Push! – Dark Dive

Exploring music is the most rewarding adventure but equally a truly frustrating one when discovering a band or sound which has been around for a fair if not long time but only now coming to personal attention. Portuguese hardcore outfit Push! is one such proposition; a band which has been viciously roaring away for a handful of years and drawing potent acclaim along the way but only crossing our radar now with new album Dark Dive, a rousing beast of sonic ferocity and unbridled rage.

Hailing from Lisbon, Push! has forged a strong reputation and lured rich praise from their live presence alone which over time has seen them share stages with the likes of  Madball, Strife, Backtrack, Brutality Will Prevail, Sworn Enemy, Devil In Me, and For The Glory as well as play several major festivals in Portugal. 2014 saw the release of debut album Breathe In The Future Breathe Out The Past, a release making a strong introduction to the young band and laying the seeds for its stronger well-received voracious successor, This Is Cruel. This Is Life. two years later. Now the Stu Mckay (Malevolence, Brutality Will Prevail) mastered Dark Dive sees the band’s sound and songwriting at a whole new maturity, prowess, and indeed ferocity as greater and richer metal, groove and thrash amongst them, and punk flavours infest their hardcore instincts.

A compelling Intro sees the album rising to its predacious feet, the instrumental an untamed yet controlled, indeed devious web of grooves and riffs leading listener into the waiting scourge of Free At Last. Instantly the irascible throat of vocalist Nuno Cruz unleashes its ire whilst heading the equally choleric strains and riffs of the united guitars of Ricardo Servo and Roberto Cebolas. Just as swiftly an infectious strain of intent grips sound and emotion, a riling up of both which got under the skin with viral efficiency and trespass.

The great start is quickly backed up by Denial And Envy, a track led through ears by the senses clipping beats of Ricardo Aleixo before unleashing a tide of sonic and emotional irritability. Imaginative hooks and grooves line the cantankerous sounds exploring the speakers, Push! already showing themselves as dab and imaginative hands at spinning the most devious and persuasive kind, while gang and individual vocals only incited keener attention as the bass of André Paiva enticingly groans and menacingly growls alongside it all.

Through the album’s resourcefully fractious title track and the following carnivorous prowl of Pitfall, the increasingly addictive Dark Dive reveals greater unpredictability and invention. Both tracks are as feral as they are imaginatively and zealously grumpy, neither sharing a moment which does not keep you on your toes, nothing  expected or uneventful shared before a breath is allowed through Left With Memories, an instrumental thick in intrigue and intimation woven by guitars.

Paiva’s bass provides a bestial lure to the following With Love; classic metal flavours wrapping the instant predatory tone and motion of the song before all traits expand in a cross-grained punk metal incursion. In some ways it is not as immediate a real temptation as others around it but in just as many it is one of the most magnetic moments within Dark Dive. It then makes way for the senses stalking exploits of Cuffed To Yourself, a voracious pursuit of the senses and appetite which in turn departs to allow the similarly predatory touch and inclinations of Ground Floor to bare irresistible enterprise.

It is hard to honestly pick out a true favourite from the eleven tracks making up Dark Dive such the prowess and devious antics of all but next up Keep Silent offers plenty to be considered with regularity, the track a barbarous but anthemic call impossible to ignore specially when it too turns to hounding the listener like a bloodthirsty beast.

The album closes up with Procrastinate, a final slice of ruthless incitement and emotive ire unafraid to embrace old school metal wiring, thrash rapacity, and punk causticity to its hardcore raging. It is a potent end to a simply outstanding release from Push!, the kind of record to thrust the band into much bigger spotlights we expect and hope; Dark Dive certainly deserves that success.

Dark Dive is out now; available @ https://pushhc.bigcartel.com/ and https://pushhc.bandcamp.com/album/dark-dive

 

https://www.facebook.com/pushhc/

Pete RingMaster 08/03/2019

Copyright RingMaster: MyFreeCopyright

Sofy Major – Total Dump

Sofy Major is a leviathan of sound and trespass which persistently erupts from a noise fuelled creative lair with releases which for us have pretty much left contemporaries in their tempest and turbulence. Three previous albums have as good as decimated the prowess and adventure of other ear rewarding encounters around at the time and with Total Dump, the French trio has done it again Their new full-length is in many ways their most accessible and flirtatious offering yet but equally their most voracious and imposing not forgetting irresistible slab of noise and hardcore infested, metal lined rock ‘n’ roll.

The successor to the outstanding Waste of 2015, which itself eclipsed the thrilling Idolize unleashed two years earlier, the Dave Curran (UNSANE, Big Business) produced Total Dump is a contagion of abusive yet flirtatious noise and bruising but virulently captivating force and imagination. It is predatory irritable rock ‘n’ roll from start to finish with an eager taste in contagious and invasive enterprise. Opening up with its title track, the album immediately reveals its bestial side, the track prowling the senses with the carnivorous claws of Mathieu Moulin’s bass locked onto the senses as his more welcoming vocals align with the raw flames and tendrils of Thomas Dantil’s guitar. It is a preying of ears and imagination which never diminishes in threat and temptation however it evolves, a trespass driven by the menacing swings of drummer Mathieu Desternes that equally escalate in infernal virulence and captivation as individual and united enterprise breeds fresh twists and sonic commination.

The compelling start is only accentuated, indeed built upon by next up Giant Car Crash; a collision with the senses which had us bouncing as much as cowering before its flirtatious and barbarous intent. Voraciously feral and inhumanly infectious, the track devoured body and passions with unquenchable hunger leading to lustful responses before Cream It uncages its rapacious crawl to trespass the senses and melodic irreverence to seduce an already greedy appetite. The kind of proposition which offers a warm welcome whilst ruining the foundations to your sanity, the glorious track is a manipulative mix of viral noise with an appetite for clamorous untamed pop.

As the ravenously viral rock punk ‘n roll throes of Strike and the post punk embracing devilry of The Jerk infested and seduced ears with unruly dexterity, Total Dump just stretched its landscape of esurient intent and fevered invention. Both tracks are as mercilessly catchy as they are unapologetically invasive, that greater accessibility to the band’s sound in full bloom just as much its acclaimed creative villainy is merciless, and traits just as thrilling within next up Shinny Happy Asshole, a venomously swinging, deviously contagious but inescapably corruptive slice of unscrupulous enterprise.

Through the slow hunt of the senses that is Franck Butthole; a cancer of sound which just ignites the imagination, and the unbroken antics of Tumor O Rama it is impossible to say attention and pleasure wavered, the total opposite in truth up against their combined sonic punk infection fuelled scourges while Kerosine Mike n turn just trapped and enslaved with ursine-esque power and intimidation whilst brewing up its own melodically toxic strain of bewitching rock ‘n’ roll.

Completed by the senses ravishing, violently bouncing exploits of Panamarama, it one the album’s most magnificent moments, and the sonically consumptive, caustically alluring tempest of The Longest Yard, there was and is no diminishing of the ardour we bred and hold for Total Dump. Without any doubt despite the glories of the past, it provides the greatest, most thrilling time with Sofy Major yet but also is set to send a shiver through the world of noise in any form as those within wonder how they can compete with its voracious triumph.

Total Dump is out now via Deadlight Records on CD and Antena/Corpse Flower on Vinyl.

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

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Billybio – Feed The Fire

An integral part of numerous inspiring moments with Biohazard and Powerflo, Billy Graziadei continues to be one of punk’s driving forces as he uncages his debut solo album under the moniker Billybio. Feed The Fire is a powder keg of hardcore dexterity and discontent, fire and brimstone punk rock as contagious as it is a snarling intolerant of the ills coursing through the world. Bred from a rich fusion of flavours the album is a fury of anthemic rock ‘n’ roll with a roar which makes you want to take part whilst paying keen attention.

As Graziadei declares, Feed The Fire is “100% me. No influence from anyone else. This is who I am and what I’ve become. I’m a product of everyone I’ve met, talked with, shared my stories with…and a bit of their stories as well.” It growls and bites as it inflames and badgers thought and spirit whilst unleashing some essential slices of punk rock.

With friends such as guitarist Dan Palmer (Death by Stereo/Zebrahead), bassist Ra Diaz (Suicidal Tendencies), and drummer Simo Perini alongside Graziadei, the Tue Madsen produced release instantly got under the skin with opener Freedom’s Never Free. Marching into view, the track explodes on the senses, raw grooves and Graziadei’s vocal grievance fuelling the attack. It is an ear grabbing invitation which simply hits another level as the track twists into one virulent chant of defiance, an inescapable trespass to which submission and involvement is instant.

Latest single and the album’s title track follows, unleashing its own contagion from its first breath. With teeth bared through its first riff and vocal uproar, Feed The Fire quickly launches itself with creative tenacity; guitar and rhythms as explosive as the vocal incitement which again fuels insatiable catchiness.

No Apologies, No Regrets rises up with a more deliberately predacious intent, slowly rising to its full height before hurling its goodness and dissonance at ears while in turn Generation Z uncages infectious multi-flavoured rock ‘n’ roll with zeal. The first is a web of temptation and altercation, as inventive as it is furious with its outstanding successor a contagion of hard and punk rock which needed mere seconds to have body and vocal chords adding their mutual zealous discord.

Through the likes of Sick And Tired, an infectious dispute and enterprise bred persuasion, and the feuding Sodality which erupts from the dark smoulder of the momentary breath that is Remedy, the album only tightened its grip on ears and appetite pushing its claws deeper into the passions with the musically and emotionally acrimonious Rise And Slay, the track a delicious predatory harassment of metal, punk, and ravenous rock ‘n’ roll.

Offering up thirteen slabs of confrontation, there is truly no weakness or less than irresistible moment within Feed The Fire as emphasised in turn by the bracing punk call of STFU, the haunting and intimidating melodic siren that is Trepidation, and Untruth with its virulent resentment and imagination; all dramatic treats easily devoured.

The album is concluded by firstly the bruising anthemic blaze that is Enemy, another moment which has heart and vocal chords rigorously on board and lastly Disaffected World. The final track is arguably the most manipulative incitement of them all especially through the vocal and seriously tempting sonic tocsin which interrupts the song’s primal uproar.

Punk rock in its many forms has had a prize year in releases across 2018 with possibly, most likely, its finest moment now provided late by Billybio; an uprising sure to be the inspiration it deserves to be.

Feed The Fire is out now via AFM Records across most stores.

https://billybio.com/   https://www.facebook.com/BillyBIOHAZARD/   https://twitter.com/billybiohazard

 Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Dead Retinas – Divine EP

Though they made a pretty instant splash in the pool of attention and praise with their debut, the Dead Retinas vs. The World EP back in 2012, it is fair to say that the UK band has simply grown in strength, sound, and in luring praise ever since. Each subsequent release from that potent first has provided a rousing proposition with the Manchester band’s most striking yet coming in the shape of their new creative offensive, the Divine EP.

Without doubt there has been a fresh attack and imagination in the band’s writing and hardcore/punk bred sound with every release but now real maturity and a deviously manipulative essence has emerged. It was intriguingly hinted at within the 2017 released Coup De Grâce and now has become an uncompromisingly stirring force within its successor, Divine. An unscrupulous fusion of hardcore and noise punk, the new Dead Retinas offering provides three tracks which stalk the senses and bait the spirit whilst revelling in that new breath of adventure in the band’s sound. The EP is also the first release with the band’s new line-up in full antagonistic roar, a creative holler seeing Dead Retinas stalking the reputation of punk’s heavyweights.

The Laurie Morbey produced Divine opens up with Gold in Monochrome and immediately descends on the senses and nerves with a predatory rhythmically prowling groove. The vocals of CJ Smith are just as swift, bawling almost brawling in ears with his usual potent presence. The guitar of Jack Thompson springs his scything lures and nagging hooks soon after as the swinging beats of Chris Heath batter already beleaguered but devouring senses. With the bass of Chris Gaduzo continuing its almost guttural tempting, the track writhes and twists as it rages; raw flirtation and invasive invention fuelling it’s unpredictable and seriously enjoyable enterprise.

The following You Go Glen Coco is just as compelling and insatiable in its antics. It too moves with the lust of a whirling dervish but with a composure which just accentuates its carnivorous intent. Again the band casts grooves which easily and quickly got under the skin, rhythms voracious with their own infectious animosity and all combined creating an increasingly expanding and imaginative infestation of sound and dissension.

By no means left behind in creative prowess, final song An Exercise in Bad Taste erupts in ears with immediate hostility, Smith again leading the trespass as rhythms malevolently dance and the sonic toxicity of Thompson’s strings blazes. Once more imagination soaked unpredictability infests the track, its movements often bordering on the spasmodic but with a fluidity which makes for an unrelenting molestation and pleasure.

As seems to be the trend with Dead Retinas releases, Divine reveals new growth in their sound and creative adventure but one which easily overshadows anything before it and so much so that the band might struggle to eclipse it next time but then again this is Dead Retinas…

The Divine EP is out November 30th, available @ https://deadretinas.bandcamp.com/album/divine as well as Spotify, Apple Music etc.

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

Pete RingMaster 30/11/2018

Copyright RingMaster: MyFreeCopyright

Never too late for Vain Galen and Salt The Snail

Though we may be a little tardy in relation to their release dates, we have a couple of singles worth attention anytime of the day and year which we suggest need checking out.

First up is March Of The Walkers from UK trio Vain Galen. Formed in 2012, the West London band has increasingly impressed and lured acclaim through their releases, songs like Galen’s Cage and Biography of a Stickman especially drawing plaudits. Recently the threesome of vocalist/guitarist Wayne Houchin, bassist Carl Tiedt, and drummer John Mcshee uncaged their new encounter, song which pretty much eclipses all the goodness already escaping the band’s imagination.

It is enjoyable not too easy to pin down the band’s music, March Of The Walkers alone a web of alternative metal, punk, grunge and hard rock. It makes for a temptation as unpredictable as it is rousing, the new single stocked with proof of both. Instantly the rhythmic prowess of Mcshee asks for and gets attention, ears rewarded with the rousing exploits of guitar and bass. Already that multi-flavoured hue to the band’s sound is at play, only blossoming as Houchin’s potent tones join the creative affray.

The song continues to entice with skilful hooks and crafty aggression, its fury creating an anthemic climate which the track simply relishes the further it evolves in melodic and imaginative twists, at times teasing with an almost PiL like devilry as it declares itself the best moment in the Vain Galen arsenal yet.

The other track demanding attention is from Salt the Snail, another British band which has already stirred the passions especially through their deviously mischievous previous single Spanish Announce Table. It carried a devilment which had lips grinning and bad habits rising, success boisterously continued by its successor Lazer Quest.

The band writes songs inspired by their own passions; their debut single Coffee was sparked by a love of the obvious, its already mentioned follow-up by wrestling and horses. Lazer Quest unsurprisingly springs from their appetite for lasers and dancing, pleasures shared through the band’s unique fusion of noise, punk, and indie dissonance. Mike Rogers’ guitar grazes the senses initially but only inviting attention to the waiting stomp driven by the swinging sticks of drummer Tom Ashley and The Baron’s throaty bass groove. Once vocalist Krystian Hudson strides in with his equally magnetic attack, the track is in full revelry, twisting and turning only to escalate its delicious antics and enterprise. Something akin to a hardcore infested Swound! meets Asylums meets Houdini bled bedlam, the track is feral manna to any noise loving ears.

Check out both bands further at…

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

https://saltthesnailband.bandcamp.com/ https://www.facebook.com/SalttheSnailORIGINAL/   https://twitter.com/SalttheSnailUK

Pete RingMaster 16/11/2018

Copyright RingMaster: MyFreeCopyright

A Parade of Goodness

The past month going into the next has seen our friends at SaN PR send over a host of artists with new singles to tempt and rouse the senses. o we thought we would club the best together and give you the heads up on their striking propositions.

First up and coinciding with their next tour of the US, is British punksters Ghouls who have just uncaged their new single Be. An irrepressible slice of the raucously infectious and boisterous punk rock the Londoners are becoming keenly renowned for, the track just bounds through ears taking the spirit with it on a rousing stomp. Yet equally its heart and words reveal shadows and emotions to hook and captivate thoughts and imagination.

Formed in 2013, the quintet has earned a potent reputation and an increasingly growing and dedicated fan base through their songs and a praise wrapping live presence which has seen the band play numerous UK and international festivals and share stages with bands such as Less Than Jake, Slaves, The Skints, The Ataris, Sonic Boom Six, Random Hand, OPM, and ROAM. It is hard not to hear why the increasing attention on the band when hearing Be and also a handful of months back its predecessor, the similarly bold and compelling Internet Famous.

Be is an immediate blast of catchy sound driven by swinging rhythms and rapacious guitars. Just as swiftly though it is a bloom of imagination and unpredictability, calms and crescendos plus brass flames adding fun and adventure to its dynamic punk funk antics and though seemingly over before its time, the track is as arousing and manipulative as anything heard this year; simply a real gem of a song.

Next up is Dead Ground, an alternative rock trio from Exeter consisting of Ollie Harris, Edward Tucker, Jake Friese-Greene who has just released their new single, We All Feel The Same, another song rather hard to ignore.

Emerging in 2015, the British trio has earned plaudits through shows with the likes of Idles and Black Foxxes and are sure to again through their latest offering. It is a song which echoes inspirations which include Muse, Black Peaks, and Radiohead though it is the former which most comes to mind across the magnetic track. Even so, from its first breath and the strong lure of voice and guitar, We All Feel The Same shows the band’s music has its own unmistakable identity. The track is a calm yet eventful piece of melodic rock which never seems over busy or creates a tide of sound but is as rich in enterprise and aural intimation as a full on tempest.

With smart twists and little turns within its magnetic body, the track is another seriously enticing offering from Dead Ground and a potent invitation to newcomers.

The wait is over, British punks Eight Days have returned from their eighteen month hiatus and roared back with a major holler of a track.

Stray barracks and harries the senses like it is making up for lost time yet has an imagination in its creation which revels in the time taken to breed its angst bursting outcry. Equally is has a fresh breath to it which echoes the potency and character of the band’s very well-received 2016 EP More To Life but reveals a whole new thrust of energy, invention, and potential, maybe no surprise as Eight Days returns with new members offering new ideas and essences in creativity.

A fusion of punk, hardcore and alternative rock in varying degrees, the track immediately had ears on board as its opening lure of hook loaded riffs beckoned. It proved the prelude or rather lead into a tempest of ferocity and sonic tension but an emotion loaded storm ripe with swinging grooves, tenacious rhythms and subsequently unsettled calms and post hardcore-esque intimation.

The track is a fine return by the band and hopefully a hint of big things to come.

With their debut album of this year, Face Value, still luring new fans and plaudits, UK hardcore outfit Of Legions are poised to unleash their new single Vision Of Misery. A brand new track, it is a beast of a trespass, a cauldron of the band’s fusion of hardcore, punk, and metal which not so much warrants attention but orders it.

From Stoke, the quartet has steadily risen up the hardcore ranks since emerging in 2015. Embracing inspirations from artists such as Black Flag, Slipknot, and Parkway Drive, Of Legions has honed their individual sound across two EPs and that recently their highly praised album and earned a potent reputation for a live presence taking in shows with Silent Screams, Liferuiner, Martyr Defiled, Continents, Brokencyde, Sikth, and Loathe among many others.

Intimating a new wind of adventure in the band’s sound, Vision Of Misery prowls the senses initially, riffs a scowling predator against a rhythmic rumbling. A melodic tendril though lights its advance calming the intensity a touch before the shackles are off and the track invades. There is still somewhat of a restraint to its attack but that only accentuates its power and animosity.

Continuing to bawl and punish with its hardcore bred, metal infested confrontation, a contagious mix despite its punishing tempest, the track is a thick indisputable declaration of a band heading the way of major attention.

Be from Ghouls is out now.

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

Dead Ground has We All Feel The Same on the loose now.

https://www.facebook.com/deadgroundmu/

Eight Days has Stray available now.

https://www.facebook.com/EightDaysUK/   https://twitter.com/eightdaysuk

Of Legions unleash Vision Of Misery November 9th.

https://www.facebook.com/OfLegions/     https://www.instagram.com/of_legions_uk/

Pete RingMaster 24/10/2018

Copyright RingMaster: MyFreeCopyright

Invoker – Cursed To Feel EP

As thick in emotional intensity as sonic ferocity, Cursed To Feel is the new EP from Swiss hardcore outfit Invoker. It is the successor to the band’s acclaimed debut album of 2017, Four Wall Nightmare, and a tempest taking the uncompromising intensity of the band’s previous offering as well as its sweeping post rock turbulence and soaking it in a whole new squall of heart and imagination. The result is a physical and emotive trespass which is unpredictable, impassioned, and mercilessly compelling.

Since emerging in 2012, the Lucerne quintet has increasingly made their mark and built a potent reputation with their release and hardcore/post hardcore fusion. As Cursed To Feel proves there is plenty other hues to a proposition which they honed and have evolved since their first release, the Loose Lips, Sink Ships EP of 2013. Similarly their hungry and rousingly intensive live presence has grown and flourished, Invoker sharing stages with the likes of Landscapes, Being As An Ocean, Counterparts, Napoleon, and Break Even amongst so many along the way. Through each release Invoker has pushed their songwriting and sound, it all leading to their new triumph.

Cursed To Feel stirs into life with a single guitar lure, a melodic string which barely has time to breathe before the storm inside Black and Blue violently erupts. The throat raw fury of David Lukas sears ears and air as a maelstrom of sonic animosity ignites around him, guitars nagging but equally inciting the senses as rhythms pounce with little restraint. It is a potent mix yet the track really blossoms as small but strong ebbs in the maelstrom intrude, that attention grabbing enterprise subsequently sparking further imagination bred twists and creative insertions drawing diversity in sound and voice.

The excellent start is surpassed by the emotion charnel house of Cursed though in no time the song aligns melodic elegance and infectious grooves to devouring angst bursting hostility. As all tracks, it swings through moments of unsettled calm and ferociously harsh expulsions of heart and noise to intrude and beguile before The Novel unveils its own collusion of raw and harmonic dexterity drenched in pain and corroded but certain hope.

With Cease To Exist a brief but ravenous and invasively captivating onslaught and End Me providing the EP’s darkest and for us its most poignant not forgetting emotionally relatable and quarrelsome moment, Cursed To Feel continues to expose scars and understanding within a pleasure  inspiring tempest.

Invoker already has a fervour driven fan base but it is simple to expect Cursed To Feel to spark its bold growth and thrust the band towards major recognition.

Cursed To Feel is out now via Grim Reality Records and available @ https://weareinvoker.bandcamp.com/

https://www.facebook.com/weareinvoker/

Pete RingMaster 20/10/2018

Copyright RingMaster: MyFreeCopyright