Ragweed – Breathing Holes

For some reason we always feel we need a hot intensive shower after listening to UK outfit Ragweed and their greedily rapacious sound. It is possible because from the release of their debut album Parerga in 2014 it has increasingly proved itself to be a raw and dirty infestation of punk fuelled noise which trespasses every pore. Last year’s single Silver Spoons revealed a fresh essence and new evolution to their music which the ear bending, senses exhausting Breathing Holes EP, now voraciously continues.

The new encounter is not so much a mixed bag of temptation but definitely one which has numerous angles and hues to its character of which some needed little time to ignite an already in place appetite for the band’s sound while others hankered after much more attention to pretty much just as successfully persuade. Silver Spoons hit the spot right away and with increasing rigour play by play, Breathing Holes across five rousing hollers emulates its success at times but also offers up other moments which take their to work towards the same persuasion.

The trio of vocalist/guitarist Tom Adamson, bassist Callum Regelous-Cooke, and drummer Josh Pingram have linked up again with Alan Douches (Motorhead, Cancer Bats, Every Time I Die, and Screaming Females) for the mastering of the new EP, its release coming once more through Milky Bomb Records. Straight away it imposes its presence on ears, the opening heavy almost sludgy touch of first track Cansema infesting the senses before it relaxes for a grungier cry which in turns leads to an eruption to noise rock intensity. It is a cycle which repeats, magnetic in its evolution and intriguing in where it will subsequently lead which turns out to be a groove woven stroll of heavy rock ‘n’ roll.

It is an opening enticement which nags away with increasing temptation play by play and is followed by the more immediately persuasive Backbite. A tenacious mix of punk and noise rock, the track is a magnetic clamour with catchiness in its foundations and a rousing holler in its breath. Reminding of Bristol band, The St Pierre Snake Invasion at times, the song had us stomping and bawling in no time, responses just as eager for next up Thought This Through. Almost corrosively raw yet with an infectious quality which lines every twist and turn, the track grabs appetite and participation with quick ease, its punk ‘n’ roll bellow and body trespassing swagger inescapable.

Down the Drain is Ragweed at their punk best and unashamedly devious as hooks and riffs niggle and invade like a filth coated virus as the song brawls with the senses before Up ‘n’ Under brings the release to a close with its groove clad grumble. Again there is a coincidental hue of the previously mentioned Bristolians to the song which adds to the track’s organic magnetism, grooves colluding with hooks and imagination for a voracious blaze of sound and intent.

There is no doubt that Breathing Holes really grows in presence and temptation across every play but has plenty to inspire such attention from the off. We personally have found it very easy to nurture an appetite for Ragweed and their sound through their previous records and with a growing greed which the new EP has only encouraged again.

Breathing Holes is available now via Milky Bomb Records @ https://ragweed-milkybomb.bandcamp.com/

https://www.facebook.com/ragweedragweed   https://twitter.com/ragweedrock

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

The Amsterdam Red Light District – Sapere Aude

Though The Amsterdam Red Light District seized major plaudits as they boldly established themselves within the punk/hardcore/rock scene with second album Gone For a While in 2014, the release still missed stirring up the kind of fervour in us that others were finding the certainly highly enjoyable encounter. It seems that we were just waiting for a particular undefined spark which has now undoubtedly caught within the France based band’s new fury, Sapere Aude. THARD’s third album is a beast of a roar, as ferociously infectious as it is instinctively irritable and emotionally tempestuous and for us by far the best thing the band has unleashed.

With inspirations found in the likes of Refused, The Bronx, The Ghost of a Thousand, and The Bled, Europe has been the broad sounding board for the 2005 founded band’s sound over the past few years, THARD sharing stages with the likes of Refused, Anti-Flag, Thrice, 36 Crazyfists, Comeback Kid, and Slayer alongside their own successful shows and tours. This month sees the band off on their travels again with Sapere Aude lock and loaded in their arsenal.

It opens up with Nobody Moves Like You and a spiral of acidic grooves and heavy handed rhythms which lure ears and attention like a magnet. Swiftly it settles into a tempestuous stroll as catchy as it is belligerent, Elio Sxone’s vocals an alluring temper in its midst backed by those increasingly captivating grooves cast by guitarist Maxxx Comby. A blend of hardcore and metal, the track has a natural swing which alone infested the appetite with the dark tones of Greg Clert’s bass adding to the instinctive temptation. Vocally Sxone brings adventure and diversity to match the raw and skilfully woven sounds around him in one glorious inventive brute of an introduction.

The following The Best Is Yet To Come is just as quickly and intrusively gripping. Featuring Cancer Bats front man Liam Cormier, the track simultaneously grumbles and seduces in voice and sound, the rhythmic trespass of drummer Julien Chanel driving its intent and forceful urgency as the guitar and melodic aspect of the vocals bring a ferocity tempering enterprise. As its predecessor, it demands and commands willing attention with adventure and imagination.

Two songs in and already the album has whipped up personal passions missed by previous offerings and only ups the ante with the fiery punk ‘n’ roll of Need. Again vocals and music create a cauldron of contrasts and ferocity with balance and adventure, the song having something of Every Time I Die meets The Ghost of a Thousand to it as it too inflamed the senses and appetite before Wild Life sparked its own blaze of praise and ardour with its hellacious creative clamour. Blending various aspects of ferocious intrusion and melodic captivation to its punk metal, vocal harmonics adding to the drama, the track simply whipped up greedy attention.

Carry On is an infection of temptation, tenacious hooks and riffs colluding with the song’s emotional irritancy and rousing breath; all bound in an enterprise as persistently catchy as it is rapacious. It all comes though with an ebb and flow which only increases its fascination and imagination while Over The Fence in turn uncages a sonic squall and a senses battering rhythmic dance which holds similarities to its predecessor before unveiling its own quest of creative discontent.

The turbulent spirals of Waiting For The Day needs little time to incite intrigue and imagination next, its opening web subsequently draped in vocal and sonic dispute again as magnetic as it is corrosive in a psyche infecting mix which nags and harries as it bruises and excites. That raw incursion is only intensified in The Whole City Burns, its melodic metal aligning with feral punk in an invigoratingly abrasive holler loaded with spiky riffs, barbed hooks, and melodic fire.

The album concludes with firstly Evil Stakeholders, a slab of crotchety yet melodically bewitching raging which maybe did not quite inflame as others before it but only reinforced the impressive character and force of Sapere Aude. Its title track is the final offering, an outro of intimation and samples reflecting the portentous state of the world with bursts of rhythmic incitement. Maybe better served as an intro to the album in some ways, it is a fascinating last breath to one striking release.

From first note to last Sapere Aude truly stirred our fullest passions, that anticipation for bigger bolder things ahead sparked by its predecessor more than realised in a release sure to feature as one of the year’s greatest moments.

Sapere Aude is out now via Red Light Records.

https://www.tarldtheband.com/    https://www.facebook.com/tarldtheband    https://twitter.com/tarld

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Ragweed – Silver Spoon

Having caught the attention and passions with debut album Parerga three years ago, British rockers Ragweed has in their words, “gone through a rebirth”. They have come out of that moment of reassessment or evolution with a sound which is darker, dirtier, and flush with more salacious grooves and rousing antics than offered by an exuberant pole dancer. The evidence is all there in latest single Silver Spoon, a three- track extravaganza of devilish rock ‘n’ roll.

Just coming off of another self booked UK tour, the latest on a long line of successful ventures, this one in support of their latest release, the Brighton hailing trio forcibly build on and reinforce the fresh sense of contagious adventure and imagination their sound first introduced within last year’s AA-sided single Rust Box. As its predecessor, Silver Spoon is released through Milky Bomb Records and has been mastered by Alan Douches (Motorhead, Cancer Bats, Every Time I Die, Screaming Females) of West Side Music, New York, he getting involved having been taken with the band’s previous outings.

The single across its three parts is a tenacious and flirtatious blend of rock, punk, noise, and raw pop; tracks still embracing the heavy almost imposing essences of the band’s earlier releases but with a virulence and catchiness which really and lustily gets under the skin and into the limbs. Lead song, Silver Spoon instantly thrusts its muscular fingers upon the senses, predacious scythes of guitar drenched in sonic filth and so inviting especially once springing a groove woven swagger with rapaciously coaxing rhythms. The song’s swing is matched in the vocals, their boisterous energy as anthemic as the sound around them and just as mischievous.  Holding essences something akin to Foo Fighters meets The St Pierre Snake Invasion within its unique character the track is immense, only escalating its instinctive catchiness and creative devilment twist by turn, note by note.

The track is just as impressively backed up by its companions, Grey Matter being first up and swiftly sending a punk infested noise pop ‘n’ roll tide of riffs and rhythms through ears. Teasing keys add to its early temptation, their melodic mania lingering and erupting across the highly infectious proposal. Though dirtier and more psychotic than its predecessor, the track also has a more controlled hand on its caustic yet melodic stroll and heavy intent. It is a mix just as bold and manipulative though in another outstanding slice of Ragweed rock ‘n’ roll.

The single is completed by West Coast Pop, a Ramones meets Melvins escapade with a grunge lining to its irritable weight and nature. Fusing noise and alternative rock to its punk ‘n’ roll ferocity and dexterity, the song epitomises Ragweed’s new thrust of enterprise in their sound and writing; mixing old and new textures for one invasively alluring and irresistible trespass.

As last year’s single suggested Ragweed has grown into a striking proposition, an unpredictable and aggressively inventive one which going by Silver Spoon is heading to becoming one of the most essential adventures within the UK rock scene.

Silver Spoon is out now via Milky Bomb Records and available @ https://ragweed-milkybomb.bandcamp.com/album/silver-spoon

https://www.facebook.com/ragweedragweed    https://www.instagram.com/_ragweed/   https://twitter.com/ragweedrock

Pete RingMaster 13/11/2017

Copyright RingMaster: MyFreeCopyright

Goblin King – Blood, Drugs & Death n Roll EP

Set to send a bruising shockwave through British punk ‘n’ roll is Goblin King, a London hailing Death N’ Roll quartet primed to release their debut EP. Offering five ravenously dirty and intrusive slabs of heavy rabid trespassing, Blood, Drugs & Death n Roll is a primal cauldron of metal, rock, and punk; everything which makes for a great rock ‘n’ roll fury and battering.

Founded earlier this year, the foursome of King, Beast, Jester, and Sin have taken little time to make a thick impression with a sound said to draw on the inspirations of Entombed, Motorhead, Amen, GG Allin, Cancer Bats and more. It is a ferocious affair, on the evidence of their first EP, as ready to have you swinging from the light fixings as savage the senses you were born with; simply raw rock ‘n’ roll in glorious rampage.

The EP opens up with its title track, Blood, Drugs & Death n Roll an infestation of scavenging riffs and nasty rhythms careering through ears with an appetite for mayhem. Their animosity though springs a swiftly addictive groove and an infectious swagger matched in the gruff vocal style and energy of King. Hooks are as prevalent as filth sharing riffs, thrash and punk uniting in a contagious animus hell bent on having the listener stomping around with middle fingers raised. Those Amen and Motorhead influences are especially vocal but immersed in an insatiable tide of character and tenacity all of Goblin King making, a rich flavouring equally flooding the following, just as superb second track.

Titled Goblin King, it is the kind of anthem no defences work against; an incitement from its first breath which has body and spirit eagerly embroiled. Riffs and rhythms swiftly confront and infest, vocals soon adding their bullying tactics until it all erupts in a chorus only the deaf could escape being hooked on. It is a chorus taking a breath at its final throes giving greater clarity to one glorious bassline and tone which spines the whole tempestuous contagion. Some tracks are instinctively manna to ears and the passions, this lustfully one for us though hunger is left dissatisfied at its departure after barely three minutes.

The opening pair gives the rest of the tracks a hard task to match their united triumph but the likes of 667 and Eye Of The Storm make a potent rolled up fist of it. The first is a ‘milder’ proposal in relation to the scourges before it but still has an attitude and hefty swipe to its presence which has you warily launching your participation and an unpredictability which wrong-foots and sparks the imagination at certain moments. Its spicy assault reveals a far broader landscape to the Goblin King sound and writing than its predecessors, one equally as refreshing and it is intriguing for an adventure the second of the two also embraces in its multi-flavoured, metal infused punk rock charge if not quite to the same boldness. With the guitar a flamethrower of melodic craft and rhythms an incessant examination of the senses, the track is inescapable virulence.

Death Sti-XXX brings things to an antagonistic close, crawling all over the listener with irritability and creative spite; a discontent breeding another addictive groove, spikily grabbing hooks, and anthemic incitement. Admittedly, initially the song did not make the same strong impression as its companions but over time had body and appetite seduced just as tightly.

Blood, Drugs & Death n Roll is pretty much a physical interpretation of its title; an affair basking in its grubbiness and relishing its prowess of igniting the energy and spirit of those it preys upon. It may be greedy but we so want more of Goblin King and are already finding it hard to patiently wait.

Blood, Drugs & Death n Roll is released August 10th digitally and on CD @ https://goblinkingofficial.bandcamp.com/

https://www.facebook.com/GoblinKingOfficial/   

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP

thumbnail_ep-cover_RingMasterReview

Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @ https://deadhandsband.bandcamp.com/releases

https://www.facebook.com/deadhandsmusic   https://twitter.com/DEADHANDSBAND   https://www.instagram.com/deadhandsband/

Pete RingMaster 14/10/2016

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

Cleanse The Hive – From The Depths EP

Photo Credit - A D Zyne

Photo Credit – A D Zyne

If you have not head the buzz around Scottish metallers Cleanse The Hive yet, there is a pretty good chance you soon will as the band’s debut EP explodes in more and more ears. An irritable and dynamic fusion of death and groove metal with ravenous metalcore, the band’s sound shows all the qualities of a someone taking their time to evolve and hone their craft and imagination; a intent which here ensures the From The Depths EP is an introduction which not only grabs attention, it demands it!

Formed in 2011, the Aberdeen hailing Cleanse The Hive, as mentioned at the start, have not rushed to the moment to broadly unleash their inventive exploits though live the quintet has been a hungry incitement soon becoming eagerly followed and praised. Drawing on inspirations ranging from Lamb of God, As I Lay Dying, and Whitechapel to Periphery, Pantera, and Cancer Bats, Cleanse The Hive has earned a potent reputation for their explosive live shows and reputation building tours alongside bands such as Heart of a Coward, Nexilva, Carcer City, Exist Immortal and many more. Now they are ready to wake up a national, if not larger, spotlight upon themselves, a success already expected with the immense roar and persuasion of From The Depths alone.

The EP hits ears straight away with a wall of intimidating and prowling sound; riffs and rhythms colluding in predatory relish as a vocal growl erupts from the throat of Callum Hutchinson.  Taking a further moment to compose itself, Eviscerate then springs with greater zeal at ears, the guitars of Jordan Pacitti and Glen McMillan casting surges of ravenous riffs and sonic dexterity as Hutchinson’s vocals share varying shades of hostile and venomous squalling. In no time ears and imagination are gripped, further enthused by the broadening enterprise of the guitarists amongst the brutal swings of drummer Greig Hadden and alongside the pestilential encroachment of John Campbell’s bass riffs. Lamb of God is easy to offer, Cryptopsy too, as a hint to the maelstrom of craft and sound assaulting and exciting ears yet already something individual to the band is emerging and continuing in its successor.

cleansethehive large_RingMasterReviewCities Of Gold is arguably even more primal and inhospitable than its predecessor; vocals spewing malice with every syllable and the instantly captivating grooves spreading toxicity with very swing of their body within another tempest of emotional and aural animosity. To that though, a perpetually virulent infectiousness flows and in time, a melodic seduction from keys and guitar which is as bracing and invigorating as the animus of confrontation surrounding it. The opener grabbed ears and appetite, its successor trapped both, and by The Reign Of Tyrants, it is fair to say that band and EP had these ears enslaved. Thrash metal is never too far from the textures of death and extreme metal, and drives the third track with open eagerness, though things soon become a part of A thick tapestry of flavours and rabid intent as unpredictable as it is enthralling. Compared to the previous pair, it also has less urgency to its devouring; a more reserved violence to its assault that only makes it more dangerous and captivating.

The EP’s title track descends on the listener next, it too a less vicious attack initially, preferring to build its intensity and savagery over time as grooves and melodic acidity vein its evocatively volatile landscape. As the previous song also, it does not quite make the same impact as the more boldly eventful trio of tracks starting things off though its adventurous nature, as melodic mystique coats guitar imagination, only leaves a want and appetite for more in place.

The dramatic dance and intimidating theatre of Terror Rising brings the release to an impressive close. Again a siren-esque hue wraps melodies; their middle eastern scent a masterful temper to the cantankerous invention and resourcefulness soon driving riffs and rhythms. Emerging as the most imaginative and diversely sculpted track on the EP as even more metal bred styles are included in its emprise of sound and invention, Terror Rising alone provides plenty to use as a reason to get excited about Cleanse The Hive and for the UK metal scene ahead with them in it.

It is hard in modern metal to make a mark on your debut powerful enough to pull attention away from all the other emerging bands do the same thing, but take it from us, Cleanse The Hive have done so and how.

The From The Depths is out now @ https://cleansethehive.bandcamp.com/releases and across other online stores.

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

Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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