Dead Man’s Hand – Till Karma Forgets

DMH_RingMasterReview

Not to be confused with seemingly many other bands with the same moniker, Dead Man’s Hand is a band bred in the Seattle music scene but it is fair to say really hit their stride once its founders relocated to Kansas City. Now they are poised to release their new album Till Karma Forgets, a twelve song strong slice of raw rock ‘n’ roll which maybe does not leave ears awestruck but certainly provides them with a thoroughly enjoyable time.

Formed in 2012 by vocalist/guitarist Kasey McGrew when he teamed up with guitarist Bret Palmer, Dead Man’s Hand struggled with finding the right line-up initially; that was until the pair moved to Kansas City the following year where they found bassist Jeffery Kent and drummer James Aguiar. Soon the band found itself sharing stages with the likes of HURT, PopEvil, and The Dreaming at venues such as The Voodoo Lounge and Granada. 2014 saw Dead Man’s Hand touring with Burning and win Best New Artist in the Midwest Music Awards. Last year saw a second tour for the quartet, plenty of radio play, and more nominations at the 2015 Midwest Music Awards. Now following up an earlier demo EP with the same name, the band is poking at broader awareness for their accomplished and fiery rock ‘n’ roll with The Pavement Entertainment released Til Karma Forgets.

The album opens with the groove bound Hangman, a track making a controlled entrance before sauntering into the imagination with mellow lures entangled in more incendiary strikes of guitar. The vocals of McGrew, potently backed by Palmer’s strong tones, emulate the sound around them, crooning at certain moments and roaring with thick emotion in the songs eruptions of intensity. Easily revealing the unmistakable craft and skills of the band whilst pleasing ears, it is a great start to Til Karma Forgets backed as powerfully by the excellent Lock & Key. Grungier hues crowd the hard and melodic rock body of the song, all magnetic spicing adding to a great stock in grooves and rhythmic enticement around another catchy chorus. Whilst eclipsing its predecessor, a touch of southern goodness also comes out with the song overall reminding a touch of fellow US rockers Resin.

DMHart_RingMasterReviewPaint A Picture is a calmer emotive proposition next, vocals and melodies wrapping ears as feistier flames occasionally rise up around them whilst So What offers a grittier tempting of blues and hard rock which prowls ears with expressive guitar and vocals taking the lead. Its snarl only increases in its rousing chorus where the irritability, which seems to fuel bass and riffs throughout, adds more oil to the blaze.

Through the spicy grooving of Veto and the attractive intimidation of Wash Away, band and album keeps pleasure and appetite as keen as ever. The first of the pair is an especially unpredictable and magnetic affair as at ease aggressively growling at the senses as it is seducing them. Its successor evolves from a seriously coaxing lure from Aguiar into a predator with hungry riffs, and the still boldly rolling bait of beats, courting a less imposing vocal delivery. It is a great mix with the dark shadows and the song’s natural predation alone whipping up the passion as it steals best song honours on Til Karma Forgets.

Its title track comes next and it too marks a particularly memorable peak in the landscape of the album, carrying a slight Life Of Agony feel to particularly its more emotive and restrained moments. Despite its grouchiness and aggressive elements, there still feels like there is beast still trying to escape, and if there is any moan about the album it is that it does not fulfil the great and open potential to unleash this instinctive ferocity. Nevertheless, the track rocks like a disturbed bear before a milder but no less resourceful stroll with Slide Of Hand leaves ears thickly satisfied; guitars especially spicy and flavoursome within the encounter.

Another inviting strain of blues rock colours the swiftly infectious Beneath The Dirt next, where whiffs of Nirvana and Sick Puppies tempt thoughts. The track is yet another addictive episode in the album; a track, which like Til Karma Forgets as a whole, might not be venturing into unique pastures or setting the world on fire but without doubt leaves the listener gripped and hungry for more of its unbridled rock ‘n’ roll.

Through the scorching blaze of Masquerade and the emotively melodic Broken Ground, things continue to richly entice and firmly please; the first of the two another notable proposition, with Not For Nothing closing up the album in fine style too with its captivating, impassioned, and tempestuous balladry.

Though the album is missing that last spark or bite of intensity to really ignite the passions, it is not too hard to expect Dead Man’s Hand finding a host of new fans and plaudits with Till Karma Forgets, a release which offers honest rock ‘n’ roll with heart and quality.

Till Karma Forgets is released April 29th via Pavement Entertainment through most online stores.

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Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Cilver – Not The End Of The World

Cliver_RingMasterReview

Some bands and their sound just seem to naturally spark attention and so it is with US based hard rockers Cilver. Over the past three years, the quartet has drawn a wave of increasing interest and support with their sound, success backed by an equally ascending live presence. Now the band is looking at waking up a broader expanse or ears and spotlights with debut album Not The End Of The World. As their sound in general, it is a rousing roar of familiar and distinctly fresh essences and textures creating a commandingly contagious spirit sparking proposition very easy to find a greedy appetite for.

Formed by Romanian born vocalist Uliana Preotu and guitarist Leon Lyazidi, a pair who had already been part of MeTalkPretty, Cilver began in New York in 2013. Within months they linked up with Ron “Bumblefoot” Thal (Guns N’ Roses, Art Of Anarchy) and released debut single In My Head. It and a subsequent EP of the same name the following year, quickly caught the attention of fans and media alike; inspiring eOne to sign them and now release the band’s first album. 2014 also saw Cilver land a spot on Revolver magazine’s Hottest Chicks in Hard Rock Tour alongside bands like Sick Puppies, Lacuna Coil, and Eyes Set to Kill. With a line-up completed by bassist Josh Pillbox and guitarist Ramsey Modiri, Cilver is now poised to spark their busiest and most successful year yet with Not The End Of The World, and a collection of songs seemingly as much inspired by the founding duo’s experiences of being first-generation immigrants and life in the last days of communist rule in Romania as well as the hard journey to the point they are at now.

The album opens with Break Free and quickly has ears and intrigue involved as an opening vine of guitar is swiftly joined by crispy beats and the effect laced vocals of Preotu. A few more eager seconds sees the song in clear view and enticing limbs and imagination with its wall of imposing riffs and thumping rhythms. That initial hook still beckons within the now tempestuous climate and roar of the song with Preotu only impressing more and more with every syllable shared. Major surprises maybe less noticeable within the song but it has the body and spirit bouncing with infectious ease whilst blowing hard with a fresh breath of energy and sound.

Cilver_NTEOTW_Cover_RingMasterReviewThe great start continues with I’m America, the first single from and teaser for the album released at the tail of last year. From the off, the song has a gentle but devilish swagger accentuated by Preotu’s voice, a swing which really catches alight within a handful of seconds as grooves entwine the catchy rhythmic enticement badgering ears. Again there is something thickly recognisable about the track yet an element which seems to only add to the bluesy groove fest of anthemic dexterity and creative tenacity. The song simply beguiles ears and appetite, using the listener’s body like a puppeteer though it is soon outshine by the excellent Headstone, a song with toxic grooves which just seduce the imagination. There is a touch of Sick Puppies to the song but of the three so far, it is the most unique and in turn striking proposal so far with Preotu’s vocals glorious and again almost stealing all the limelight from the superb sonic and rhythmic craft on offer.

Razorblade romps in with creative and physical energy to the fore, a zeal just as open in the darker prowling moments that frequent this ear gripping proposition. With its predacious rock ‘n’ roll lit by a host of fiery hooks and a wonderfully unpredictable invention, the track marks another pinnacle in the lofty creative landscape of the album;  a success emulated by the less invasive and irritable but just as dramatic and compelling Afterlife. Arguably the most lyrically evocative proposal yet on the release with Lyazidi’s keys bringing a haunting and vivacious beauty to the emerging sonic blaze, the song captivates as it reveals more of the diversity in the band’s songwriting and hard rock bred sound.

Rich melancholic strings and poetic keys open up the following power ballad Frozen, Preotu’s presence almost siren-esque in her range of vocal expression and emotive theatre, whilst its successor, It’s My Life, is a growling incitement of defiance and attitude carrying punk irritability to its chest thumping rock ‘n’ roll. Both tracks increasingly incite with every listen, as does the album, though each time they get eclipsed by the soaring roar of Bleed For You. Vocally and atmospherically, the track is a fire of temptation, emotionally crackling as rhythms snap and sonic enterprise flame around the heart bred outpouring of Preotu.

In My Head has the air boiling next, the track as powerful and irresistible as the first time it tempted ears three years back. It’s infectiousness is virulent and confrontation bracing, whilst the imagination fuelling it is rarely surpassed within Not The End Of The World, or indeed other similarly styled releases in recent times.

The album is concluded by the galvanic adventures of firstly Behind These Eyes and finally Not Afraid. The first of the two is a more expectations satisfying encounter but heftily pleasing whilst the closer is as much punk as it is hard rock and a fierce and memorable stomp to close things up on.

Not The End Of The World is an album which leaves you alive with energy and spirit; it might not be the most unique but for a rousing, breathless, and thrilling experience, it and Cilver stand as an unreserved recommendation.

Not The End Of The World is released April 29th via eOne; physically @ http://www.amazon.com/s/ref=dp_byline_sr_music_1?ie=UTF8&field-artist=Cilver&search-alias=music and digitally @ https://cilver.lnk.to/NotTheEndOfTheWorld

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Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

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Star Dancer – Welcome To My World

Star Dancer_RingMasterReview

Whether by coincidence or intent, Welcome To My World feels like an homage to suspected inspirations to its creator. It offers a bundle of songs and flavours which seem like friends before they even finish making their first persuasion with originality not as ripe as the craft bringing them to life. The result though is a fun time which it is hard not to like and enjoy, and increasingly so with every listen.

The album is the debut from Star Dancer, a band created by Detroit hailing vocalist Robert Star and Sponge members Vinnie Dombroski and Tim Patalan who produced it. Welcome To My World is as much a jukebox of recognisable “snapshots” of assumedly the music lighting the artist’s life and passions as it is of “both the world surrounding Robert and a troubled modern day America” explored “through Robert’s unique lens.

Highly enjoyable is what it predominantly is and straight away as Welcome To My World opens with its title track, a feisty slice of hard rock with classic rock inflamed grooves wrapped in rousing backing vocals provided by Tosha Owens and Rachel Williams. As well as kicking the album off in potent style, the song gets the appetite and spirit going too and ready to embrace the more restrained but openly magnetic Earth Mother Dancer. Flirting with a Billy Idol meets Johnny Wore Black swing to its rock ‘n’ roll; the song is as instinctively simple and catchy as it is sonically colourful with the leading lures of David Black’s guitar pure captivation alongside the more punk ‘n’ roll riffs of Wally Filipiak.

Great Sexpectations (Turn Off the Lights) provides an eighties hue to its hard rock revelry next, an easy to bite on hook framed and speared by the punchy beats of Jerome Day. Guitars create a splattering of that nostalgic enticing throughout the song whilst bassist Jason Lollio prowls it all with a great throaty and contagious tempting. From one easy pleasure to another as She’s In Love With Joan Jett takes over; a song echoing the focus of its title whilst also sharing an Elvis Costello meets The Cars like air to its boisterous stroll.

Star Dancer Artwork_RingMasterReviewDiversity continues to enrich album and ears as the sultry smoulder of The Weed Don’t Lie radiates warm melodic and harmonic persuasion across an exotically textured landscape whilst hugging the increasingly impressing voice and presence of Star before High & The Mighty brings its own individual tempting to bear on the imagination. A web of varied rock flavours from electro to heavy, the song entices like an unexpected mix of Ministry before they went metal, Heaven 17, and Spineshank. The track is another of the peaks of the album matched quickly by the melodic shuffle and seducing of Annie and an excellent spin on EMF’s classic, Unbelievable.

In the first of the two there is a whiff of Bowie which is even bolder in the following IntraVenus FlyTrap, though at times it becomes Bolan-esque as the track grips ears with its steely rock ‘n’ roll built on snarly riffs and electronic imagination. The vocal union again, as across the album, simply whets the appetite as hooks and grooves work freely on the imagination before the punk ‘n’ roll of Before I Die brings the album to spirit rousing close. From a lo-fi strum, the song erupts; leaping and bouncing as southern and punk rock flavouring infests its anthemic vivacity.

The final song epitomises the album; many flavours combining in many ways for something very familiar and so easy to get fully and eagerly involved in. If you are looking for a good time and something to feel good from, then Welcome To My World just might fit the bill.

Welcome To My World is released April 20th on iTunes and other stores.

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Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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The Senton Bombs – Mass Vendetta

SB_RingMasterReview

There is nothing better than watching a band which catches the ear build on previous successes whilst pushing themselves and sound. UK rockers The Senton Bombs is a band which consistently manages that impressing trait and has so again with new album Mass Vendetta. The band’s most diverse and boldly adventurous offering yet, the eleven track stomp sees the band pushing into feverishly imaginative and variety spun territories whilst still rocking like a bitch in season incited hound.

Formed in 2004, the Blackpool quartet seemed to hit the ground running in sound and attention, become a greedily devoured live proposition matched in support for their early releases including a pair of well-received albums. Fair to say though as successful as they were, the band really hit the spot on with Chapter Zero in 2013. In many ways it was a landmark in the band’s growth, The Senton Bombs honing their persistent embracing of varied flavours and styles into something which really set the band apart from the crowd. Various singles and the excellent Phantom High EP of 2014 saw the band pushing their fusion of hard and blues rock fired punk ‘n’ roll on again; their rousing and inventive stomps heavily nudging on worldwide awareness which this fourth album will surely only ignite.

Such its bold step forward from its predecessors in imagination and character, though hindsight shows the seeds were already openly audible in past releases, it took ears a first listen to get to grips with the Ronnie Bomb produced encounter. From there though, it was full steam ahead as body and imagination got eagerly involved with the album’s dramatic roar which starts with recent single Trailblazer. From its initial percussive coaxing, spicy grooves spiral out, wrapping eager ears as rhythms add their thick thump. The potent start is soon stirred up further by the recognisable grainy vocal tones of bassist Joey Class and his bass’ similarly familiar throaty sound. Equally, the imaginative twists and turns which emerge as melodic calms and clean vocals collude with fiery expulsions and energetic tenacity only increase the song’s potency. Further encasing ears in a blues lined sonic web cast by guitarists Damien Kage and Johnny Gibbons, the great track is a pungent hint of things to come with its entwining of unpredictable and dynamically varied textures.

art_RingMasterReviewMainstream comes next, a track already soaked in acclaim as a single last year. It opens on similar blues laced grooves to its predecessor, they entangling the rampant swings of drummer Scott Mason before things relax a touch as bass grooves join those of the guitars and Class’ always alluring and anthemic vocal delivery. Rising strands of creative theatre and rousing energy adds to the brewing drama and contagion of the track, the album itself increasingly gripping an already eager appetite as it heads towards an even headier plateau through the following pair of Train Wreck and Out West. The first of the two grips ears straight away through Mason’s rolling beats alone; only increasing its persuasion as flirtatious riffs and grooves joins the rapacious energy fuelling a rockabilly courting slice of bracing rock ‘n’ roll. Like Turbonegro meets The Pirates, the track has the body bouncing and appetite greedy before its successor explores a melodic and emotively enticing landscape. The song is as virulently catchy as anything on the album but takes the band into new creative scenery with its melody evocative and emotively inspired alternative rock balladry with a definite Midnight Oil feel to it.

The album’s title track strolls boldly in next, its feisty punk ‘n’ roll a rebel rousing exploit for body and spirit led by the scything beats of Mason and Class’s attitude soaked tones. The track is simply rock ‘n’ roll to lose control to, a mosh pit inciter and rebellion instigator which just needs to be the next single. Then again that can apply to numerous tracks within Mass Vendetta, as the contagion bulked 13 Days instantly proves. Riffs and hooks dig deep, anthemic vocal and energy infests, and rhythmic predation only excites as the track throws itself around like a creative dervish.

Allowing a breath to be taken, Avalanche saunters in next, sharing surf rock flames across its sultrily ambient skies and gravelly smouldering vocals. Unsurprisingly, the song also has an edge to its heart and creative nature which magnetically contrasts with the almost exotic hues and bracing emotion sharing their tempting.

Back to next single choices and the blazing romp that is Pretty Tricky makes a loud shout. Hard and punk rock meets classic and glam spiced rock ‘n’ roll, the track has feet involved by the end of its first torrent of chords and burst of rhythmic rampancy, the voice on board within the first round of the seriously addictive chorus.

Wedlock Horns brings another irresistible twist to the album, its reserved but eager entrance providing eighties rock/new wave flirtation from which Class and band swing with a southern blues infused revelry which again has restraint but stronger zeal in its lively heart. If without leading the body into bad habits, the song enthrals just like the folk punk lined Red Shield. With Class’ cleans tones as compelling as the lyrical drama and incitement, the track sublimely grips ears and imagination whilst sharing its emotive snarl.

Mass Vendetta closes with the highly enjoyable Apex, another imposing and predacious slab of infectious hard/punk rock brawling giving the album a rousing finale and the listener one last reason to hit the play button again. As in some ways expected, the band has moved on again in sound and invention but this time with their biggest leap in creative diversity and bravery yet. If it did not already, the world is about to know all about The Senton Bombs.

Mass Vendetta is released April 15th via 7Hard @ http://sentonbombs.com/store

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Pete RingMaster 05/04/2016

Copyright RingMaster: MyFreeCopyright

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Grooves and zombies: getting close and personal with Novacrow

novacrow_RingMasterReview

According to the band, Novacrow is “a four-piece of zombie-punching, hard-rock sleazeballs.” What they certainly are is a hard rock seeded roar which is earning a mighty reputation for their eclectic sound and EP Black Syrup has only backed and reinforced their striking emergence on the British rock scene. With the supporting of bands such as Skarlett Riot, Heonias and Green Jellÿ also under their belts, the EP feels like the spark to bigger things and attention upon Novacrow so we seized the opportunity to get to know the band and its hungry heart with big thanks to vocalist/guitarist Kitty Synthetica and bassist/backing vocalist/producer Federico Spera.

Hi guys, thanks for taking time out to talk with us

No worries, thanks for the interview!

Can you first introduce the band and give us some background to how it all started and what brought you together?

Federico: The band consists of the following sex gods: Kitty Synthetica on vocals/guitar/kazoo, Jonyx on lead guitars, Freddy on bass/backing vocals, and Torben Schmidt Hansen on the drums. We all got together when Kitty and John wanted to form a band; they met Torben and I through mutual friends and cosmic forces.

Have you been/are involved in other bands?

Federico: The others have all been in bands before and I studied music in university, so I’ve always been part of different bands in some form…The so called “Mistress Bands”.

Kitty

Kitty

How have previous experiences impacted on what you are doing now?

Federico: It’s kind of hard to say, obviously with us all having been in bands before you’d think we’d be super pros, but the truth is that there’s no set way to work together. It depends entirely on the bands and the people in them. But being in other bands definitively taught us how to promote ourselves and our releases, what works and what doesn’t, etc.

Kitty: I’ve been playing gigs since I was 16 and it really helps giving you ‘live experience’. Shows can be tough and crowds can be unforgiving, but you need that to make you a better performer. In terms of the impact on my music, in previous projects, I was solely focussed on writing metal, which tended to limit my creativity. I listen back to demos I had scrapped for ‘not being heavy enough’ and think “Oh nice, I want to use that now!”

What inspired the band name?

Federico: The legend says that John one day just picked a word out of a dictionary and fused it with an animal. The idea of a bird on fire must have appealed to him I guess, so he stuck with it.

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

Federico: Kitty had a few songs already written when she originally formed the band, but that’s about it. I think ultimately we just wanted to rock out with our cocks out, and that was the main premise behind the band.

Kitty: I had a very different project in mind! I wanted an all-girl band, but these guys were the closest thing to women that I could find. Haha. No, I love this band and how well we all work together. One big creepy happy family!

Do the same things still drive the band from its first days or have they evolved over time?

Federico: The drive of the band is still rooted in the desire to be outrageous and we’re very much a success driven band. However, the way we focus that drive has definitely matured throughout our time together.

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

Federico: I’d say it has evolved for the better. If you listen to our old demos there were some nice ideas, but they weren’t particularly well mediated and executed. I’d like to think that as time goes on, we manage to find the right balance between being ridiculous and writing good songs as opposed to doing one or the other, which is a significant sign of evolution for our sound.

Would you say that change has been more of an organic movement of sound or have you gone out with new things you wanted to specifically try?  

Frederico

Frederico

Federico: It has always felt quite organic. I don’t think there’s a single song which we’ve had to force into existence.

Kitty: Because Novacrow is so unrestricted when it comes to genre, there’s no ‘wrong sound.’ I have a few juicy riffs in the pipeline though.  I am also a big fan of vocal harmonies, (Alice in Chains get this SO right) so I’ll be looking for opportunities to use some interesting melodies.

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?

Federico: With the exception of Black Syrup (which was inspired by the burlesque goodness of Pussy Liquor by Rob Zombie), I wouldn’t say there’s been a conscious influence on any of our songs or approach. We mainly base our inspiration for songs on vibes and energies as opposed to songs or artists. Instead of saying “We should write a Machine Head-esque riff in C phrygian”, we’ll say “We should write an angry and crushing powerhouse of a song”.

Kitty: There are some awesome female musicians that have inspired me massively. Brody Dalle of The Distillers, Tairrie B of My Ruin, Joan Jett, Grog of Die So Fluid, Otep, Alissa White-Gluz- to name a few. From the earliest days of getting into rock and metal, I would seek out bands with powerful female figures and I always wanted to emulate the same sort of commanding presence they had onstage.

Musically, I only ever learnt guitar as a means to write songs. I’ve never had an interest in replicating tracks; if I love a song, I have no urge to reproduce it identically. But, I do love deconstructing a track that I adore and putting together a new cover, something I have been doing on YouTube since 2009. It’s a fun challenge and a way of paying homage to songs I love.

Is there a particular process to the songwriting which generally seems to emerge?

Federico: Generally, one of us (usually Kitty) will have a whole song idea in their head, which they’d bring to a rehearsal room and we bounce ideas off each other. Each song is then mediated in a different way. I’d say the biggest exception to this is The Mantra, which was almost a completely different song when Kitty first showed it to me for pre-production.

Kitty: For a lot of songs, I think that the melody is the most important part- and by this I mean the vocal tune combined with the central guitar riff. That will always be the starting framework of any song I write. In my opinion, if you strip back everything else, but still retain that central vocal/guitar, it needs to be strong enough to make an impact on its own.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Kitty: It completely depends on the song. In a lot of cases I fixate on a phrase and use it for a title first (Black Syrup and Fat Frog for example), or the lyrics drive the rest of the track entirely (I think this is particularly the case in The Mantra).

Fight The Horde!!! was very much video game inspired. The lyrics loosely follow the storyline of The Last of Us, whilst the title is a reference to Left 4 Dead. I wanted something fast and heavy, with epic soaring choruses, perfect for kicking ass.

I wrote the lyrics to Set in Stone and Colourless whilst reading a lot of Haruki Murakami novels. I love how he creates such fantastic vast images and creates these prophetic journeys of self-fulfilment for average characters.

Novacrow EP 2016 - Blacky Syrup Cover Art_RingMasterReviewGive us some background to your new release and some insight into the themes and premise behind it and its songs.

Federico: Our latest release is the panty-dropping powerhouse of an EP called Black Syrup. It really captures the vibe of the band effectively, opening with the kazoo filled drunk anthem Fat Frog to get them booties shakin’ (which is about getting shitfaced and party-hardying). That’s followed by Fight The Horde!!!, which is a zombie-apocalypse based thumper of a song inspired by the game Last of Us. Then comes the title track Black Syrup, which is inspired by sticky black goo. Set in Stone is next, which gives the listener a peak into our more melodic side. The whole EP is brought to an end by Colourless, an easy listening instrumental piece.

Kitty: I love focussing on big over-the-top themes. Most of the time, I write the majority of a song in my head before picking up an instrument, so it’s very much a ‘visual’ experience. I deliberately wanted a set of very different songs for the EP, each with a completely different vibe and based on very different vivid scenarios.

Do you enter the studio with songs pretty much in their final state or use that scenario to bring songs to their final character?

Federico: For all of our releases so far, we’ve gone through intensive pre-production, so when it comes to recording we know exactly what we’re doing. The pre-production usually consists of recording high quality demos, so if we want to develop an element of the song we can use that as a reference point.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Federico: Ooh, there’s so much to talk about here, but I’ll do my best to sum it up. We don’t believe in “over-the-top”, so we pretty much do what we want on stage, which usually means somebody is gonna make an ass out of themselves. We’ve brought inflatable crows on stage, did a kazoo cover of My Heart Will Go On, chugged pints mid songs, and done all sorts of stupid shit when performing. It’s the biggest form of release for some of us, so we’re not gonna hold anything back on stage.

Kitty: Performing is everything. I love to make people laugh, I love writing songs and I love goading a crowd. Word of our onstage stupidity is definitely our biggest pull to shows and makes us appeal to promoters. Basically, we’re just a bunch of attention seekers, that aren’t talented enough to earn praise for doing great deeds, so have to resort to being a bunch of performing chimps. AND WE LOVE IT.

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

Federico: Like you said, it’s not easy. We’ve definitely not even scratched the surface. It’s hard because you want to celebrate every little insignificant bit of success that you achieve, but as soon as you do then it sort of means you’re satisfied, and then your efforts diminish. This is an EXTREMELY tough industry, and unless you’re giving it you 10000% then there’s virtually no chance of getting anywhere in it. We’ve found it extremely tiring at times, especially whilst trying to balance the band with our “normal” life, but at the end of the day we can’t show any signs of stopping otherwise we won’t get anywhere.

Kitty: The music industry today is highly saturated with competing artists, in a field where very few people are willing to spend money on music. Every small victory is important to me, as I wouldn’t be making music if I didn’t enjoy it. In the grand scheme of things, I’m not under any false impressions of earning world notoriety, but I am grateful for every show, every sale and every person who takes the time to let us know how much they love the music. Hard work is everything though.

Are there the opportunities to make a mark if the drive is there for new bands?Novacrow_RingMasterReview

Federico: Absolutely. You gotta play to win. It’s gonna be extremely hard, and even if you put your 20000% into it then there’s still no definitive chance to “make it”, but it’s the best chance you’ve got. As soon as you stop trying then you lose any opportunity you might have. It’s just a matter of persistence and not letting the odds get you down and eventually you’ll find yourself in a good place.

Kitty: There’s no guarantees, at all, but if you’re going to go for it, there’s no point half-assing it. You have to treat a band like Walter White treats meth; you need to believe in your ‘product,’ market it intelligently and push it like CRAZY.

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

Federico: We’ve started the band at a point in which internet and social media became crucial to a band’s success. We’ve started using Kitty’s YouTube “fame” to fuel traffic to our various pages and so far it has worked very well, people who like Kitty’s covers tend to like Novacrow as well. So far, it has had a great impact!

Kitty: Social media is such a fantastic platform for bands, but I don’t think everybody appreciates just how hard you have to work to harness it. It is survival of the fittest. You can’t just moan about how small your post’s ‘reach’ on Facebook might be, you need to fight to get people’s attention.

The internet is incredible for musicians. I love looking at the insight statistics on YouTube and our website and seeing how people all over the world are listening to us. I had to send out all of our EP pre-orders this week, and there’s Novacrow CDs flying out all over the globe!  To an extent, social media gives you a chance to reach an audience without borders or limit. As a listener, you have an endless supply of incredible music at your fingertips.

Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Federico: Probably the former. People don’t realise exactly how much work needs to go in just to have the tiniest chance of success, and so they don’t work for it. And then they get annoyed when they can’t draw a crowd to their gigs, or get any decent support slots, until they eventually give up. How hard do you think you need to work to get anywhere with your band? Welp, that’s wrong, you have to work EVEN harder than that.

And that’s when we whip out the kazoos and zombies. We know how to work hard yet still entertain ourselves.

Kitty: You have to MAKE people want to see you. Give people a reason to want your music and look forward to your gigs!

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

Federico: Hell yeah, thanks for the interview! Check out our EP Black Syrup, I guarantee you will be more aroused than you’ll have ever been in your life! And keep an eye out on our various pages for more music, pictures, videos, and tips on world domination!

https://www.facebook.com/novacrowofficial/    https://www.novacrowofficial.com/

https://twitter.com/novacrowband   https://www.instagram.com/novacrowband/

Pete RingMaster

The RingMaster Review 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Midnight Mob – Honest Brutal Glorious EP

Midnight Mob_RingMasterReview

Showing even more broadness to their rock ‘n’ roll incitement, New York’s Midnight Mob unleash their new rousing proposal this month in the fiery shape of the Honest Brutal Glorious EP. Offering six tracks of multi-flavoured hard rock based persuasion, the release shows another twist in the evolution of the band’s sound and yet another reason to give high praise to the US quintet.

Formed in 2009, Midnight Mob quickly sparked attention with their music and presence, both changing and evolving over time as line-up changes have occurred alongside an organic shift in the band’s sound. A self-titled debut EP in 2011 and its successor Black Moon Rising two years later woke up eager North American appetites for their punk ‘n’ roll proposals, whilst the album These Days in 2014, courtesy of STP Records in the UK, was the spark to stronger global recognition and attention of the band. Funded by fans through PledgeMusic, Honest Brutal Glorious is the next potent step in the band’s ascent into worldwide awareness. Within it, Midnight Mob has blossomed tracks from the hard rock and classic rock ‘n’ roll inventiveness of their sound but still hungrily infuse thick strains of punk and metal  into its attention grabbing and natural sounding progression from earlier releases.

Honest Brutal Glorious opens with the glorious roar of Song for the Damned; a punk ‘n’ roll anthem with the expected defiant attitude and antagonistic growl of the band fuelling its tenacious contagion. The swinging beats of drummer Chris Beatz provide the punchy skeletal frame for the sonic flames and cutting riffs of Mickey Squeeze to leap through ears from. With the distinctive and persistently impressing tones of Blackey Deathproof driving the narrative backed by band roars, the track uncages an unbridled rock ‘n’ roll bellow which has the spirit as inescapably engaged as ears.

Honest Brutal Glorious Artwork_RingMasterReviewThe outstanding start is quickly matched by Run for Your Life. From its first breath bluesy guitar caresses hit the spot, their coaxing soon taken up a notch by the throbbing lure of Carly Quinn’s bass which in turn sparks a fresh wave of agitation in guitar and rhythms. The song’s prime hook has the imagination ensnared just as swiftly, its devilment carrying a great Rocket From The Crypt air to it. Soon though, Blackey is standing centre stage with her great contentious expression and sandy throated tones, as around her melodies infuse an increasing scent of the blues into their and the song’s feistily infectious rock ‘n’ roll endeavour.

Ghosts is just as rhythmically irritable and melodically magnetic, the bass especially grouchy within the quarrelsome mix of punk and hard rock. What takes a strong and highly enjoyable song into being a great one is the surf rock flavoured twists of guitar and the kaleidoscopic colours of invention in the array of gripping hooks and grooves. As with its predecessors, the song simply hits the spot anthemically and creatively; casting rock ‘n’ roll to raise ‘armies’ to.

The second half of the EP sees Midnight Mob pushing their diversity even further with Black Mamba the first to show new areas of diversity to their sound. Reminding a touch of Danish band Forever Still, the song embraces a classic rock seeding with melodic metal scenery. They still uncage their instinctive ability to create a catchy proposal with a raw and grouchy lining, but it is one of many bold colours in the new shade of their emotively driven rock ‘n’ roll.

The same can be said of Swing On, the band again weaving a seriously engaging tapestry from a broad web of multi genre, decades crossing rock ‘n’ roll lorded over by the striking voice and ability of Blackey. As the music is at its most colourful across the final trio of songs so her voice shows its greatest range and potency; her blues soaked tones here irresistible and stealing the show as they do in the glorious acoustic balladry of Stay, a slice of bewitchment to end the EP.

Honest Brutal Glorious is a powerful and thrilling new step from Midnight Mob and though personal tastes continue to greedily devour the band’s punk heavy exploits most, their album still one of the most played here, the band’s new expansion of songwriting and sound is one riveting and thrilling stirring of body and emotions.

The Honest Brutal Glorious EP is released Match 25th across most online stores.

http://www.midnightmob.com    https://www.facebook.com/MidnightMob/   https://twitter.com/MidnightMob101

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Novacrow – Black Syrup EP

Novacrow_RingMasterReview

Giving their own distinct riff driving snarl to hard rock, UK rockers Novacrow are another band beginning to grab attention right now; partly through a sound which grabs the spirit with anthemic tenacity and in many ways through a stage presence, already renowned for its high octane anything goes nature, which promises “an energetic and erection-inducing live show”. Add the recent release of the band’s debut EP, Black Syrup, and it is easy to see a snowball effect on new fans and acclaim being incited by their sleaze coated and blood strewn, rebellion in the belly rock ‘n’ roll.

Formed late 2013, Liverpool hailing Novacrow quickly sparked local attention whilst last year saw an already expanded presence sparking national spotlights as the band played gigs all over Britain and lit up the web with the release of their zombie-spoof horror music video for the track Fight The Horde!!!

Now they are truly introducing themselves with their eagerly awaited debut EP; five slices of raucously melodic rock ‘n’ roll keen to nudge the broader UK rock scene into closer attention. From the opening track, it is a success easy to see; the groove infested Fat Frog getting kicking things off in virulent style. A throaty riff is the first lure, it soon igniting a prowling entanglement of fiery grooves and predacious rhythms with mischief in their creative eye. The sultry flame of Jonyx’s guitar sizzles as it wraps the song’s already established dark hues and in turn the swiftly emerging tones of  Kitty Synthetica (Staunton). There is the air of a temptress and the snarl of a fighter in her expression and delivery; a union rhythmically matched by bassist Federico Spera and drummer Torben Schmidt-Hansen. Continuing to crawl over the listener with spicily enticing grooves within a stoner-esque hued devilment, the track boldly rumbles and forcibly entices with its anthemic irritability and sonic enterprise; the increasingly magnetic vocal presence of Synthetica sitting at the helm.

Novacrow EP 2016 - Blacky Syrup Cover Art_RingMasterReviewFight The Horde!!! engulfs the listener in a voracious zombie outbreak with a tide of hungry riffs from Synthetica and Jonyx courted by Spera’s predatory bass cast bait. Hooks and rhythms catch ears and imagination at every turn whilst the vocals and melodic flames add further magnetic drama. Again the band fluidly mix contrasts of textures and aggression, seducing and assaulting with an eager and accomplished prowess before unleashing the EP’s title track, a re-recorded version of a big fan favourite. This too prowls and stalks ears as flirtatious vocals and winding sonic tendrils almost ooze over the senses whilst rhythms jab and grooves smoulder. Spera’s bass bait is especially grouchy and in turn irresistible, adding a threat around the sultry tones of Synthetica and the similarly suggestive exploits of the guitars. A blend of hard and alternative rock with classic and surf rock hues, the track keeps the impressive tempting and imagination of the release on a lofty high.

Warm melodies and captivating harmonies colour the following Set in Stone, the song a less invasive proposal than its predecessors as it shows another side of invention and ideation to songwriting and sound. It still carries an irritable essence to its riffs and adventurous rhythms though whilst exploring a melody rich tapestry resulting in arguably the most inventive and adventurous song on the EP and definitely one of its most striking and enjoyable.

Closing on the brief evocative instrumental of Colourless, band and EP leave ears gripped and enjoyment full. It is fair to say that the Black Syrup EP might not be embracing major originality as a whole but it has plenty of fresh and exciting twists and turns that suggest Novacrow are on the right path to finding the ingredient which will truly set them apart. Certainly from start to finish, the release is nothing less than thorough rousing fun; the kind of quality which makes a first look at any band standout.

The Black Syrup EP is out now digitally and on CD @ http://www.novacrowofficial.com/ep

http://www.novacrowofficial.com   https://www.facebook.com/novacrowofficial   https://twitter.com/novacrowband

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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