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

Parasitic Twins – All That’s Left To Do Now Is Sleep With Each Other

A charnel house of sonic destruction and corruption, All That’s Left To Do Now Is Sleep With Each Other is the debut EP from British hardcore duo Parasitic Twins. Offering three tracks of raw noise infested dissonance, the release is an inhospitable animus of sound and intent which as it charred the senses had them keenly captivated.

Hailing from Hull, Parasitic Twins is the union of guitarist/vocalist Max Watt (Rotting Monarchs) and drummer Dom Smith (Mary and The Ram). Having previously worked together as part of Seep Away, the pair bred their new project within a “desire to create the most abrasive sound they could.” Caustically lo-fi and mercilessly intrusive, an encounter recorded live and raw, All That’s Left To Do Now Is Sleep With Each Other is the first result of that intent,.

It opens with Massive and instantly challenges ears with gnarly rabid riffs soaked in doom bred venom. The track uncages a predacious doom nurtured stroll upon the imposing rhythms of Smith, desolation and toxicity oozing from every psyche ravishing note as pestilential animosity coats every syllable out of Watt’s scarred throat. Yet there is an instinctive swing to the track which easily gets under the skin.

It is a template of sorts which breeds all tracks even with their true and open individuality as shown by Flipswitch. Its hardcore breeding ravages the senses from its first breath, riffs snarling as they abrase while the dual attack of vocals is similarly a fierce grazing to challenge and incite.

Final track, End, is a consumptive plague of noise but again springing an infectious noise punk incurred sway which soon settled within ears and body. Barely exposing a minute and a half to its carnivorous dealings, the track is feral pleasure; the EP the same times three.

All That’s Left To Do Now Is Sleep With Each Other will be a scourge too far for many and erosive manna for others as it announces the outbreak of one striking aural trespass going by the name of Parasitic Twins.

All That’s Left To Do Now Is Sleep With Each Other is released October 26th.

https://www.facebook.com/ParasiticTwinsBand   https://twitter.com/TwinsParasitic

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

U-Foes – No More No More

Live @ Fru Lundgreen, Trondheim, Norway

It may say No More No More but ears swiftly demanded the opposite once falling under the sonic hail and brimstone of the new single from Norwegian outfit U-Foes. The track is an insatiable slice of noise punk infested hardcore which batters and tempts with increasing rigour; nagging, harassing, and pleasing in equal measure.

Rising from the ashes of hardcore outfit Silence the Foe, Oslo hailing U-Foes is the trio of made up of guitarist Marcus Forsgren (The Lionheart Brothers, Jaga Jazzist, Bror Forsgren), drummer Peter Rudolfsen (The Lionheart Brothers), and long-time friend of The RR, vocalist Anders Voldrønning (Shevils). Embracing aspects of their earlier work together and on-going projects, the threesome have twisted all elements into a whole new trespass of sound with plenty more fresh and creative animosity loaded craft involved.

A teaser of the band’s debut album due for release in November, No More No More is a carnal assault of sound; a track as primal and feral as it is skilfully manipulated and manipulative. It scowls with contempt from the first caustic surge of guitar, its sound a scuzzy yet precise blur inciting just as irritable intent from senses harrying rhythms. Voldrønning’s familiar roar intensifies the antipathy of sound and emotion, sharing greater toxicity to the wounds already incurred from the band’s raucous enterprise. Even so there is an infectious side to it all which quickly had hips swinging and limbs punching with zeal.

However you drape the track, it is rock ‘n’ roll rock at its primal best; punk rock to arouse the senses and spirit and the sign of big exciting thing to come from that impending album and we suspect for the band itself in its wake.

Check out the video for No More No More on our Video Selector page, the single available now on Marw Melodee Music.

https://www.facebook.com/ufoesofficial/   http://u-foes.com/

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

KEN mode – Loved

We cannot say that the artwork surrounding releases particularly guides or influences our thoughts going into a new encounter but it has to be admitted that the art wrapping the new KEN mode album made a striking impression whilst sparking intrigue and imagination long before a note was heard. Created by the band’s long-time collaborator Randy Ortiz, it is a piece which also inspired the band itself in regards to Loved, their seventh full-length. Vocalist/guitarist Jesse Matthewson ahead of its release revealed that “We entered writing for this album with one goal in mind – to please the smile” referring to the cover’s protagonist.

He also said “We wanted to make an album that represented a thinking person’s reaction to the political/technological climate we are existing in today. We wanted to make the perfect album to put on repeat while pushing your physical limits to their maximum, if only to silence the noise that is constantly whirring around inside of your own head, even for a brief moment.” Listening to Loved, it is not hard to feel they succeeded in both, certainly in satisfying the smile and though whether you can create perfection can be debated but it is a release which stands on the frontline of their most stirring and striking proposals yet.

From the grungier and expansive indie rock inspired endeavour of its highly enjoyable predecessor, Success, KEN mode has in many ways returned to the sonic viscera and noise punk/hardcore toxicity of the likes of Venerable (2011) and Entrench (2013) for Loved. In saying that, the album equally pushes the bold adventure hinted at in Success to far more magnetic, feral, and maybe for some divisive heights. It is unapologetically invasive, a cauldron of sonic violence, and their most invasively dark offering yet and for us more than possibly their finest moment yet.

Doesn’t Feel Pain Like He Should is the first venomous treat from Loved, the track instantly lancing the senses with a sonic incision before the fierce rapier swings of drummer Shane Matthewson descend closely aligned to the ravenous grumble of Scott Hamilton’s bass. The caustic wires cast from Jesse’s guitar equally infest song and listener making a nagging cradle for the raw throated squall of his vocals all the time rhythms breeding greater virulence in their trespass. It is a glorious nagging of sound taking swipes and bites with every elevation of animosity and twist of enterprise resulting in a deliciously corrosive start to the release.

The Illusion Of Dignity teases with its initial lure before swinging on rapacious rhythms next, Shane’s hits a bone shuddering impact matched in carnal attraction by the resonance of Scott’s bass. Post punk hues add to the noise rock antics bred within the cavernous yet threateningly intimate breath of the track, vocals a toxic animus across the revolving spiral and searing flare up of guitar. As with its predecessor, new intensities fuel and fresh ideation inspires the course of the irresistible intrusion before Feathers & Lips steps forward to prey on senses and psyche. From its first breath it is a challenging threat but quickly springing its own infectious violation as seductively flirtatious as it is menacingly inhospitable. With a web of sonic dissonance and enticement at its heart, it is another which easily got under the skin and infringed upon the senses for rich pleasure.

It there was vague concord in the last track, Learning To Be Too Cold is sheer ill-will and needs a mere breath to invade and suffocate the senses in its corrosive wash and vocal feud as beats again barely labour to punish and incite attention. The vile lure of bass is a treat whilst the sonic scathing from the guitar is a mercilessly nagging breach as magnetic as everything piercing its scarring waves. It is not a song with the same instinctive contagion of those before it but one as memorable while Not Soulmates sets another unforgettable marker with its untamed but skilfully bred cacophony led by vocal discontent.

Very Small Men rears up to share its unique character and proposal swiftly after, dancing in on nimble dynamics driven by Shane’s inimitable rhythmic dexterity. It is soon though blowing a storm of aural animation hell-bent on igniting muscles and addictiveness to flex their instincts as the song’s holler enslaves. It is a thrill of an infestation, discord increasing by every turn of sonic entanglement and emotive dissonance.

From one of the album’s momentous moments to another as the calm swing of This Is A Love Test brings its own array of creative altercation. A jazz nurtured intimating caress is brought by the sax of Kathryn Kerr, its emotive and mellow seducing aligned to vocal reflection but both soon inspiring and joining a rancorous expulsion of frictious inharmony in a schism of enterprise which further inflames ears and thoughts as rhythms permeate the body.

The final pair of Fractures In Adults and No Gentle Art are equally as riveting and argumentative. The first is a senses hassling, evolving drone of disharmony which fingers and violates psyche and self-peace, each wave of creative quarrel intensifying in weight, ferocity, and conflict to disarm and inhumanely seduce while its successor rises up from a connecting rhythmic pulsation, emerging through shadow thick, portentously drenched serenity into almost salacious sonic warfare It stalks the listener from the off, every note and breath bringing a slight elevation in threat and intensity leading to crescendos of visceral expulsions and ravenous corrosion laden discordance again with Kerr’s breath casting creative arson within the gorgeous enmity.

The track is a bewitching, at times bewildering and relentlessly breath-taking conclusion to an album proving so hard to escape and move on to new adventure from. If you are looking for life affirming calm and beauty, Loved is not for you yet in many ways it does feed those desires whilst focusing the senses and thoughts on the reality of the world we are inescapably part of. Self-harm has never been more fun and invigorating than with KEN mode’s latest monster of a gem.

Loved is available now via Season of Mist and @ https://kenmode.bandcamp.com/album/loved

Check out their website for news and dates of their Canadian dates with Shallow in September, US/Canadian tour alongside Birds In Row in October, and European tour with Coilguns and Birds In Row this Nov/Dec.

http://www.ken-mode.com    http://www.facebook.com/kenmode    http://www.twitter.com/kenmodenoise

Pete RingMaster 31/08/2018

Copyright RingMaster: MyFreeCopyright

Dead By Monday – Almost Punk

Having earned a strong reputation for their live shows and energy, Scottish outfit Dead By Monday are out to spark similar praise on a broader scale with the release of debut EP, Almost Punk. Offering four slices of ferocious punk rock with an almost deceitful character as they reveal a far richer breeding of flavours once immersed in their roars, it is a release which not only warrants attention but pretty much commands it.

Formed in 2016 within the Glasgow music scene, Dead By Monday has as mentioned drawn great plaudits for their live dynamic and aggressive presence which has been rewarded with gigs alongside the likes of The Living End, Daggermouth, Annewrage, and WRCKG. Initially coming together with the intent of creating politically charged punk rock, the foursome soon found a harder, harsher, and heavier sound emerging but one still embracing their punk rock hearts alongside inspirations from the likes of Rage Against The Machine and The Dillinger Escape Plan, NOFX, and Gallows. Almost Punk is their first nationwide trespass and a very potent introduction it proved to be.

Certainly the EP was a slow burner with us, making a good first impression but really blossoming over time and listens as its creative depths emerged. The release opens with The First, and instantly had attentive ears with its simple but efficient opening punk bred riff. Paddy Chapman’s guitar is the lure, the throbbing bassline of Declan Buist a waiting trap before the song explodes into its rapacious and irritable stroll. The gruff tones of vocalist Murray Taylor are soon sharing its grievances as the swinging beats of Ciaran Whyte spark the track’s contagious gait and energy. There is little particularly unique about the track at first but with its mellower detours and sharp hooks grows into an ear grabbing proposal, those animated rhythms of Whyte particularly magnetic.

The following Dead Souls soon overshadows its predecessor, the excellent track a bruising slab of punk ‘n’ roll with a tasty line in hard rock to its twists and turns. Again Taylor’s vocals almost bully the listener as surrounding sounds work on their rocker instincts while spiky hooks and gang vocals make for an additionally tenacious incitement. Firmly the song took best track honours, though it was swiftly challenged by next up Our Doomsday. Straight away Whyte’s rolling punches had attention gripped, Buist quickly backing up the rich coaxing with its own throbbing bait. It is a magnificent start which in some small ways is followed by an anti-climax as the track opens up into its grouchy punk holler but it is a mere quibble as the track soon seduced the appetite with its snarling attack. There is something of Stiff Little Fingers to the song at times which does it no harm at all, indeed helps make it another bright spark in the growing potential and ready-made enterprise of the EP.

The closing Choke brings a post hardcore tone with its opening strains, clean vocals from Taylor strongly enticing with an underlying emotive warble well backed by the harmonic tones of Whyte. Eventually its captivation leads to the ferocious heart of the song, its hardcore instincts expelled with force and dexterity for a caustic finale. The most inventive and unpredictable track on the release it also challenges for top song honours, holding it for a while with its outstanding start and engaging imagination.

Almost Punk is an ear grabbing introduction to its creators but it is the potential and instinctive invention it carries and of which it suggests there is much more to come, that makes it more than just a great first encounter.

Almost Punk is released July 27th.

https://www.facebook.com/DeadbyMonday/

Pete RingMaster 25/07/2018

Copyright RingMaster: MyFreeCopyright

Hell Night / Sweat Shoppe – Split

A new split on Encapsulated Records sees two of St. Louis, Missouri’s finest come together for one simply tremendous encounter. The release features five tracks shared between Hellnight and Sweat Shoppe, a quintet of tracks which all unerringly got under the skin.

Pic by David Torrance

Hell Night provides the first two tracks within the split. Formed in 2014 by guitarist Andy White, the band additionally consists of bassist Eric Eyster, drummer Adam Arseneau, and the distinctive tones of former Shadows Fall and Overcast vocalist Brian Fair. Their sound is a ferocious yet instinctively animated fusion of metal and punk and as emphasized by the duo of offerings here fraught with virulently incisive hooks and grooves.

Their first track is Unincorporated, a predacious nagging of enterprise which is part feral part manipulation from its first breath. Fair’s rasping roar is soon infesting the invasive contagion, that array of flavours a rapacious entanglement squirreling its lures in ears and psyche. The track is superb, not richly unique yet wholly individual to the quartet as too its companion Overburden. Heavier and slightly more intense in its gait and tone, the song also webs the senses in the niggling prowess of guitars and bass as Arseneau’s beats bite and arouse. Its melodic undercurrent is just as tempting, new wave hues lining its understated but potent tease within the more carnal trespass.

Hell Night’s outstanding duo of tracks as quickly matched by the trio uncaged by punksters Sweat Shoppe. Another foursome, the band emerged in 2015 and includes members of The Disappeared, Horror Section, and The Timer as well as Ultraman vocalist Tim Jamison, the full line-up completed by Justin Haltmar, Gabe Usery, and Andrew Brandmeyer.

Lost and Mean is the first of the band’s tracks and immediately barrages ears with its unfussy yet skilfully honed attitude and ferocity. Its old school tone is instantly addictive within the minute and a half of punk belligerence, riffs unleashed and hooks uniting for a catchy invasion which continues within the even briefer Circumstance. The track’s hooks and riffs are ravenously contagious within the darker tone and climate of the song, aiding its inescapable persuasion and addictive trespass whilst reminding a touch of British punk legends Angelic Upstarts.

The final track from them is Clawing Brain, another antagonistic scowl of sonic contagiousness and rhythmic contempt around the attitude loaded vocal release of Jamison. It completes five tracks which do the highly enjoyable business with raw passion, energy, and imagination as well as a bit of intimidation. If either Hell Night or Sweat Shoppe has yet to hit your radar, their coming together here is one unmissable introduction and you can enjoyable further songs from both outfits on the Quarter Hour Of Power compilation also from Encapsulated Records; each release available digitally and on 7” vinyl now @ https://www.encapsulatedrecords.com/collections/releases   https://encapsulatedrecords.bandcamp.com and other stores.

https://www.facebook.com/hellnightus/   https://www.facebook.com/sweatshoppemusic/

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright