Perfect Line – Seeds

As a rule we never finalise any opinion on a release until multiple plays have passed by. It is something we learnt with the first System Of A Down album, not being taken by it on the first listen but returning to it weeks after and with increasing rigour it became one of our all-time favourite encounters. The debut album from French trio Perfect Line was a similar proposition; not that we did not enjoy its offerings on first listen but it was through numerous outings and the nagging quality and imagination the songs within Seeds revealed that it really grabbed our attention.

Paris hailing Perfect Line pretty much began in 2011 with the creative union of lead vocalist/bassist Thomas d’Arbigny and guitarist/vocalist Paul Pavillon. Inspired by an array of styles, many nineties bred, the duo’s alternative rock is a multi-flavoured proposition which commands attention. 2012 saw drummer Julien Audigier brought into the line-up and the release of a self-titled debut EP. Gaetan Allard replaced Audiger soon after and the current line-up was in place, a trio now knocking on bigger doors with Seeds.

The album opens with Everything; a slice of melodic rock with a grunge lining which coaxes and lures ears rather than grabs but soon has them attentive with its infectious exploits and accomplished air. It never makes any demands but from rhythms and enterprise to energy and aggression only entices and increasingly so as its adventurous body twists and turns. In many ways it plays like an old friend, familiar essences at play but has a freshness which urges another listen and another, much as the album.

The following Wywd opens with rhythmic bait and sonic teasing which just gets under the skin, it a prelude to a rapacious wave of inventive sound. It is a superb start which is followed by a bit of an anti-climax as the song then slips into a mellow caress though it is soon bubbling with suggestion and unpredictability which surges in varying states of eagerness. The song is a fascinating proposition; one which for personal tastes maybe promises more than it delivers yet never has a moment when you are looking for something else to explore.

Be My Guest follows, a great dark grumble courting its croon before it roars with gusto and power, d’Arbigny’s fine vocals to the fore. His bass is a pulsating throb in its midst, the biting beats of Allard swinging with relish as Pavillon’s guitar weaves a melodic and sonic tapestry, the track as much a seduction as a trespass. With a rousing blues rock lining, the song is a tenacious pleasure quickly matched in enjoyment by the contagious shuffle of Red Coach. Its gentle emotive beginning does not give a clue to the energetic dance to follow, alternative and grunge tinged rock colouring its subsequent magnetic rock ‘n’ roll. Feet and hips were soon involved once it did hit its stride, the song one of many casting persistently nagging hooks.

The imagination within the band’s songs is a rich essence to the album, Free epitomising the quality with its melancholic yet seductive strings provided by Arnaud Affolter and a tapestry of sounds and ideas which all give expectations a wide berth. Again Perfect Line entangle many styles in their aural weave and once more has attention firmly enticed as the track smoulders, saunters ,and erupts.

Through the adventurous almost loco web of Bad Boy, a song with a great Alice In Chains hue to it and the emotive balladry of Afraid the album accentuates its growing persuasion with the first of the two especially compelling though its successor has a firm grip too with its drama and emotional volatility. Even so they are still eclipsed by the virulent rock ‘n’ roll of Get Out, the track further evidence that Seeds was blossoming and getting better song by song for these ears. The track is another which seemed familiar in some way but it only added to its rousing holler and catchy prowess on the way to becoming our favourite song.

The animated escapade of Tired quickly gave it a run for its money though, the track a fusion of brooding mischief and melodic temptation around rhythms which just land with glee. It is fair to say that a grunge scent is never far away from a Perfect Line song, this embracing a Stone Temple Pilots meets Alice In Chains spicing in its increasingly hypnotic stroll.

Seeds is not an album of two halves but for us its latter tracks really hit the spot and with increasing persuasion, Space Race proof with its glorious stomp of infection loaded rock ‘n’ roll. Remember that favourite song moment, as this track plays in the background of tapping keys we might have a change of mind or at the very least a major rival. The track is glorious, a roar to ignite any day with its Foo Fighters-esque blaze.

Slow Down and At Last complete the album, the first another slice of magnetism with a joyful swagger and emotive flames around a devilish core of hooks and lures while the second is a fire of sound rising and simmering along a deviously alluring length.

Seeds might very well grab ears with a firm hand from its first listen but given time it really will take off making it a release which is very difficult to leave it alone, something we can certainly testify to.

Seeds is out now; available @ https://dooweet.bandcamp.com/album/seeds

http://www.perfectlinemusic.com/   https://www.facebook.com/perfectlinemusic   https://twitter.com/perfectline4

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright

Black Orchid Empire – Yugen

With a critically acclaimed debut album already under their belt and a strong reputation earned for their energy surging live side, Black Orchid Empire look at even greater attention with new full-length Yugen. With eleven tracks of adventurous heavy weight alternative rock embracing the familiar and individual whilst unleashing hooks so easy to get snagged upon and lithe grooves to swing from, the UK outfit’s second album is a rather tasty proposition with regular moments of imposing captivation.

Since emerging in 2011, the London hailing trio has drawn increasing attention with their fiery yet resourcefully and carefully woven sound. That well-praised first album, Archetype, put them solidly on the radar of media and new fans alike, its release in 2016 the ignition to their continuing ascent within the British rock scene sure to be escalated by Yugen. Alongside the former’s success, Black Orchid Empire has been a potent live presence, making numerous much-lauded festival appearances at the likes of Standon Calling, Planet Rockstock, Camden Rocks, and Germany’s Taubertal Festival and sharing stages with artists such as Biffy Clyro, Editors, Skunk Anansie, and Hed P.E who the threesome supported on a UK tour.

Now the band is ready to stir up fresh fuss around themselves, success which even from the boisterous persuasion of opening track of Yugen you get the feeling is close to being a done deal. My Favourite Stranger is also the new single from Black Orchid Empire, a song stirring from a distant sonic squall with a great grumbling rusty bass lure quickly bound in the wiry tendrils of Paul Visser’s guitar. As the song settles without losing those tempting elements, his equally enticing vocals step forward backed by the just as melodically fine tones of bassist David Ferguson. The band has been regularly likened to Biffy Clyro and Muse but for us and certainly with this start, their sound sits somewhere between Reuben, Sick Puppies, and Foo Fighters in varying degrees across each song.

The equally magnetic Burn follows; bass and guitar again setting an enticing canvas for vocals to spring from and the firm manipulative beats of drummer Billy Freedom to shape. In that inviting and slightly imposing proposal, the track is an animated and unpredictable web of imagination and enterprise. Twists come and go; all delivering fresh adventure and bait while the song fluidly swings between teasing seduction and a full throated roar.

Previous single Celebrity Summer is next, the opening croon of Visser and his guitar a mischievous if emotive spark to the track’s ferocity and urgency as well as another trap of hooks and sonic dexterity. A tenacious slice of vociferous rock ‘n’ roll, the track also hit the spot dead centre before Wires entangled ears and appetite in its contagious aggression lined exploits. From vocals to rhythms, melody to sonic trespass, the song is a formidable and compelling incitement uniting a host of voracious flavours, all traits colouring Yugen from start to finish.

Blacklight Shadow makes its own mellow emotive entrance after the previous blaze, its elevated croon surrounded by sonic flames before settling down again to repeat the rich cycle. That earlier mentioned Australian band certainly comes to mind in the track but again the Black Orchid Empire sound soon establishes its own character with tempestuous power.

As the likes of the muscular and invasively magnetic Pray To The Creature with its weave of senses scorching tendrils and the heart spun atmospheric balladry of Vertigo rise, variety and pleasure go hand in hand. The second of the two wears an alluring country blues scent to its impassioned voice too, more of the broad flavours the album embraces while Mouth Of The Wolf takes essences of hard rock into its seriously catchy prowl.  Emerging as album favourite here, the song nags and jabs, teases and taunts with its controlled but hungry imagination and touch, pretty much living up to the snarling intimation of its title.

A more straightforward proposal comes with Pins And Needles, maybe the album’s least bold song but another which just grips attention and pleases as Toru’s Maze waits to uncage its infectious wares; that grizzled tone of Ferguson’s bass again licking at personal pleasure here though the whole of band and song manages to stoke things up.

Ending with the quite captivating roar of Years, a track erupting from a potently alluring ballad cry into a heart unleashing blaze, Yugen is one thoroughly enjoyable and so often striking release. is there any other reason to check it and Black Orchid Empire out?

Yugen is released May 25th via Long Branch Records; available @ https://blackorchidempire.bandcamp.com/album/yugen

Upcoming live shows:

02.06.2018 UK, London – Camden Rocks Festival

03.06.2018 UK, Glasgow – Broadcast /w Black Map

04.06.2018 UK, Manchester – Gulliver’s /w Black Map

07.06.2018 UK, Donington – Download Festival

22.06.2018 UK, York – Pile Up Festival

http://www.blackorchidempire.com/   https://www.facebook.com/blackorchidempire/    https://twitter.com/orchidempire

Pete RingMaster 24/05/2018

Copyright RingMaster: MyFreeCopyright

Hercules Morse – Vita Boundary

After richly enjoying their previous EPs, it was easy to discover real intrigue and anticipation for the debut album from Hercules Morse. There were also hopes that it would strongly build on the potential and enterprise of those earlier encounters with the UK outfit and we can say that Vita Boundary more than delivers, the ten-track offering a feast of magnetic and infectious melodic rock with plenty of eager snarls and sonic blazes to feast upon.

The Southampton hailing quartet emerged in 2014 and released their first EP, Edge Of Life, the following year. It was met with praise and attention as well as potent radio play; success just as easily and more keenly tempted by successor Equine Size Comparison in 2016. Their live presence has been just as potent too, Hercules Morse sharing stages with the likes of Calvin Harris, Primal Scream, Duran Duran, and The Streets alongside supporting bands such as Turbowolf, Band of Skulls, Black Peaks, Blaze Bayley, Tiger Cub, Orange Goblin, and Dinosaur Pile Up. Their reputation has grown step by step and now looks poised to be escalated by Vita Boundary.

Musically they sit somewhere between the likes of Foo Fighters, Queens Of The Stone Age, and Biffy Clyro; their sound a fusion of hard and stoner rock infused with more psych and simply melody spun imagination. Quickly as opener Everything Is Great grabs ears, the album reveals it is a sound which has grown and matured from those previous encounters whilst embracing an even broader array of flavourings. Harmonies wrap classic rock bred grooves from the off, the lead vocals of rhythm guitarist Steve George captivating within the alluring flame of sound. Guillaume Redonnet-Brown’s beats and clips tease throughout too as the guitar of Harry Gardner spins a web of familiar yet fresh enterprise. It is a swiftly magnetic affair an echo of the album in that it is not strikingly unique yet everything on offer is enticingly individual to the band.

The following War Within similarly warms the appetite with recognisable and unique adventure. The dark hues of Paul Shott’s bass cast a great shadowed but infectious lure at the heart of the song and its catchy swing; egging on its virulent instincts and in turn those within the voice of George just as potently backed by those of Gardner.

Cuckoo leaps in next with its own addictive contagion, the beats of Redonnet-Brown bounding through ears with a persuasive swagger as the guitars weave another ridiculously tempting tapestry of hooks and melodic dexterity before Talk Me Down brings an earthier proposition to contemplate but one with big rousing rhythms and melodic adventure. Within a couple of listens, if that, each seduced eager participation in the lively strolls; a trait and persuasion which fuelled the enjoyment of the whole album.

There is a slight whiff of Voyager to the following Clockwork and its melodic glide across an enjoyably bumpy rhythmic landscape while Resigned reveals a more sombre lining and composed gait to its just as captivating stroll. Though neither quite matched the heights of those before them each song left ears hungry for more, Can’t See The Sunrise providing as it steps up straight after to steal best track honours. From its initial senses entwining groove and the rapier swings of Redonnet-Brown, the track had us drooling, vocals and the grumble of bass just escalating the track’s virulence and rapacious attack. That opening hook continues to pierce and sear the song, never allowing a moment for lust to relax as the song romps all over the imagination and spirit.

It is a success pretty much matched by the infection spewing Still Singing. As potent as it is from the first note, Vita Boundary saves its greatest moments for its latter stages though of course it is down to personal tastes as to its most fertile times. For us this and its predecessor is Hercules Morse at their most inventive and fiery best but equally most bold with melodies revealing a heat and rhythms a bite which simply inflames the rest of the band’s qualities.

The calmer proposal of The Story Goes similarly ignited the passions, its blend of light and dark as invasive as it is seductive and inescapably magnetic while closing track, Go For Broke, provides a fusion of tenacious rhythms, ear caressing harmonies, and spicy melodies which just get under the skin, especially the agile temptations of Shott and Redonnet-Brown. George and Gardner are just as compelling in voice and sonic invention though as the track brings the album to a rousing conclusion.

Vita Boundary is a masterful mix of the familiar and the boldly new; a rousing incitement built in layers of magnetic enterprise from a band which just gets bigger and more enjoyable, in this case, song by song.

Vita Boundary is out now on CD and digitally @ https://herculesmorseuk.bandcamp.com/album/vita-boundary

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

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

Calming tides and mighty swells: going on board with Rusty Shipp

Riding the waves and currents of rock music at its most creatively diverse, Rusty Shipp is a rock band from Nashville, TN creating self-named “Nautical Rock’n’Roll”. Last year the band released their debut album, Mortal Ghost, a well-received adventure of sound and the high seas. Embracing influences of rock legends like The Beatles, Dick Dale, and The Beach Boys to the roar of modern classics like Nirvana, Thrice, and Foo Fighters, the band have needed little help grabbing attention so we decided to climb on board with the band to explore its maiden outing, that recent voyage and plenty more….

Hello and thanks for taking time out to talk with us.

You bet!

Can you first introduce the band and tell us about the seeds to its beginning?

Sure! We are Russ T. Shipp (songwriting, guitar, vox), AJ Newton (drums), Elijah Apperson (lead guitar), and Michael Craft (bass). Russ T. started the band from scratch in 2014 when he moved to Nashville from the Washington, DC area. We’ve gone through a lot of band members over the years, finding them through Craigslist and friends of friends. But finally we’ve got a solid line-up with these guys.

Have you been or are involved in other bands? How has that shaped what you are doing now?

Yes. We’ve all been in numerous bands before of all different genres. Each of us seems to just come back to wanting to make really great rock music with catchy chord progressions and melodies. And it’s nice to be in a group of guys who are dedicated to doing something unique, rather than just coming up with something easy on the spot, or trying to sound like someone else. That’s something none of us have really had at this capacity before.

What inspired the band name?

The idea actually came to my (Russ T.) Mom and Dad who named me Russell T. Shipp, which when shortened to Russ T. Shipp resemble the words “rusty ship”. So when I moved to Nashville 5 years ago I started telling people my name was “Rusty” instead of “Russ” and when it came time for our band to pick a name we proposed several ideas but eventually the guys thought, “How can we go with anything other than Rusty Shipp?”  So the name stuck and everyone has loved it ever since. Plus, it really fits the sound our band has as well, because our music sounds rusty and grungy and also nautical like a ship!

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We wanted something more interesting and creative than just standard rock or pop or acoustic and also allows for more raw energy. When I (Russ T.) was in high school, there was a stock music clip on the school computer that said, “Grunge” and I didn’t know exactly what grunge was up to that point, but when I heard that clip I thought to myself, “This is the ideal form of music.” And being an idealist, ever since then I’ve tried tapping into the potential that I heard there in that little sound clip.

…And the same ideas still drive the band?

It has always been and is still our ultimate goal to heal the world by creating thought-provoking music that is as creative and catchy as the rock legends.

Since your early days, how would you say your sound has evolved?

We’ve definitely become tighter performers. But also, as we’ve grown we’ve been able to work with more renowned producers who have been able to give us the quality of recordings that we believe our sound deserves.

Have you found such evolutions to be more organic or you all deliberately setting out to try new things?

Russ T. has been the sole songwriter so far. He’s tried out many different sounds in over ten years of writing, which has really been more a combination of organic movement of sound, and deliberately trying new things. However, once we get together as a band to lay it all out, it’s more of a deliberate movement of sound over anything else.

You mentioned your varied experiences so presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Well, of course each of us really care about people and want to impact peoples’ lives in a positive way. We love making and playing music and it makes it easy for all of us to reach people by doing what we love. This is a huge part of what we do as a band. It’s not just having fun (though it is). We have a bigger purpose in mind.

Is there a regular process to the songwriting?

A lot of times I (Russ T.) will be going about my daily life and I’ll see some injustice or something emotionally moving, and I feel like I’ve got to communicate a message that will inspire the world to change and to heal and become a better place, or else sometimes it’s just therapeutic, as was the case with our song Crack Baby. Other times I’ll just be inspired to do something creative, like Sea Sentinels which is an instrumental grunge-surf song with guitar riffs that sound like sea monsters talking to each other, or Devil Jonah, which I wrote after watching a documentary on the legendary ghost ship The Flying Dutchman. I wanted to make a musical piece of art that captured this mysterious, legendary feel.  And some songs are meant to just be thought-provoking and ask philosophical questions, such as Treading Water which draws attention to the fact that I don’t feel at home in this world, and how that seems to point to there being more that we humans were made for than just living and dying on this Earth.

Is there a key inspiration to the lyrical side of songs?

All of our songs are philosophically driven. We don’t just want to give people good music, but we want our lyrics to be thought-provoking and inspiring, to get people to think about the important things in life.

Can you give us some background to your latest release?

Mortal Ghost is a concept album with the songs flowing in and out of each other and having nautical interludes to create an artistic tapestry that transports you to another world, under the sea! It’s really intended to be heard from start to finish in the order it was placed. Our singles, Devil Jonah and Tip Of My Tongue are great, but the entire album is a cohesive, artistic experience meant to be listened to in its entirety.

It’s basically the best sound from every rock genre with a surf overtone to it that we like to call “Nautical Rock’n’Roll.” Every song is meant to flow into the next, but also each one stands on its own without disappointing. We’ve had fans call out every single song on the album as their favorite, so that can make it difficult at times to know which single to release next!

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We like to have the songs in their final state before recording. However, there are always some kind of interesting sounds that you can add in the studio with effects, or something the producer hears that you couldn’t hear on your own.

Tell us about the live side to the band?

Our live shows are different than our album quite a bit, because the album was intended to be an artistic masterpiece on its own, with a lot of production involved. When we play live it’s more of a raw, stripped-down, energy-packed jam session involving headbanging, flying jump kicks, and throwing out nautical candy to the crowd. We really try to have a good time with the audience, and it’s always fun to find new ways to incorporate our whole nautical theme into our set. Our live shows are just a ton of fun for everyone there.

It is not easy for any new band to make an impact regionally, let alone nationally and further afield. How have you found it?

Being that Nashville is “Music City USA,” this is probably one of the top places in the world to make and release music. Just about everyone that you meet here is in the music business at some capacity, so it makes the opportunities endless. At this point our band has already been blessed to receive international recognition, which has given us a lot more credibility at home. Nashville has been very good to us.

How has the internet and social media impacted on the band to date?

We’ve had a lot of success with social media. The key for us has been to come up with interesting content that fans actually want to see, and then to keep consistent. When you’re first starting out the important thing is just to do it and keep doing it, and not worry about making it all perfect. You learn as you go, and you find out what works for you and your fans. It’s the only way to excel and maintain in this industry.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

We hope everyone will take some time to listen to our album, Mortal Ghost. If you like what you hear, PLEASE send us a message on any of our social media pages, or through our website. Connecting with our listeners is extremely important to us! Thanks for hanging with us. We hope to talk with you soon!

https://www.facebook.com/rustyshippband/  https://twitter.com/RustyShipp   https://rustyshipp.bandcamp.com/releases

Pete RingMaster 09/02/2018

Copyright RingMaster: MyFreeCopyright

Valensole – Make Pace EP

Just under a year ago, British punks Valensole sparked intrigue and pleasure with their debut EP, Where We Should Be. It was a potential loaded, ear grabbing introduction to the Southampton trio suggesting a band with all the right attributes and imagination to make potent strides within the UK rock scene. Now that suggestion has been reinforced and given greater strength by Make Pace, a second EP of raw and rousing punk ‘n’ roll very easy to devour.

Embracing inspirations from the likes of Nirvana, Green Day, Sum 41, and early Foo Fighters, Valensole was formed in 2016. The threesome of vocalist/guitarist Elliott Jones, guitarist Nick Jones, and bassist Dave Parker certainly had ears and praise attentive with that first EP and such the fresh character and tone to its successor, we can only expect them to find much even greater attention upon the release of Make Pace.

With Kurt Philips providing drums throughout, the EP kicks off with Giving Up, its jumbled start instantly spawning a tasty guitar hook which soon leads into a tenacious stroll through ears. Simultaneously a new richer flavouring to the band’s punk sound begins tempting, the track merging its raw traits with infectious enterprise as it increasingly stomps around. Dave’s bass has a gorgeous dark steely tone, Elliot’s vocals matching its lure in earnest attitude as his and Nick’s guitars throw their sonic wares around. As with the first EP, we found flavouring more akin to the likes of Psychedelic Furs and The Vibrators than those earlier mentioned influences but more so the band’s own voice in sound and invention emerges this time around.

The potent start is soon matched by the following M.A.D, the track immediately getting under the skin with its opening spicy hook. Both guitars tease and tempt, uniting in a fiery lure backed by the stirring swings of drums and the grumbling stroll of the bass. There is a great vintage punk lining to the Valensole sound, one especially vocal in the rousing antics of the second song even as it slips into calmer, provocative waters. It all erupts again for a tenacious finale as physically bracing as it is catchy before So Bored moves in with its ear nagging endeavour. Carrying a whiff of Buzzcocks to its melodically scored trespass of a hook, the track soon revels in its caustic rock ‘n’ roll breeding but as its predecessor is a proposition which is unafraid to explore unpredictable twists and turns before lighting its riotous touch paper once again.

The EP ends with Don’t Let Go, a song again drawing those Richard Butler and co references while uncaging its own individuality. Equally there is a garage punk meets Generation X scent to the song, a thickly flavoursome hue adding to the unrelenting pleasure the track and indeed Make Pace overall sparks.

Valensole’s sound is on a journey, one still evolving and growing. The band’s first EP hinted at its promise, the second reveals new depth and adventure to add to that potential. When it will all come to full maturity time will tell but the ride on the way is undoubtedly going to be great fun with the anticipation of many more easily devoured treats like Make Pace.

Make Pace is released February 9th.

https://www.facebook.com/valensoleband    https://twitter.com/valensole_band

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

Crimson Star – Bay View

There is something very clever about the Bay View EP and the sounds it eagerly shares. Certainly the new outing from UK rockers Crimson Star sounds rather good from the off with a blaze of rock ‘n’ roll which may not dramatically impress but leaves a definite appetite for more. But like all relentless fires, it leaves little cinders in the shape of persuasive hooks and grooves which continue to catch in the imagination even in its absence. You could say the five track encounter is a slow burner in many ways despite its sizeable impact first time around and that is a success as potent as anything in our eyes.

Hailing from Birmingham, the threesome emerged in 2012 and since then has earned a rich reputation for their live presence and weighty alternative/melodic rock sound. 2016 saw the release of the Driven EP with the line-up of vocalist/guitarist James Shaw, bassist Roger Ash, and drummer Ross Edgington together. That well-received offering was recorded with producer Romesh Dodangoda (Lower Than Atlantis, Bring Me The Horizon, Funeral For A Friend), a successful union repeated with Bay View.

The EP opens with recent single The Pragmatist and straight away riffs and vocals lure attention, the increasingly grooved invitation of the guitar aligning with the equally potent scowling tones of Edgington. As it establishes its eager stroll, the song ebbs and flows in intensity without losing its instinctively infectious nature whilst always looking to evolve as melodies and the ever captivating grooves share their imagination. More addictive than it seemingly appears at the time, the song is a masterful slice of rock ‘n’ roll setting the release off to a great heavy and rousing start.

The following La Prom carries the same intent, instantly pushing through ears with a bold touch but soon revealing an atmospheric breath around crystalline melodies. Its calm has an underlying volatility which subsequently erupts as fiery grooves and raw riffs join an already laid bait of coaxing rhythms. With great fuzz to its tone and an edge to its energy, they aligning to further melodic enterprise, the song simply hits the spot.

Desert rock grooves fire up within next up Once, their spice leading to a grunge/alternative rock scowl which again is always looking to spring an unpredictable and imaginative adventure. Like its predecessor, the track does not have the immediate sparks of the opener yet grips from start to finish sowing that earlier mentioned niggle in its own way to return at will in the memory; a trait just as successful within Euthanise Me. The muscle of its grooves and rhythmic incitement courts a fine blues rock hue, a flavouring which blossoms within the following dark lit stroll the voice and bass take the imagination on. Like a blend of Foo Fighters and Pearl Jam with a slight touch of Kyuss, the song is unbridled captivation rivalling the first for best song honours.

The release is concluded by Gimme Some, another slice of intriguing rock ‘n’ roll which like the EP just grows and impresses with every listen. Grooves need little time to wrap their persuasion around ears though, melodic shadows and radiance working away on the imagination, as it brings Bay View to a magnetic close.

With double figure listens under our belt, it is fair to say that Bay View has become a keenly devoured and praised proposal. It took its time with us despite its potent start and we can only say share some of your time with Crimson Star to discover some prime heavy rock; it is hard to imagine you will be disappointed.

Bay View is released January 19th

https://www.crimsonstarrocks.com/    https://www.facebook.com/thecrimsonstarmusic    https://twitter.com/tcsmusic

Pete RingMaster 17/01/2018

Copyright RingMaster: MyFreeCopyright

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