Noydem – A Time Will Come

A Time Will Come is the new EP from French outfit Noydem, a release coming three years after the band’s debut album. Formed in 2011, the Paris quartet create alternative rock which embraces an array of flavours for, as evidenced by their new release, a quite appetising adventure.

A year after emerging, Noydem unveiled their first EP in the shape of The Landing, its keenly welcomed release followed the next year by an even more eagerly received self-titled album. It is fair to say that the foursome of vocalist/guitarist Julien Prouveze, lead guitarist Gia Vcgr, bassist Jules Brosset, and drummer Joffrey Hebert has yet to awaken major attention outside of the French rock scene but an awakening A Time Will Come has a great chance of stirring.

Themed by “the feeling of people struck with ostracism in today’s society”, A Time Will Come offers five tracks of infectious rock starting with Welcome Home. A deep groan of bass and crisp percussion draws the equally alluring scythes of guitar and Prouveze’s strongly enticing vocals, it all uniting in a subsequent earthy stroll with flirtatious hooks entwined in infectious grooves. Immediately captivating and increasingly virulent by the second, song and sound tempt and seduce with lively enterprise, electronic additives adding to its inescapable contagion.

The excellent start is quickly matched by next up Bring Me Down. From its flirtatious start with seriously tempting rhythmic bait, the track catches alight with stoner lit grooves and industrial rock essences teasing a bold rock ‘n’ roll stroll. The electronic attributes of its predecessor come with greater voice, bringing a pop rock celebration sparking even greater infectiousness in the song’s character and antics.

The EP never quite reaches the heights of its first pair of songs again but only pleases and impresses as the likes of Stay with its calmer, reflective electronic/alternative rock grab attention. At times a suggestive simmer and in turn a dynamic blaze, the song is little short of an aural magnet with moments of major temptation.

The shimmering balladry of Your Other Self is more of a slow burner but never less than persistent captivation while closing track A Place to Live has the listener and EP bouncing with its own mix of emotive deliberation and physical dexterity. It too needs a touch more time to get under the skin compared to the first trio of tracks but worm into appetite and psyche it does.

Inspirations to Noydem include the likes of Red Hot Chili Peppers, Queens Of The Stone Age, Foo Fighters, Incubus, and Audioslave, spicing often easy to hear within A Time Will Come but theirs is a sound which is developing its own character very nicely with the prospects of major attention increasing release by release.

A Time Will Come is out now on iTunes and other stores.

https://www.facebook.com/Noydem/

Pete RingMaster 12/12/2017

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

SixTwoSeven – Some Other’s Day EP

You cannot just make up real rock ‘n’ roll; it is in the heart as evidenced by Seattle alternative rock outfit SixTwoSeven. You just know it is an instinct in the quartet as their debut EP, Some Other’s Day rumbles through ears to arouse the spirit across four riotous tracks.

Formed in 2016, SixTwoSeven consists of vocalist/lead guitarist Greg “illfunk” Bilderback, his brothers in drummer Matt aka “the Machine” and guitarist Jason aka “J Danger”, and longtime friend Mike “MK Ultra” Knapp. This line-up was actually completed during the recording of Some Other’s Day with producer Jack Endino (Nirvana, Mudhoney, Soundgarden) at Soundhouse Studios, Matt coming in for backing vocals and leaving as a fully-fledged member of SixTwoSeven.

The EP itself opens up with One Single Night, instantly luring ears with a dirty riff soon joined by Greg’s grumbling tones. Bass and drums quickly add their moody touches as infectiousness infests all aspects of the emerging track. The song’s swagger is right there grabbing body and spirit, the creative flames of guitar luring the imagination deeper into its own increasingly magnetic prowess. Altogether it is a masterful persuasion and quickly matched by successor Wreckless Soul. It too has a certain confidence in its gait and swing, vocals a lighter invitation in the grungier nature of the song but loaded with the same catchiness as the hooks and riffs flirting boldly alongside.

Joshua’s Song has a calmer personality which its melodic imagination exploits with emotion and invention. The harmonic blend across the band brings extra light to the song and the SixTwoSeven sound, the band showing the variety in their creativity. Admittedly, the song did not quite light the excitement as its companions but it certainly left a strong air of satisfaction before the EP’s best track brings things to a mighty close.

An aggressive slice of punk fuelled rock ‘n’ roll, Top of the World is a virulently contagious incitement which has body and emotions bouncing in quick time. It snarls and entices, prowls and stomps with attitude and zeal ensuring listener involvement is hooked in no time. One of the reasons maybe that the band has been compared to the Weezer and Foo Fighters, the track alone makes SixTwoSeven a prospect to keep a close ear upon; a thought more than reinforced by Some Other’s Day as a whole.

Some Other’s Day is available now @ https://sixtwoseven.bandcamp.com/album/some-others-day

https://www.dubsevenrecords.com/    https://www.facebook.com/SixTwoSeven627

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

All Tied Up – Breaking Silence

Entwining the energy and urgency of pop punk with the rousing guile of alternative rock, UK outfit All Tied Up have provided one enterprising vehicle for it to shine in the shape of their new EP. Breaking Silence features five tracks which pretty easily has the body bouncing and the imagination held, each also ripe with a potential which whets the appetite for the evolution of the  band’s already intriguing sound.

From Milton Keynes, All Tied Up have persistently nurtured a broadening eagerly loyal fan base as well as increasing praise across a debut album and a pair of EPs as well as with their live presence which has seen the quartet shares stages across the country with bands such as The Ataris, [SPUNGE], Kenneths, Big D and the Kids Table, Whitmore, and Sonic Boom Six. Recently they linked up with new indie label, Stack-in-a-box Records, for the Andy Davies produced and Joe LaPorta (David Bowie, Foo Fighters, Mallory Knox) and Katie Tavini (Sonic Boom Six) mastered Breaking Silence, a union which should see potent fruits from their joint endeavour.

The EP opens up with So Enthusiastic, a song which from a gentle thoughtful melody gathers its rhythmic tenacity and eager energy to burst into a boisterous stroll. In its lively canter there is a steely edge to the bass of Leebo, a darker hue which equally clads the swings of drummer Nick Freeman. The guitars of vocalist Dave Palfreyman and Billy Norman though flirt with melody around a hook which just teases the passions as the former’s vocals, with their engaging twang, cap the captivation. The band’s new single, the song simply hits the spot and soon commands a deeper look at the EP.

Whether the remaining tracks live up to the first is debateable such its impressive proposition but certainly the following Better Day swings along with ear pleasing endeavour and a melodic spicing which only satisfies. Its rhythmic shuffle is similarly adventurous working away on feet as too the ruggedly dancing beats and bass grumble coring the increasingly addictive and next up Asbestos Box. Though leaving no sense of dissatisfaction in its first play, the track simply grows listen by listen; its unpredictable character and infectious heart relentlessly getting under the skin and if there is one song which rivals the first, this is it.

The EP’s title track romps along with its own eagerness and dexterity, ebbing and flowing in the energy of its attack but always a flood of catchiness which also blossoms over time if still lacking the bolder creative sparks of its predecessor. In saying that, enjoyment is a given as emotive hues entangle pop punk; a mixture just as assertive and magnetic in closing track Master Of Disguise. It too is a great mix of reflective calm and spirited dynamics which again, and this applies to the whole EP too, just becomes more persuasive and alluring with every encounter.

There is deep potential to the All Tied Up sound which demands further attention and a readymade attraction which makes Breaking Silence a thoroughly enjoyable encounter which anyone with a taste for pop punk and infection loaded rock should find quite flavoursome.

Breaking Silence is out now via Stack-in-a-box Records on all major online stores.

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

Pete RingMaster 01/10/2017

Copyright RingMaster: MyFreeCopyright

 

Reckless Intentions – Lights EP

UK outfit Reckless Intentions might be primarily tagged as pop punks but as their debut EP shows, they have an instinctive devilment and creative belligerence which reveals there is much more to their aggressively magnetic sound.

Embracing inspirations from the likes of Green Day, The Clash, and Foo Fighters through to others such as All Time Low and Moose Blood, Reckless Intentions host varied flavours in their music which is clearly audible and potent within the Lights EP. Equally, the Brighton hailing quartet bring an individual character to their songs and presence which is maybe still slightly more potential than realisation but is already helping shape them into a prospect which stands out.

Formed in 2016, the band concentrated scene last year on establishing themselves on the south coast music, and successfully so, before linking up with Alex Gordon at Brighton Electric Studios to work on and record their first release in the sprightly shape of Lights. With its five boisterous tracks, the EP quickly shows it has the intent and energy to stir up richer attention the way of the foursome but more so the imagination to make Reckless Intentions a rather exciting prospect.

The EP opens with the outstanding Ghost Town, a song swiftly making a successful claim for best moment and most potent lure within Lights. With a great slightly off-kilter indie rock revelry to its punk rock tenacity, the track like a mix of Asylums and The Wildhearts, things are swiftly bold and sweaty as the swinging beats of  Josh Woolnough scythe through the nagging riffs and spiky grooves of guitarists Matty Halliwell and Lewis Horsley respectively. The energetic vocals of the former equally inject an energy and fresh identity to the encounter, it all colluding in an adventurous and unpredictable mix driven by the alluringly throbbing groan of Laurence Burkitt’s bassline. In no time body and vocal chords are enlisted by the arousing antics of the song, its dynamic and almost bitchy start the perfect introduction to Reckless Intentions.

Stitches, the band’s latest single is next, its melodic bait and harmonic enticement quickly flirting with ears. The hooks of Horsley beckon within a more familiar temptation of sound; the track openly sharing All Time Low meets Brand New like essences within its infectiously swinging exploits. Halliwell again makes a potent vocal lead, his tones giving the track something more unique than other pop punk outfits though something its enjoyable sounds arguably lack a touch. Nevertheless, the song hits the spot before evolving into the short instrumental of the EP’s title track, a piece which neither detracts or adds to the overall strength of the release but keeps an appetite for its adventure on board.

The following Outcast only enriches the fun though, its instant Smash Mouth like swagger led by the ever flirtatious bass easy to get hooked on prime bait with vocals again a strong pull at its core. Becoming more punk ‘n’ roll with every lively beat and niggling riff, the song growls at and flirts with the listener, all the time brewing a pop catchiness which has hips enlisted in quick time. The song also reveals yet another hue to the band’s songwriting and sound, a variety exposed once more by closing song Home. With his own suggestive piano melody alongside, Halliwell plaintively croons from the speakers; melancholy lining his words and fingers. Alluring ears with ease, things only become more intense and potent as the band eventfully bring their emotion and craft to the reflection; the song catching fire with pop punk catchiness caught in an emotion soaked blaze.

It is a fine end to an ear pleasing first delving into the Reckless Intentions adventure, the first of many more highly pleasurable unions if they build on the undoubted potential and fun of Lights.

The Lights EP is out now across most online stores.

http://www.recklessintentions.co.uk   https://www.facebook.com/recklessintentionsuk/    https://twitter.com/recklessband_uk

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Waiting For Titor – Halo Pt 1

In a year of many striking, potential loaded debuts already, we suggest another especially potent and exciting introduction in the shape of the EP, Halo Pt 1. The six track offering comes from Anglo-Italian alternative rock quartet Waiting For Titor, a band founded in 2012 which has honed their sound into one fascinating and thoroughly enjoyable proposition; its imagination bred within a maturity of songwriting which just commands attention.

Waiting For Titor rose from the ashes of Italian crossover outfit Convergence, drawing their moniker from a fictional name used by a blogger claiming to be a time traveller from the year 2036. Embracing inspirations found in the specific likes of Nine Inch Nails, New Order, Depeche Mode, Foo Fighters, Sigur Ros and Massive Attack, the band has risen through the focus of the underground and having recently linked up with Belgian label Diva Records, the Manchester based foursome are poised to tempt national attention and quite possibly more such the potency of their first EP.

Recorded with Belgian producer Geert D’Haene and mastered by highly acclaimed Italian engineer Giovanni Versari (Muse), Halo Pt 1 coaxes intrigue with its brief breath of an opener, Proemio an atmospheric piece of suggestion which does not really give a clue to things to come but makes a thought involving lead into the EP’s waiting title track. The vocals of Alex Palladini instantly hold ears, his distinct expression cradled by vines of wiry melody from Mike Tomasini’s guitar. Prowled by the dark tone of the Max Andrini’s bass which sounds almost irritable against the post rock/ progressively woven tapestry of guitars and keys, the song absorbs ears and thoughts. Its bursts into more boisterous life driven by the skilled swings of drummer Vince Picciolo makes for a rousing finale with an intensity further explored within its successor.

Bitter End similarly has some restraint in its gait also but welcomes thicker shadows in its climate as synths with a Nine Inch Nails like air wrap the senses. Again there is a great drama and energy in the vocals whether they emotively croon or passionately roar, a blend matched in the sound as the track blossoms turn by turn. Built on emotional and physical crescendos, the song is a magnet for the imagination, only increasing its potency with every listen, as indeed does the EP, as fresh layers are discovered.

The dark rock essence within the song is escalated within the final trio of tracks; Diving Into The Black coming first with its rock pop/gothic rock fusion. There was a whisper of Dommin to the previous track, a spicing far richer here as the track infectiously strolls and emotionally flames. Synths are an evocative incitement, rhythms a forceful enticing, whilst the guitars almost flirt with their sonic mix of light and dark enterprise.

The melancholic caress of Twilight Fall is even more awash with the hues of the previously mentioned US band though its shadowed seduction is soon baring its own unique soul as Palladini shares heart and word within a siren of emotionally bare sound. Its outstanding temptation is soon matched in lure and might by closing track Leaving Again, a slice of virulent contagious rock repeating Waiting For Titor’s craft at entangling dark and light in an emotional rousing and provocative proposal. It is a song which declares itself the lead into the creative heart of the band though sharing best track honours with its predecessor.

The Halo EP is a truly potent first listen to Waiting For Titor which only increasingly impresses and entices with every subsequent outing into its dark exploration. Its individuality in sound and invention might not be for all, though it is hard to imagine many turning away, but for a great many others a budding affair will be on the cards.

Halo Pt 1 is released through Diva Records on June 2nd and will be available @ https://waitingfortitor.bandcamp.com/album/halo-part-1

http://waitingfortitor.com/wp/    https://www.facebook.com/waitingfortitor/    https://twitter.com/waitingfortitor

Pete RingMaster 01/06/2017

Copyright RingMaster: MyFreeCopyright

Quick & Dirty – Falling Down

It is fair to say that Falling Down, the debut EP from French rockers Quick & Dirty, did not make a striking first impression though certainly it offered strong enjoyment, especially with its opening invitation to rock ‘n’ roll. It is equally valid to say that given the time and effort all releases deserve, the five track proposition has only blossomed into something far more fascinating which maybe more than most is tempting regular attention.

Quick & Dirty was formed in 2014 by vocalist/guitarist Ludovic Caussin and guitarist Fabrice David. First recruiting drummer Laurent Cirri, the Paris based band found a bassist to complete its line-up and begin work on writing and honing a sound said to take inspiration from the likes of Foo Fighters, Led Zeppelin, and Iggy Pop. The departure of their first bassist led to the addition of Tanguy Poirier and in 2016 their initial and successful steps into the Paris live scene.

Quick & Dirty recorded their first release early this year, the successfully crowd funded Falling Down EP having its unveiling recently to already eager and praise lauding responses. It starts up with its title track, a contagious rock ‘n’ roll stomp of a proposition opening with a swiftly engaging tendril of blues scented guitar. Quickly it strolls with boisterous intent through ears, the individual vocals of Caussin as lively as the hook littered sounds around him, all colluding in an increasingly infectious revelry coming to a virulent head in its rousing chorus. The track is irresistible, an instinctive arousal of body and spirit which gets the EP off to a mighty start never quite matched again.

Nevertheless, songs like the following I Was Born only add to the adventure and potency of the release, its own blues steeped character and saunter providing a host of fiery grooves and ear pleasing hooks as the band shows more classic rock traits. Soon developing its own personality to quickly give greater variety to the band’s sound and EP, the song saunters along with a creative prowess and imagination easy to get engaged in, epitomising the release as a whole in becoming a stronger and more compelling encounter over a subsequent handful of listens.

East West comes next, its opening melodic jangle making a subdued but inviting coaxing upon which the spoken and blossoming vocal tones of Caussin weave their suggestion. As is the band’s template, everything in the track leads to a spirited and seriously catchy, hard to ignore chorus before the excellent Trust Me entices with its even richer blues toned shuffle. Rhythms dance as fuzzy flames of guitar smoulder, a flirtatious mix matched by mischievous vocals and teasing melodies which entangle and come together in the track’s own brief but devilishly infectious chorus; that Iggy punkiness hinting away within its heated roar.

The rawer rock ‘n’ roll of Would You Like To Dance brings the release to a strong close, its body a mix of rock at times as much glam and grunge as it is hard and punk rock in other moments. Maybe missing the spark of its predecessors but only increasing in appeal and persuasion through each outing with its enterprising fun, it pretty much sums up the EP in success and adventure.

Falling Down is a great introduction to Quick & Dirty leaving ears and enjoyment thickly satisfied and full whilst laying down a strong base for the band to grow and expand a more unique sound from. For hearty rock ‘n’ roll with a smile in its nature, you could definitely do a lot worse.

Falling Down is available now @ https://quickanddirty.bandcamp.com/album/falling-down

https://www.facebook.com/wearequickanddirty

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright