catches ears by surprise, losing that potent start quickly and dramatically wrong-footing, especially first time around, but it is soon embroiled in a brewing climatic of creative voracity and sonic agitation. Vocally too, Liberman seems to find a left field approach to his delivery which only adds to the riveting drama of the song. It takes time but the track eventually emerges as an inescapable seduction whetting the appetite further for album and the sultry embrace of South Of Heaven which follows. Its smouldering lures and charm is just the lead into more tempestuous but restrained musical and emotional progressive bred turbulence. It is a compelling encounter, essences of bands like Shinedown and Seether making glimpses in the magnetic presence of the song.

Both Enter and Clouds keep attention and enjoyment high, each again a mix of aggressive energies and reflecting tranquillity, never lingering in either too long and uniting them with craft and invention. Neither song creates new templates for rock ‘n’ roll it is fair to say, but both provide refreshing and thoroughly satisfying proposals, the first a melodic bellow with tangy sonic endeavour from the guitars and another rhythmic enticement to equally intimidate and excite. It only grows in pungent appeal and strength over time whilst its successor almost stalks ears with its heavy rhythmic resonance and predatory riffing, though again it is tempered by the strong vocal and guitar sculpted enterprise bringing warmth and light to the darker tones.

The brief and harmonically elegant Fish You Shouldn’t Eat (Part 1) slips in next, its musty warmth and sonic shimmer, a pleasing appetiser for the impact of These Countless Hours. This is a song which left ears and thoughts undecided and still does even though it is also a compelling puzzle. It starts off in impressive style, rugged beats and caustic tone a swiftly enthralling protagonist aided by similarly robust vocals. It continues to light ears until something strange happens, an exploration of invention emerges which sees music and vocals going in different directions. Both continue to work just not together for personal tastes, and we devour anything with a warped twist or avant-garde approach. It is almost as if singer and instruments have their own individual songs and are trying to unite them as one. The fact that it keeps luring ears back to try to make sense of it is a testament to what is going on in ideation just not its success.

We are back on an even keel with HMS Beagle, an intensive ballad of power and emotion with more roaring senses licking flames than a bushfire, and straight after through the melodic smooch of Eva The Cat Doesn’t Sleep, a song with a Poets Of the Fall whisper to its melodic and creative beauty. Vocally Liberman shows his full and strong range, occasionally showing an Andy Partridge like lilt, whilst guitars and rhythms combine in a graceful romance of accompanying sound.

The track Oceanic brings City Of Glass to an epic end, its meaty length and imaginative textures a rich croon of soaring vocals and provocative melodies wrapped in thick bass shadows and gripping beats. It has a latent aggression and underlying anger to it too, which only seems to intensify the emotion and sonic tempest smothering ears. It is a fine end to a great album. There are certainly moments which do not work as well as others but ultimately, City Of Glass is a dramatic and enthralling storm of melodic and alternative rock very easy to recommend all at least should check out.

City Of Glass is available now @ http://oceanicband.com/album/city-of-glass-full-album

https://www.facebook.com/OceanicBand

RingMaster 18/03/2015

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://reputationradio.yooco.org/

Feud – G.U.S.H

Feud pic

    Feud is a band you can never get tired of, a group of musicians that seem to pull out another gem with every new song and release they treat the ear to. New single G.U.S.H (Growing Up Seems Hard) is no exception and in fact is probably the best thing they have done yet, and with the potency and quality of the past trio of singles that is the mark of its height.

Founded by brothers Guy (drums/vocals) and Greg Combrinck (vocals/guitar), and a full on proposition when the pair moved to the UK from their home land of South African, Feud with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals) alongside the two has become one of the most vibrant and impressive rock bands in the country. Shows alongside the likes of Cancer Bats, Young Guns, Jettblack, and Days In December has earned their live performances strong acclaim whilst releases such as debut EP Out From The Inside, the album Waterdog, and the Singles EP has enslaved many hearts and their passions through the blend of alternative rock, grunge, and punk flavoured energy. G.U.S.H sets another bar for the High Wycombe based quartet, one that is not that adrift from previous releases in sound or invention but in maturity and craft exploits the promise already showed wonderfully.

Big bulging rhythms rattle the ear first whilst the moody deep throaty bass adds its cantankerous temptation to seal the deal between 128695-thumbhunger and song. As guitars flare up with sonic and melodic imagination, their flames spiralling through the sky of the track before settling into an almost pop punk swagger to court the excellent vocals of Greg, the song like so many of the band’s has a familiarity which comes with no obvious references, Feud accomplished in creating infectious and warmly inviting slices of honest and easily accessible rock ‘n’ roll. As it dances over the ear with its energetic romp thoughts of Bush and especially Everclear do come to mind but still the distinctive tones of the four stands to the fore.

As virulently addictive as watching Kelly Brook in Piranha 3D, go on try and claim you were not transfixed by her and it too I dare you, G.U.S.H is a riot of a single and yet one more reason why Feud should be on every one’s playlist. Accompanied by B-sides demos of Save Me and an acoustic version of I’ll Find You, the single and also all the bands previous releases are now available for FREE from http://www.feudmusic.com/musicdownloads

Why are you still here?

http://www.feudmusic.com

9/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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Feud: The Singles

Since having the pleasure of reviewing their first album Waterdog, rock band Feud has held a captivation for us ensuring a constant    engagement with their fine release and earlier EP, Out From The Inside. So there was great anticipation and excitement when the band approached with a release of three new singles to check out. Released together mere days ago, the songs retain all the essences and qualities which make the band one of the more thrilling in the UK right now but elevates them into a stronger punching storm of muscular and infectious sounds. If you thought Feud could capture the imagination and heart with the best of them before they have returned to show previous outings were mere teasings and that now they have the ammunition to succumb any rock n roll heart.

Originally founded by South African brothers Greg (vocals/guitar) and Guy (drums/vocals) Combrinck, the band truly became a forceful entity with the relocation of the men to the UK and the joining up with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals). As well as the aforementioned acclaim releases the High Wycombe based quarter has matched the likes of Cancer Bats, Young Guns, Jettblack and Days In December whilst sharing stages with them, getting stronger and more inventive with every moment of their four years of existence. The band has always brewed a feisty mix of rock with heavy grunge essences and the new songs are no different though all explore new and even more incendiary aspects of their sound and songwriting making for three original and stirring slabs of essential music.

Floater opens with a crystalline tangle of sharply noted guitar coaxing, the lure an immediate tingle which takes one back initially to the likes of Mighty Lemon Drops and House Of Love. The track though as expected was not going to tenderly stroke the ear for long and soon brings in thumping rhythms and a delicious velvety deep bass sound. There is still a controlled restraint to the track even with its elevated pace and intensity but eventually it cannot stop fiery crescendos of sound and chorus from breaking out. It is a staggering track which plays like an emotive riot within the heart and raging fire in the ear brought from a union of Nirvana, Foo Fighters, and Sick Puppies. From the pulsating bass and incisive drums through to the enthralling melodic flames of guitars and vocals, the track is immense and declares alone that Feud is back, bigger and, better than ever.

With instantly infectious drums laying a hypnotic cage for an unleashing of its adrenaline soaked energy, Medicine stomps through the ear for a meaty thrill of punk n roll. With rampant intent and a Green Day like soaking of the ear, the track chews and romps with classy sonic enterprise and bruising urgency for an irresistible punk rock classic. Though the American trio is unmistakable as a spice to the song, there are elements which would grace any Stone Sour or Gruntruck track but distinct only to Feud and impossible not to devour with greed. Again every member of the band brings a contagious breath to their skilled and imaginative contributions, which only goes to make for a song which leaves the heart raging in ardour.

The final single is the less intense Miles Away, though that is in its attack and not passion, the heart of the song as insatiable and unrelenting as the other pair of triumphs. From another strolling start of rhythms and guitar behind the expressive vocals, the song hits its stride to create a furnace of scorching sonic riffing and barbed hungry hooks. With its arguably less tenacious assault the song offers a diversity of sound to the other two which touches on the likes of Seether, Stone Temple Pilots, and Bush. It is another tasty bite which enflames the appetite for much more from the band which will evolve into no doubt impatience the longer the wait for more new impressive tempests of excellence is.

If this foursome has yet to spark up your passion than any if not all of these wonderful singles will leave you a breathless and exhilarated bundle of fully satisfied energy. Feud creates high energy quality rock music and as Floater, Medicine, and Miles away show, this is a band which just get better and better.

Get the singles @ http://www.feudmusic.com

RingMaster 19/11/2012

Copyright RingMaster: MyFreeCopyright

Broken Links: Disasters: Ways To Leave A Scene

There has been a little bit of a stir brewing around UK rock band Broken Links and after hearing their debut album Disasters: Ways To Leave A Scene a few times it is easy to see why. To be fair it only took a couple of engagements with the vibrant and compelling release to be convinced but such its magnetic and powerful pull the resistance to returning time and time again was weaker than a paper boat in a tempest.

Since forming around four years ago, the trio from Southampton has seen a slow but very solid rise with their potent mix of post punk, rock, and industrial rock with strong whispers of new wave, winning over hearts consistently along the way. Certainly locally they are one of the most talked about bands and with the release of a trio of well received EPs have built a fan base which is loyal and feisty whilst moving farther afield. Influences come from the likes of Joy Division, Depeche Mode, Nine Inch Nails, Manic Street Preachers and Bush, flavours which Broken Links evolved into their own unique sound. The result is songs which trigger all the keen responses and taste buds their inspirations ignited, whilst opening up new depths of pleasure for themselves. Their eclectic sound also makes the band an easy and effective fit with many genres which their sharing of stages alongside bands such as British Sea Power, The Boxer Rebellion, InMe, My Vitriol, 22, Official Secrets Act, Fighting with Wire, and The Xcerts shows.

Disasters: Ways To Leave A Scene brings many of the tracks which featured on those early self released EPs with a couple of new ones to create a stirring and towering expanse of emotive and melodic invention. Even though the release strikes a match to open a full magnetism towards its sounds from the start, the more impressive it becomes with time spent in its striking aural arms. Evocative and impactful, the album leaves one breathless and invigorated whilst fully charged to dive into its shadows and immense soundscapes again and again.

The release opens on the sonic simmering of Electrik, though the track soon explodes into a sonically burning sunrise of mesmeric charms.  It is impossible not to be rocked back on ones heels by the mighty vocals of guitarist Mark Lawrence and the electronic blistering which ignites the atmosphere of the song like a cascade of hot golden rain. The rhythms of drummer Phil Boulter form a magnetic frame whilst bassist Lewis Betteridge is a prowling and imaginative shadow to the synths and expressive guitar of Lawrence. The track itself is a ravenous mix of Depeche Mode, My Preserver, and Muse, though the one band which did come to mind during the song was Ultravox, the early version before John Foxx and guitars became redundant.

Within Isolation and What Are You Waiting For? Raise the temperature even higher with their thumping urgency and inventive craft. The first is a sinewy romp of energetic vocals and riffs wrapped in riotous intent and acidic sonic manipulation, a barnstormer of an affair whilst the second explores darker corners of the sound with a smouldering heavy post punk resonance and metallic sonic licking of the senses. A Joy Divison starkness combines with  barbed Comsat Angels like hooks to leave one drooling and when the atmospheric grandeur of Modern English wraps its emotive muscular arms around the song nothing but passion is apace. It is a track which reaps the riches of the eighties yet still is of the now, the band nurturing and evolving those seeds once again into something quite irresistible and distinct to themselves.

Great tracks come thick and fast, each song without fail leaving deep pleasure and ardour behind their accomplished ingenious lures. Tracks such as the brilliant electro rock/pop  triumph We’re All Paranoid, the two part grandeur that is Choice/Decay, with Part I a chilled ambient and slightly disturbing build into the stunning crescendo of Part II, and the swaggering Shelter Your Loss, just captivate and evoke more and more heated enthusiasm.

Hitting even greater pinnacles with the snarling Therapy Sessions In The Dark and potently contagious Cherno, not forgetting the gloriously inciting What Are You Addicted to?, the album expertly and skilfully explores across styles and emotions. Melancholic and reflective, warm and oozing positivity, Disasters: Ways To Leave A Scene is a true giant of a release and surely the first massive and impressive step to wide recognition for Broken Links.

http://www.brokenlinksmusic.co.uk

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright

Fen: Of Losing Interest

From initially being an intriguing and pleasing presence in the ear to becoming a persistent and incessant returnee long after its departure, Of Losing Interest the new album from Fen is a thriving infection gone wild. Given the chance and deserved attention the album becomes a niggling treat for the psyche with its contagion of progressive melodic enterprise, insatiable rock n roll hooks, and mesmeric shadows. It is a release which expectations assumed would be decent going by recent history and reality shows is something far more impressive and deeply pleasing. It is an essential investigation for all which just falls short of making album of the year claims.

Of Losing Interest is the fifth album from the quartet from British Columbia which formed in 1998, and the second for Ripple Music. Previous album of 2010 Trails Out Of Gloom was the introduction for many of us to the sounds of the band, the critically acclaimed album a melancholic progressive weave to unsettle and ignite the senses. The new release is said to have taken its breath from further back in the history of the band, its heart returning to the more metallic and heavier aspects of early Fen. If that is so is for those acquainted with their first trio of albums to confirm but Of Losing Interest is certainly a robust and energetic beast as eclectic as you could wish and with muscles rippling and twisting with eagerness. It does not neglect its progressive imagination either and delivers lyrics and sounds wrapped tightly in the darkest shadows the band loves to frequent.

The album brings together a band line up first assembled in 1999 of vocalist/guitarist Doug Harrison, lead guitarist Sam Levin, bassist Jeff Caron, and Nando Polesel on drums. The foursome combine upon Of Losing Interest to offer nine tracks which thump the senses into eager submission whilst hypnotising them with a technical prowess and melodic invention which often leaves a shortage of breath in its wake. It inspires and thrills constantly to make the near forty minutes in its company only ever rewarding.

The album opens with Riddled and immediately ruffles the ear with explosive metallic riffs. It then settles into a melodic gait with the vocals of Harrison weaving his tones and words with a sure elegance whilst the guitars stroke the atmosphere with gentle imaginative invention. The beats of Polesel are strong though give the impression of a beast just waiting to burst from the cage the gentler stroll of the song allows whilst the bass of Caron stalks and prowls with menace and attitude. As the track evolves it throws of its ties to create a storming attack of sprawling riffs and inciteful rhythms.  It is an outstanding start which immediately shows the intent and turn of direction in the sound of the band.

The title track saunters in next with further addiction making sounds and intent. Bringing a Tool like craft into a fusion of melodic enterprise and barbed hooks which would not be out of place in Soundgarden or early Bush compositions, the song lights up all the right spots inside and to be honest as enjoyable as their previous album was there is already the strongest feeling that this is where the band need to be, the sounds and songwriting so imaginative and vibrant.

Every song borders perfection but some rise to greater heights than others for personal taste, the first being Nice For Three Days with its bruising charm. It is an impactful distillery of bristling energies and caustic melodic rubs which leaves one gasping in delight. Imagine the feistiness stripped from the likes Mondo Generator and Foo Fighters and given extra volts of Kyuss attitude and you get Fen on this excellent song.

The explosive multi faceted The Glove takes one to greater plateaus next with its slightly Dog Fashion Disco spiced shifting interactive play for the senses. The song is an exploration of greedy riffs and teasing melodic manipulation which excites on every level.  Drunken Relief and the closing Snake Path again leave one with raging fires of pleasure inside, the first being a dark weave of creative lyrics and oppressive yet incendiary sounds. The song one is magnetic, its shadowed heart nightmarish whilst fully compulsive. The final song leaves one wonderfully agitated with its unrelenting catchiness and irresistible energy. It is arguably the least involved song on the album but as deeply infectious and warmly inviting as any.

If the likes of Tool, Incubus, Porcupine Tree, Soundgarden do it for you than Fen and Of Losing Interest is a must. The album offers so much more though that all will find plenty of pleasure within its walls, it is melodic rock at its best.

https://www.facebook.com/fenmusic

RingMaster 13/08/2012

Copyright RingMaster: MyFreeCopyright

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