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

Saint Apache – Wolf Machine

The suggestion of a bold new roar within the British alternative rock scene came with a self-titled debut EP last year, now Eastbourne hailing quartet Saint Apache confirm their potent emergence with its ear grabbing, spirit sparking successor. Wolf Machine is a blaze of muscular and tenacious multi-flavoured rock ‘n’ roll, a proposition often as bruising as it is rousing taking the potential of their first encounter to new creatively accomplished and energetically hungry heights.

Formed in 2015, Saint Apache weave their blaze of sound with an array of influences said to include the likes of Every Time I Die, Buckcherry, and Rage Against The Machine. It is a fiery mix with a volatility of thought and intensity which catches the imagination with ease within Wolf Machine. As mentioned, their debut EP was a potent opening encounter with the band; a promise fuelled introduction swiftly pushed and eclipsed by the rapacious presence of their new creative challenge.

The release opens up with a richly enticing hook; You’re Not A Slave instantly laying down a rich scuzzy lure quickly joined by imposing riffs and thumping rhythms. The equally compelling tones of vocalist Thom Meredith soon roar from within the magnetic nagging tide of sound, Saint Apache stirring up the senses and spirit with persistent and boisterous enterprise. Familiar and fresh hues collude within the fire, unpredictability brewing and grabbing its moment as the track slips into a restrained passage with post punk and invention nurtured twists dancing on the ears. The guitar of Leo casts a tapestry of endeavour and imagination, every second a web of hooks, grooves, and spikiness matched by vocals and the rhythmic predation of drummer Adam Oarton and bassist Luis T.

It is a tremendous start to the release, stoner and heavy rock mixing with punkier intentions and continuing to unite their elements within the following exploits of The Story Doesn’t End Here. The wiry tendrils and fuzzy breath of the guitar brings in a psych/stoner-esque smog, grooves shooting from its midst with again a recognisable yet invigorating character. The growling tone of the bass is a physical addiction all on its own, with an irritable presence just as enticing within Meredith’s vocals and snarling lyrical expression. Rage Against The Machine essences within the first song are a thick spice within the second, giving its swagger thicker liquor to intoxicate the listener with.

Halfway Dead similarly weaves a trap of closely acquainted grooves and hooks for the appetite but again with a tenacity and enterprise which has ears and bodies greedy and bouncing. As with all tracks, it is hard to say that originality is an overpowering essence yet in the bold and craft sharing hands of the band, everything comes in an unworn design and with unique nature. Previously mentioned inspirations again can be grabbed from the track but equally there is something of bands like Damn Vandals and Turbonegro to the raw and virulent attack.

The EP’s title track brings things to a close offering a drama coated, intensity loaded temptation from its first breath which may lose some of its threat as things ‘calm’ a touch and vocals become entangled in spicily wiry grooves but never loses its intrusive touch or creative appetite within its thrilling attitude loaded incitement. It is a gripping end to a continually galvanic proposition hard to find anything other than real pleasure with.

The Wolf Machine EP is audacious and impulsive in character and sound if admittedly not so much in major originality but even there the seeds are openly being sown and bred within its four songs for blossoming further down the line. Saint Apache is ready to make their mark and if Wolf Machine is a hint to the things to come, bring it on.

Wolf Machine is out now across most stores.

https://www.facebook.com/saintapache  https://www.instagram.com/saintapache   https://www.twitter.com/saintapache

Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

King Colobus – Self Titled EP

king-colobus-promo-shot_RingMasterReview

There are times when something just clicks with ears and imagination, instincts instantly seizing the day and directing responses with almost lustful energy. That is what happened to The RR when facing the self-titled debut EP from UK rockers King Colobus. From virtually its first breath on the opening listen, the four-track theatre of blues and alternative rock trespassed and seduced the imagination and passions. It is pure drama, creative adventure as bold and ballsy as it is imaginatively intricate and sinisterly persuasive.

With its seeds sown in 2013, King Colobus officially stepped forward two years later. Vocalist/guitarist Stewart MacPherson and bassist James Bailes had already collaborated on ideas and songs for a future project when independently they both relocated to Devon. There they linked up with Plymouth based guitarist Gavin Huck and drummer Simon Marsh, uniting as King Colobus.

There is no escaping inspirations found in the likes of Queens Of The Stone Age, Soundgarden, Johnny Cash, and Interpol in the band’s sound but equally they have a personality and character to their music and songwriting which is sure to intrigue fans of others like Japanese Fighting Fish, Damn Vandals, and Inca Babies. There is uniqueness to their sound though which is most vocal and suggests why the quartet has already earned a potent live reputation whilst taking in shows supporting artists such as Sea Sick Steve, Band Of Skulls, De Staat, and Crazy Arm.

king-colobus-cover-artwork_RingMasterReviewRe-released this past week, the first King Colobus EP is a majestic introduction to the band and needs mere seconds to grip attention and appetite through opener Get Up. From its initial dark minatory melody, its texture wiry and tone ominous yet pure enticement, the track bounds in with swinging rhythms and a growling bassline supported by just as primal riffs. MacPherson instantly engages and recruits already persuaded ears, the song itself bluesy in air but pure virulent rock ‘n’ roll with an underlying punk snarl. It is a controlled web though, teasing and taunting rather than assaulting and only increasing its grip as a shimmer of guitar around alluring vocals breaks the tenacious trespass before breaking into an even bolder compelling incitement.

It is a stunning start swiftly reinforced by the song King Colobus, it too opening with a juicy lure before uncaging its heavy blues rock saunter. Bass and vocals stand individual in tone but equal in temptation as beats jab with relish at the senses, the song’s flames waiting to erupt in a sizzling blaze before settling down again until further incendiary expulsions throughout its compelling body. Showing an array of flavours making up their sound, at times the track reminds thoughts of Josh Homme and co and indeed The Doors but again the result is individual to the foursome.

Tits and Teeth steals its fine share of the passions next, its dark vaudevillian devilry carrying an air of sadly demised circus punks The Shanklin Freak Show, further evidence of the host of spices in the King Colobus invention. The song as good as stalks its victim but relishing its creative invasion of ears and imagination with energy eager to consume its prey whilst, with virulent catchiness, recruiting their participation.

Final track Wait immediately reminds of nineties band Skyscraper, having their instinctive rock ‘n’ roll infectiousness and tenacity to command attention; invention and imagination blossoming in its success. Grooves and hooks tangle the senses as rhythms ground out an easily given submission to their insistent prowess, vocals leading it all with their own rousing presence.

It is a glorious end to a must hear release not only bringing King Colobus to wider attention for the first time but suggesting there is really something major brewing down on the south coast.

The King Colobus EP is out now through all stores.

http://www.kingcolobus.com/    https://www.facebook.com/kingcolobus/

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

Gaffa Tape Sandy – Smart Dressed Guy

GTS_RingMasterReview

Bury St Edmunds is having a heyday right now with the wealth of impressive and imaginative bands emerging from its music scene. With bands like Horse Party, The Machismo’s, and The Vitamins leading the way, the Suffolk market town is making its mark on the UK music map. Now there is another potential soaked and seriously captivating proposition to emerge from the same creative bed. Gaffa Tape Sandy is the band, a trio on the evidence of debut single Smart Dressed Guy creating their own flavoursome form of rock ‘n’ roll by fusing the rich essences of garage punk and alternative rock.

Formed last year, Gaffa Tape Sandy consists of vocalist/guitarist Kim, vocalist/bassist Catherine, and drummer Robin; three friends “with an undying love for music that makes you want to move around and punch your best friend in the head.” They certainly back up that description with their two-track single; a pair of songs with attitude and an instinctive catchiness impossible to ignore.

Gaffa Tape Sandy - Smart Dressed Guy (Single) - cover_RingMasterReviewSmart Dressed Guy swiftly has ears alive and hips swinging, an initial rhythmic volley sparking a lively stroll of jangly chords and eager beats split by a pulsing bassline. There is a scent of rockabilly to the song but equally there is indie revelry reminding of bands like Strangler Figs, it all colluding to stir up the imagination whilst the blend of Kim and Catherine’s vocals adds another enticing hue to back up the former’s naturally energetic delivery. With a further touch of tenacious devilment carrying a touch of Damn Vandals/Top Buzzer to it, the track is an incitement for an exhausted body and a greedy appetite for more, something the track’s companion soon helps with.

L’appel Du Vide is a slightly more reserved proposal; the key word being slightly as it too unveils a frisky mix of dirty riffs and gripping hooks as garage rock inspired as they are punk spiced. Again, little time passes before limbs are flinging moves and energy is shared with the boisterous rock ‘n’ roll of the song and just as quickly that lustful hunger is inspired to greater greed.

This is only two songs of course, so a touch early to claim that Gaffa Tape Sandy is destined to make a major impact on the British rock scene, but Smart Dressed Guy as a whole suggests they certainly have the potential. More of the same or even bolder incitements will only confirm it.

Smart Dressed Guy is available now for free @ https://gaffatapesandy.bandcamp.com/

http://www.gaffatapesandy.co.uk   https://www.facebook.com/gaffatapesandy   https://twitter.com/GaffaTapeSandy

Pete RingMaster 09/03/2016

Copyright RingMaster: MyFreeCopyright

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

Kovax – Godot

Godot Front Cover_RingMaster Review

The bio of British alternative/noise rock band Kovax states that the band “started in late 2015 as an itch that couldn’t be scratched, as music in the back of the mind that couldn’t be ignored.” It is an essence of nagging which also infests the listener we can knowledgeably announce now having been enjoyably compromised by the Leeds hailing quartet’s debut single, Godot. The two track release is a persistence of sound and character which leaves a lingering imprint on thoughts and psyche after providing a rousing, slightly psychotic adventure for ears.

Formed last year, but officially launched early 2016 through a four day tour following a few secret shows, Kovax quickly makes an attention grabbing impact with their debut single. Suggestions are that their ferociously dynamic sound is for fans of Deftones, Bring Me The Horizon, and Fightstar but imagine the raw energy of Reuben, the confrontational roar of early Therapy?, and the off-kilter punk maelstrom of a cross between Damn Vandals and Them Wolves, and you get nearer to the mark of the band’s gripping offering and the broadness of their sound.

Both mastered by Bob Cooper and recorded at Rec and Play Studios and with Harry Scott (Treason Kings) respectively, the two songs making up the band’s introduction need little time to make a strong impression. Godot opens with an instantly contagious hook which lays its swift bait, takes a moment’s breath, and then returns bigger and bolder with equally hungry rhythms and punk spawned riffs for company. Once in full stride, the track stalks the senses with the sonic feistiness of guitarists Pete Freeth and Dan Hey orchestrating the predation whilst the lead vocals, which we guess as being from Freeth, make a volatile conductor for this maelstrom of energy and aggression enjoyably igniting ears. It is soon realised though, that unpredictability is an equally potent key to the band’s sound, that shown by clean harmonies embracing a smouldering passage further coloured by the predatory tones of Joe Phillips’ bass strings and the niggly incitement of Isaac Turner’s sticks. It all adds up to making the track as enthralling as it is intrusively exhilarating. The web of ideas and sounds involved appear bedlamic at times but are bred with striking imagination and an instinctive volatility which only has the intent of turning on the body and emotions.

The accompanying Marigolds is maybe even more deranged in its nature and concussive tapestry of sound but just as superbly sculpted with ravenous energy and inventive twists for another virulent trespass of ears and an increasingly eager appetite. Once more there is a collusion of varied and at times contrasting textures with raw voracious sounds, as well as unexpected slips into melodic detours and explosive challenges to fascinate and thrill from start to finish.

Both songs invade and remain tapping into the psyche after their physical departure; an intimidation which only leaves a hunger for more. Godot is a mighty first listen to Kovax and a hint that we might just be getting in on the ground floor of something special with it.

Godot is out now and available as a free download @ http://www.musicglue.com/kovaxtheband/products/godot—free-download/

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

Pete RingMaster 16/02/2016

Copyright RingMaster: MyFreeCopyright

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

Alpha Shallows – Set the Fires EP

AS_RingMaster Review

It may only be four songs but the debut release from British indie rock band Alpha Shallows suggests a fruitful union between the band’s sound and the appetites of the adventurous music public is on the cards. To be fair, Set The Fires already establishes that connection with its shadowed wrapped and emotionally powered roars, each song getting under the skin in varying but forceful degrees to tap into the psyche and awaken a lusty appetite for the band’s stirring sound. The EP is beguiling and a thickly enticing introduction to the dark imagination of Alpha Shallows.

The Leeds/Wakefield hailing and early 2014 formed Alpha Shallows is the creation of vocalist Craig Walker, bassist Gary Hargreaves, guitarist Paul Joice, and drummer Ben Hewitt formerly of metallers Boneyard Babies. Their backgrounds bring an array of styles and influences into a sound which itself is a tapestry of textures and colours within melancholic beauty. Since emerging, the band has become a potent attraction on the Yorkshire live scene with tracks being supported by the likes of BBC Introducing in North and West Yorkshire. Set the Fires is the national wake-up call and one hard to imagine going unnoticed.

artwork_RingMaster Review   It opens up with the evocatively gorgeous and emotionally intensive Temper, a track epitomising that ability of the band’s sound to get right under the skin. A lone guitar caresses ears first, its tone immediately melancholy coloured as that tempting continues to beckon ears even as the air around it gets more turbulent. The voice of Walker is a just as swift and strong persuasion, his entrance stirring up a fiery and rousing air wearing the scent of Deftones, Life of Agony, and Damn Vandals to it. In full flow, the track flows through shadowed calm and emotional volatility with ease, the sounds matching the intensity of the song’s lyrical narrative and heart every step of the way. It is simply superb, a mighty start to the release and thrilling first touch of the band’s imagination and craft.

The EP’s title track steps up next to match the triumph of its predecessor, the song an immediately livelier affair showing eager beats and sultry guitar enterprise within its first few breaths. The bass of Hargreaves adds another thick lure as the track explores a Doors/Birthday Party spiced slice of indie rock, though there is much more to the contagion and tenacious swing of the rich incitement on ears and hips. Listener involvement is a quick success too, the chorus alone inescapable bait as the impressive start to the release continues.

Solace steps forward next providing a tantalising smoulder of a croon as gentle and seductive melodies entangle ears and appetite alongside the ever potent and emotively intensive vocals. There is something wonderfully familiar to the track and indeed the whole EP but as yet an essence we have yet to pin down whilst basking in its inviting hue within the equally magnetic invention of Alpha Shallows. The dark serenade continues to mesmerise and seduce, increasingly so with every listen, a success emulated in the closing tempest of Flatline, another merging of elegant almost maudlin tempting with rousing endeavour and energy to enjoyably consume body and emotions.

Whereas the first two songs explode in the imagination and appetite right away, growing more imposing with every listen, the final pair takes their time to induce the same greed for their bewitching majesty but certainly rising to the same heights over numerously rewarding listens. All four songs also reveal the rich craft and adventure of the band’s sound and songwriting whilst suggesting there is still much more to come.

It seems like the end of 2015 is unveiling some of its best introductions and biggest treats with Set the Fires right there on the frontline.

The Set the Fires EP is released December 11th via iTunes and most online stores.

Upcoming live dates:

16th January – Carpe Diem, Leeds

22nd January – The Library, Leeds

https://www.facebook.com/alphashallows

Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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

Damn Vandals – I Hate School/Whisky Going Free

Damn Vandals_I Hate School_Packshot_RingMaster Review

News of any new Damn Vandals release always sparks a keen lick of the lips and a flutter of anticipation in the heart of The RR thanks to the band’s previous explosive roars of spiky rock ‘n’ roll posing as singles and albums. So no surprise that when the announcement of the UK rockers new single came through, the same reaction escaped. Consisting of I Hate School backed by Whisky Going Free, the release is a recognisable Damn Vandals stomp with the unapologetic attitude and fiery enterprise the London quartet is so renowned for.

At times it is hard to imagine that it is only back in 2012 that Damn Vandals started exciting ears with the release of the Beautiful Mind EP and soon after debut album Done For Desire, the band seeming to have incited ears for many more years. Each release made quick and potent impressions with the latter spawning a host of essential and thrilling singles luring as rich a dose of acclaim as the album sparked itself. Live the band’s hook loaded mix of garage, psych punk, and earthy rock ‘n’ roll has equally earned the band a big reputation and fiercely loyal following, a success only cemented and expanded with last year’s uncaging of second album Rocket Out Of London, it another web of contagiously addictive tracks working within the impressive body of the album or subsequently alone as incendiary singles. The two songs making up the new single have the same source, both I Hate School and Whisky Going Free taken from the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) produced, heavily praised full-length, and each rising to the challenge of making singular statements of persuasion.

I Hate School swings in on a sultry melodic lure and winy groove as vocalist Jack Kansas quickly adds his distinctive delivery and tone. As his voice takes hold so he and fellow guitarist Frank Pick continue that first enticement with fingers on guitar strings, but broadening its thickness with bluesy coatings for an increasingly tempting invitation. Alongside, the more grounded rhythms of bassist Adam Kilemore Gardens and drummer Chris Christianson stroll, emphasizing and shadowing the fiery textures around them perfectly.

Within the heart of Rocket Out Of London, it is fair to say that the song was a touch shaded by the more raucous dynamics and drama of other tracks around it but there is no denying that as a single, it seems to discover a new strength and character to bewitch and inflame ears with ease. Ending on a persuasive anthem of vocal roar from Kansas, again at perfect contrast to the smouldering sonic climate of guitar, the track has ears smiling and satisfaction full to bursting.

Second song Whisky Going Free has feet tapping and hips swaying within a breath of its start, hooks and grooves flirting like a casually flirtatious seductress as rhythms bring their own saucy revelry to the creative party. Bass and guitar soon unite in a tango which drives the song from start to finish, their tempting enticing cradling the matching swagger which too come from the breeding of imagination and temptation. Steely guitar jangles and punk seeded noise only adds to the thick and riveting persuasion on offer, the song undiluted and unfussy rock ‘n’ roll as inventive and instinctively compelling as anything out there and from anyone.

Whilst fans wait for new material, I Hate School/Whisky Going Free provides another essential Damn Vandals moment for 2015 whilst for newcomers, the single is a potent way to step into the creative and off-kilter ingenuity of Damn Vandals.

I Hate School/Whisky Going Free will be released November 6th.

https://www.facebook.com/damnvandals  http://damnvandals.co.uk  https://twitter.com/DamnVandals

Upcoming Live Show: The Dublin Castle, London on Fri 27 Nov 2015.

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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