Eujenics – Far Stranger

eujenics_RingMasterReview

The first release from the band since a slight line-up change, British alternative rock quartet Eujenics show things are just as potent as ever in songwriting and sound. To be truthful, Far Stranger suggests that the Sunderland hailing band has hit a new plateau in both as it provides a powerful and magnetic slice of fiery rock ‘n’ roll.

No strangers to increasing acclaim through previous releases, especially the Humanism EP and following single Alec Guinness earlier this year, and live exploits over the past year which have seen successful shows with the likes of Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire, the 2015 formed Eujenics are ready to take things to the next level in creativity and attention sparked.

Far Stranger soon reveals a new depth and intensity to the band’s creativity and imagination and also answers in quick time how new member, vocalist/guitarist Sam Avery will fit the band’s distinctive sound. With sublime ease is the rapid realisation, his melodic tones and harmonious expression the perfect and natural replacement to previous singer Nic Wood. Equally though, as the song finishes coaxing ears with its sinewy entrance led by the heavy swings of drummer Adam Hay, Avery establishes his own vocal character and dynamism backed by the band and matched by the flirtatious bassline cast by David Scott and Chris Hanna’s just as virulent grooves.

Hooks and rhythms continue to collude as the song reveals itself the band’s most virulent and feistily catchy proposal yet; teasing with essences surely Queens Of The Stone Age/Kyuss seeded throughout yet quickly breeding its own identity and individual adventure.

Big and bold, ballsy and boisterous, Far Stranger is Eujenics scaling new heights to unavoidably ignite the spirit of fans and newcomers alike.

Far Stranger is to be released 30th September.

Upcoming Shows

September 17th 2016 – Lounge 41, Workington

September 22nd 2016 – The Three Tuns, Gateshead

September 23rd 2016 – Crescent Vaults, Manchester

https://www.facebook.com/Eujenics/     http://www.eujenics.com     https://twitter.com/Eujenics

http://eujenics.bandcamp.com/

Pete RingMaster 14/09/2016

Copyright RingMaster: MyFreeCopyright

Elements – Make It Out Alive

Elements Promo Photo_RingMasterReview

As part of the exciting 2015 released Where We Once Begun EP, the track Make It Out Alive was an offering from UK alternative rockers Elements which took longer to spark the senses than many of its companions but alone left expectations of major things from the band. Fair to say it has also proven to be a track which has only grown in thoughts and enjoyment since that first outing, blossoming over persistent listens and now makes for a striking new video single for the Southampton hailing quintet.

Elements Cover Artwork_RingMasterReviewFormed towards the end of 2013, Elements have proceeding to forge a strong live reputation taking in shows with the likes of Bad Rabbits, The Afterparty, DEAD!, Ashes To Angels, The Hype Theory, and Public Service Broadcasting plus tours with They Say Fall, Elessar, As December Falls, and You Know The Drill along the way. The band’s aforementioned second EP, Where We Once Begun sparked eager attention and praise from Powerplay Magazine and Big Cheese among many, with the single Shaman from the Phil Gornell produced encounter leading the way. Continuing to make their name on the live circuit since, Elements now uncages Make It Out Alive on its own to stir up further attention.

The track opens on an alluring guitar jangle and the swiftly impressing voice of Graham Rogers, both quickly joined by a more maudlin bassline amid a sonic shimmer. The band’s rhythmic muscle is soon giving further depth and intensity to the song, the hefty swings of drummer Ash Martin uniting with the darker tones of Max Bakker’s bass as guitarists Ollie Butler and Robin Small cast a web of melodic imagination and dexterity. Captivating with increasing energy, as the backing vocal prowess of Bakker and Butler adds another further impressing texture to the adventurous and cleverly layered encounter, Make It Out Alive grabs ears and imagination alike.

As suggested the song is a grower; quickly pleasing on first listen and growing into a beaut of a proposition over time ensuring anticipation for Elements’ next step takes on certain eagerness.

Make It Out Alive is out now @ http://elementsmusick.bandcamp.com/track/make-it-out-alive

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

Pete Ringmaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Eujenics – Alec Guinness

eujenics_RingMasterReview

Having already given the year a striking event with the release of their acclaimed debut EP, Humanism, British alternative rock band Eujenics have quickly backed it up with new single Alec Guinness. Their most forceful and dynamic track yet, which is going some such the quality of said EP and previous singles, the release is a rousing and fiery slice of rock ‘n’ roll from a band it is becoming increasingly easy to suggest real success lies ahead for.

Hailing from Sunderland, Eujenics formed in 2015 and quickly stirred up eager attention with their first pair of singles. Together the September and December respectively released Meniscus and Kalashnikov provided a potent and attention grabbing introduction to the quartet, though it was as part of the four-track Humanism EP uncaged this past February , that they really helped ignite a new wave of eager acclaim and new fans. Live too, Eujenics has become an eagerly praised and sought proposition, sharing stages with bands such as Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire over the past months.

Now it is Alec Guinness ready to make a striking impact and follow its predecessors in luring strong radio play around the country. Straight away it has ears and imagination lured as vocalist Nic Wood melancholically sighs alone. His emotive coaxing is soon engulfed with pungent rhythms and growling riffs though, his expression continuing to ooze emotive angst as the tenaciously anthemic beats of Adam Hay grip and tendrils of bluesy guitar entwine the senses. In the belly of it all as the song shares its roar, there is also a virulent rumble with the pulsating resonance of David Scott’s  prowling bass in prime position as guitarist Chris Hanna weaves an evocative and often incendiary tapestry of blues, stoner, and psych rock imagination.

The first single from a new upcoming EP, the track is quite irresistible; as antagonistic as it is seductive, as ferocious as it is dramatically flirtatious and as suggested a track to really put Eujenics on the radar of many more. Alec Guinness, man and song, continues to be one mighty inspiration.

Alec Guinness is available now @ https://eujenics.bandcamp.com/track/alec-guinness

https://www.facebook.com/Eujenics/    http://www.eujenics.com    https://twitter.com/Eujenics

Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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

Slave Cylinder – Cultus

SLAVE CYLINDER Cultus_RingMaster Review

Having your chest crushed by the physical weight of a behemoth is maybe the best way to describe how Cultus devours and suffocates ears with its doom laded proposal. The two track oppression is an insatiable consumption from US band Slave Cylinder, a pestilential sufferance of sound and ill-intent that increasingly enthrals as it smothers the life out of body and soul. It is a demo which demands attention, realising its aim with increasing relish once the numbness resides and a brave exploration into its fearsome depths are made.

Slave Cylinder is a one man project from Rockford in Illinois, though of whom we cannot say as background is as absent as raw intensity from the release is constant. Cultus is the first encounter with the project, an invasive proposal recorded with Chris Galvez at Good Fortune Audio and released through Cold Dark Matter Records (Red Harvest, Fange, Compil Prima Giedi, DEAD, Ende, Immemorial).

Making a low key entrance is opening track Love Sermon, a lone guitar invitingly ambling around a vocal sample the first lure it offers. That initial ‘righteous’ moment soon erupts into a cavernous crawl with a demonic vocal insertion the trigger to lumbering riffs, invasive rhythms, and tortuously throated squalls. The raw vocals continue to assail ears amidst the heavy atmosphere; the track’s funereal march predatory and leading to destruction rather than being the aftermath of such, even with the corruption infested celestial winds that at times escape the tempest. As new twists and essences collude, every minute of the encounter becomes more fascinating than the last; a success epitomised by the haunted limbo-esque oasis of melancholy emerging to captivate ears and thought before both are in turn consumed in another avalanche of punishing drama.

Second song, The Seed features Chris Rodriguez of Tundras, and it too opens with calm scenery as church bells court a passing breeze of unsettled whispers. Subsequently though, another leviathan of sound and grievous enmity rises and envelops, it swiftly equipped with a sonic heralding for the ravishment to come. As the colossal tide smothers and trespasses, more angelically hued, siren-esque harmonics radiate in the tempestuous sky of the song whilst clear vocals rupture the wall of doom bred menace with a potency and presence as gripping as the intensity waiting to collapse upon the senses. Despite its weight and pressure, the track as good as stalks the listener rather than unleashes a full-on ravaging, that hinted at intent and confrontation for the main never erupting into the vicious hostility expected; a restraint which only makes the song all the more fearsome.

Cultus is an impressive and punishingly enjoyable first glimpse at Slave Cylinder, a project we are sure to hear more from with no doubt similarly rewarding and debilitating proposals to explore.

Cultus is available now digitally via Cold Dark Matter Records @ https://slavecylinderil.bandcamp.com/releases and on tape through Dickcrush Records @ https://dickcrushrecords.bandcamp.com

https://www.facebook.com/slavecylinderdoom/

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

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

Eujenics – Humanism EP

Eujenics_RingMaster Review

Two singles last year alerted ears to the creative prowess and imagination feeding adventure of UK alternative rockers Eujenics, songs which laid the seeds to eager attention upon the newly formed Sunderland band. Now together with a pair of new offerings they form debut EP Humanism, a powerful confirmation of the potential in those early tracks further charged with a greater fire of sound and impassioned intensity.

Formed in 2015, Eujenics quickly made an impact last September with debut single Meniscus, a mark quickly reinforced by its successor Kalashnikov two months later and a potent live presence which has seen them already share stages with the likes of Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire. From Humanism alone it is easy to sense and suspect that 2016 is going to be a big year for the striking band, a time of big steps and rewards and an increase in expectations upon them such the impressive broad introduction to the band for a great many more by their EP.

art_RingMaster ReviewLooking at those two aforementioned singles alone within Humanism, it provides a powerful and rousing proposal to get the teeth into. Meniscus immediately entwines ears in a strand of sonic temptation with guitarist Chris Hanna’s bait a spicy coaxing on its own but becoming even more powerful once aligned to the gnarly tone of David Scott’s bass and the rapier like swipes of drummer Adam Hay. The early grooves only seem to escalate in enticement and alluring drama as the climate of the song becomes sonically muggier, vocalist Nic Wood lighting it with his angst soaked tones and expression. There is an air of bands like Manic Street Preachers and Mind Museum to the increasingly eventful and dynamic roar of the song and release, and a contagion to its heart and character which is inescapable. The track is superb and very easy to see why it made such a potent impact last year.

Kalashnikov is an even darker and more rapaciously intensive offering which starts with the predacious growl of the bass as it steps into view. Beats soon begin to stalk the senses too as a sonic mist brews and subsequently erupts in a blaze of acidic tendrils and melodic magnetism. As emotion oozes from the delivery of Woods, things relax a touch but boil again as a tempestuous climate and presence emerges. For all its volatile nature though, catchiness flirts from its gait and the grouchy but inviting hooks which line the outstanding explosive roar of sound and emotion.

Both tracks hint at stoner-esque hues which certainly come to the surface of Culled. It is a fiery canter revelling in a heavy rock ‘n’ roll breeding though in no time it provides its own individual emotion drenched drama through masterfully blending evocative melodies and aggressive angst into its striking sound and body. The further into its creative bellow the more virulently infectious and resourcefully unpredictable it becomes, ending on a finale which leaps at the listener to get the body physically involved.

The last song to explore on the EP is Eviscerate, a track seemingly nurtured from the same seeds as Kalashnikov such its dark intensive bass led start but quickly revealing its own swampy smog of sonic enticement with a touch of fellow Brits, Morass Of Molasses to it. As compelling as anything upon Humanism, it is also the most intimidating in weight and intensity without defusing the strength of the sonic tempting and melodic tenacity which as much as anything sears songs in to the psyche.

If you have already been greedy with Eujenic’s first pair of songs then the EP will only elevate the excitement and enjoyment so far felt whilst for newcomers, Humanism is a major alert to one of the most exciting bands to emerge in British rock ‘n’ roll this past year or so.

The Humanism EP is released February 13th at a launch show at the Independent in Sunderland. Also playing will be Waste Of Space, Grayce., and PussyWillowFurryVenus. Tickets are £4 and available from the bands or at http://eujenics.bigcartel.com/

https://www.facebook.com/Eujenics/   http://www.eujenics.com   https://twitter.com/Eujenics

Pete RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

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Elements – Where We Once Begun

Elements Promo Shot_RingMaster Review

The band’s bio states that this year a line-up change for UK alternative rockers Elements has coincided, maybe sparked, a new sound from the band. With their new EP Where We Once Begun our introduction to the Southampton hailing quintet, we cannot say if the shift is dramatic or subtle, but for sure thanks to five tracks of rousing rock ‘n’ roll, their new release shows it has been a potent one.

Formed in later 2013, Elements quickly made a mark locally with their self-titled debut EP and a live presence which has earned them a reputation as one powerful proposition and seen the band share stages with the likes of Bad Rabbits, The Afterparty, DEAD!, Ashestoangels, The Hype Theory, and Public Service Broadcasting. As mentioned the band has recently undergone a personnel change which, taking the Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero) produced Where We Once Begun as our evidence, seems to have lit a fire in the creative belly of the five-piece.

Elements Cover Artwork_RingMaster Review   Once EP opener Shaman storms through ears, rapidly stirring up enjoyment and appetite, the band without being wholly unique, reveals freshness and adventure to their music which just grabs attention and sets them apart from the masses. Fair comparisons have been raised to bands such as early Biffy Clyro, YouMeAtSix, and Don Broco but there is plenty more rippling through songs suggesting something individual to Elements. The first track aligns winey blues wrapped tendrils of guitar with a flirtatious almost electro shuffle which is not too far away from the persuasion Blondie once blossomed. It blends well, the song brewing a virulent tempting to which the skittish beats of Ash Martin and the dark lures of Max Bakker’s bass add their own potent seduction. Vocalist Graham Rogers is just as vibrant and inviting, his powerful tones backed well by those of Bakker and guitarist Ollie Butler who alongside fellow string craftsmen Robin Small spins a web of hooks and melodic spicery to match. It is a contagious riot of sound and energy, and a quite irresistible start to the release.

High Time For Being Free comes next, emerging without a breath from its predecessor with its own brand of sinewy riffs and heavily coaxing grooves ridden by the vocal roar of Rogers. As the first track, it leaps on and bounces through ears with an infectiousness which is muscular and tenaciously anthemic, whilst showing a different shade of colour to the band’s sound. Major surprises, as across the EP, are not open bait yet there is again that fresh air and rich enterprise to it which only lures you in deeper before Plotting Treason Or Saving The World uncages its own chest beating anthem littered with blues honed grooves, merciless hooks, and a sultry air which dynamically ignites in a blaze of the chorus.

Up next is the melodic shimmer and emotive energy of Make It Out Alive which takes release and listener into another new landscape of sound and adventure. Again the imposing strength and sonic muscle of the band is a heady proposal but employed in a new strain of sonic fire and provocative drama. The track does take a little longer to grip but leaves a flavoursome and inventive taste in the mouth before Torchlight brings the EP to a fine close with captivating and aggressive melodies courted by tangy grooves and flaming vocals.

Where We Once Begun is not going to set the alternative rock world back on its heels but it does announce Elements as one of its more exciting emerging bands, so much so that already there is a tingle of anticipation for their future something akin to that felt when Jimmy Eat World first broke.

The Where We Once Begun EP is available from August 17th through all stores.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

The Dead XIII – Catacombs

temp dead xiii final_RingMaster Review

Just over a year ago, UK horror metallers The Dead XIII, without majorly startling ears made a potent introduction with their Creatures Of The Night EP. It certainly whetted the appetite and revealed the potential of the band forging out a distinctive presence in the British metal/rock scene. Now the Mancunian quintet unleashes their debut album Catacombs, an encounter which weaves all the promise of its predecessor into a hefty slab of skilled and thrilling enticement. Whether the band has quite found that unique voice can be argued, for us it is still something brewing, but there is no doubting that the album is a potent nudge to awaken national attention and push the band well away from the crowd.

The Dead XIII escaped their crypts in 2013 and was soon breeding an increasing number of loyal fans through a live presence which over time saw them sharing stages with the likes of The Fearless Vampire Killers, William Control, Dead, and Bad Pollyanna. Creatures Of The Night lured new blood to the band with its Wednesday 13 meets Misfits like sound in 2014, a base which The Dead XIII has torn and sculpted into a more mature, inventive, and predatory proposal. Fresh from the British Horror Story Tour with Ashestoangels and Farewell, My Love, vocalist Kurt Blackshard, lead guitarist Ste Mahoney, keyboardist/guitarist Symon Strange, bassist Paul Ryan, and drummer Spike Owen reveal the evolution that has coursed through their songwriting and sound over the past year with Catacombs, and provide a rather tasty offering at the same time.

catacombs-cover_RingMaster Review    The album opens with its lead single XIII; guitars instantly weaving a mesh of sonic bait before the song erupts into a cauldron of electronic and guitar driven causticity. The distinctive tones of Blackshard quickly enter the building drama oozing from every aspect of the song, his unpolished and ghoulish dark tones another magnetic lure to an already heftily enticing encounter. There is a whiff of Marilyn Mansion and White Zombie to the track, as well as The Defiled, hues which collude to create a contagious trespass of the senses and a mighty and irresistible start to the album. It is a potent first roar matched by Frostbite and its fiercely aggressive tenacity aligned with a wintery atmosphere cloaking keys and vocals. Whereas the songs on the previous EP rarely strayed from their core design, here as in its predecessor, the song is unafraid to twist further unpredictable and imagination bred flirtations of sound and ideation into its appealing intrusion.

Daemons shows its teeth straight away with thumping beats piecing carnivorous riffery. The keys almost as quickly spread their sinister gothic charm and melodic resourcefulness into the ravenous tempest of the song where again there is an energy and intensity which never relents from badgering, almost bullying the listener. It is a great union, warm inviting textures contrasting the imposing bellow of the song whilst rhythms and the growling vocals temper the provocative tapestry of the keys and melodies. It is fair to say that every track is aural theatre, and each song upon Catacombs a mouth-watering dark escapade perfectly epitomised by the third song on the album.

The album’s title track is its successor, another proposition which gets straight down to the virulent nitty-gritty of its devilish invention and uniting horror metal/punk resources. Once more the grizzled delivery of Blackshard is like the barker or crypt-keeper to dark deeds and deathly delights within the song, and whereas on the last EP his tones occasionally tested with their one dimensional presence, in song and album they reveal, as the music, that they have evolved and discovered their deep potency.

The pair of Be-Were and The Greatest Escape richly catch the imagination next, the first encroaching on ears with stalking riffs and jabbing beats around a demonic fusion of singular and mass anthemic vocals whilst the second, being arguably the most openly Misfits toned song on Catacombs, dances on ears with a voodoo-esque array of hooks and again mass vocal roaring. Both tracks captivate with its slithers of heavy metal seeded enterprise from Mahoney whilst the latter further grips though it’s entwining of intimidating rhythmic and metal textures with melodically searing flames erupting within the song’s smouldering heart.

Not quite living up to those before it, lacking the creative spark which ignites its companions, Haunter with its corrosive metal breeding still leaves appetite and satisfaction content next before making way for the outstanding and ravenous Lay Siege To Hell. The song is unbridled and bruising rock ‘n’ roll but equally bold with sidesteps into electronic/techno adventure and a host of ever changing hooks and scorching guitar imagination adding up to another boisterous rousing of body and psyche within Catacombs.

The closing stretch to the album begins with Can’t Escape The Grave, more highly agreeable rock ‘n’ roll to lose your inhibitions and soul to and ends with Apothesis, a death infused, ambience crafted encounter which is as much post-hardcore and blackened metal as it is horror metal, and quite enthralling. It too does not quite match earlier tracks yet it is the most inventive and increasingly fascinating offering on the album revealing the depth to The Dead XIII invention still brewing and to be explored ahead.

There is no doubting that Catacombs is a must explore treat for horror and gothic metal/punk fans. It is not the perfect offering with some tracks a little too similar in some areas and hues of other genre bands seeping into play, but one impressive leap forward for the band and undeniable impressive romp for ears. As things moved forward between EP and album, evolution will see the same ahead as The Dead XIII progresses and we for one cannot wait whilst continuing to devour Catacombs right now.

Catacombs is out now

RingMaster 13/08/2015

Copyright RingMaster: MyFreeCopyright