Born to Burn – Welcome To Reality

btb_album_2016_RingMasterReview

Savaging the ills of the world we live in as well as the senses, French antagonists Born to Burn have just released their debut album, an encounter which challenges and impresses in equal measure. Welcome To Reality is eleven raging trespasses born from a fusion of 90’s hardcore and various metal bred influences. It is also a persistence of aggression and animosity bound in a sound which weaves familiar textures into the band’s imaginative invention in an encounter which only and increasingly grabs attention and an eager appetite for its ferocious presence.

Formed in 2013, the Tours hailing quintet release their first demo the following year, which with their intensive live shows soon placed Born To Burn as one of the vital ingredients in the local metal/hardcore scene. Linking up with Dooweet Agency earlier this year for its release, the band have just unleashed Welcome To Reality to further their presence and reputation across their homeland and into wider shores. Such the raw power and creative tenacity of the album alone, it is hard to see the band failing to ignite wider and keener interest in a sound which rampages through ears while despoiling and exciting the senses with extreme bearish irritability.

The album opens up with Welcome and waves of warning sirens, their portentous calls sending clues to the threat to follow. All the time building in intensity and drama, the track eventually breaks into a predacious prowl with its instrumental intrigue and danger leading the listener into the waiting trap of Who Are You. Initially the song carries on with the restrained but imposing nature of its predecessor but eventually uncages its muscular venomous intent while still continuing to stalk the senses and imagination. With open distrust and ire in the imposing presence of the great vocal growl, a character matched by riff and rhythm, the track invades and persuades with an easy to embrace potency; winding sonic enterprise and toxic grooves a delicious topping.

btb-wtr-front_RingMasterReviewHammer quickly takes over and soon reveals a bolder tempestuousness and urgency in its attack as thrash scented riffs collude with rhythmic spite whilst vocal and lyrical causticity bears down on thoughts. As bullish and adversarial as it is, there is a swing to its gait and catchiness to its design which makes the punishment so easy to devour whilst revealing more of the swiftly showing invention in the Born To Burn songwriting and imagination.

Its inescapable qualities are matched by those of the blunt force trauma that is Seven, a track punching and jabbing its way with raw brutality but exposing subsequent wounds to another array of invasive but captivating twists and turns. The guitars spin a web of melodic and sonic adventure throughout, never diminishing the force of the attack but giving it additional striking appeal before Finish Him offers its own predatory sonic conflict with a rhythmic violation of scything beats and bestial bass which almost single handed ensures a greedy appetite. With threat loaded vocals and biting riffs bound in the inventive tartness of the guitars adding to the rancor, the track is irresistible as too successor The Shield which from its opening darkly alluring bassline just increases the enslaving enticement layer by imaginative layer.

Through the acrimoniously infectious storm of Pigs, with its more classic heavy metal spicing, and the rapacious tapestry of Warm Up, the album only tightens its grip on ears and appetite. The second of the two is an unpredictable and eventful fusion of punk and alternative metal wound in fiery grooves and dirt encrusted vocal harmonies. It is constantly evolving and exploring dark shadows and boisterous ideation before Dark Walk and its shamanic quarrel envelops the senses to relentlessly bewitch and bruise. All the time though it’s hardcore heart is blossoming, subsequently taken control and driving the still relentlessly contagious tempest.

Welcome To Reality is concluded by firstly Loud, another creative predator at ease prowling or savaging the listener and lastly Mars which entangles ears in blissfully corrosive grooves from its opening breath and only proceeds to turn that pleasure more lustful with every passing adventurous incursion.

The way the album is set up, with each subsequent song it becomes bolder and more inventive, in turn unique with the potential of greater things to come just as open. Born to Burn has something different about them which is already marking them out as a very promising proposition but once further realised there could be no stopping them becoming a major violation and treat on the senses.

Welcome To Reality is out now across most online stores.

https://www.facebook.com/btoburn

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright

Into the Storm – Where the Merfalo Roam

Photo by Ken Lapworth (2015)

Photo by Ken Lapworth (2015)

Into the Storm is a band which gate-crashes your senses with a sound as savagely compelling as it is venomously intrusive. It is equally a proposal layered with an enterprise which ensures releases like the Seattle quartet’s new album, Where the Merfalo Roam, steals the imagination and defiles the psyche with ease.

Consisting of the band’s most adventurous and expansive tracks yet, Where the Merfalo Roam is an exploration or should that be fall into an abyss of “discontent, oppressive governments, dystopian eras, and the connection between the cycles societies go through.” A tar thick assault of sludge/doom rapacity unafraid to venture into bolder and starkly diverse strains of sound, the album is as openly inventive in its complexities as it is uncompromising in its raw animosity.

Produced, engineered, and mixed by Derek Moree, Where the Merfalo Roam opens with Truck Van Trailer, instantly trespassing ears with a dirty melody which subsequently ignites a barrage of bestial riffs and ravenous rhythms; yet there is a swing to them which tempers the violence and invites closer involvement. Dirt encrusted vocals bring their ire to the challenge just as quickly, scowling within the sonic and melodic toxicity cast by the guitars of Brant Kay and Matt Jahn and pure predacious ferocity sprung by bassist Oliver Reeves and drummer James Reeves. Becoming even more absorbing as the band break out a Cajun flavouring towards its end, the track is a mighty and riveting start swiftly matched across following tempests.

Ghostmaker is next, prowling the senses with ursine irritability and weight. A bruising punkiness adds to the track’s imposing weight and intensity reminding a touch of Pigs as it stalks and consumes as one primal entity yet reveals a tide of individually effective elements and textures. Its relentless tirade is contrasted by the doom lumbering of Seduced and Disappointed, a black melancholy again stalking the senses but in a slow, light vanquishing mass still prone to rabid eruptions. The two tracks show the variety fuelling the corrosive heart of the album, a diversity continuing within the torment ridden I Gotta Get the Bees Outta My Teeth and the bewitching unrest of Wellwisher. The first of the two sonically niggles and rhythmically pounds, combining both with emotional and multiple vocal antipathy as piercing guitars weave a web of captivating tension while the second is a melodic seduction around an emotional turbulence shared through the rasping angst of the vocals. The simmering beauty eventually boils up into a plaintive lava-esque squall with melodies still suggestively captivating as tempestuousness blossoms around them.

its-where-the-merfalo-roam_RingMasterReviewFeaturing the guest talent of trumpeter Alexis Tahiri, the following Maturin ignites appetite and imagination further. Starting out as a beguiling flame of Mariachi spiced sultriness, the track smoulders, feistily simmers, and eventually steps aside for a barbarous immersion of ears and spirit. Even then melodic suggestiveness is a heady incitement as rhythmic bad blood invades, the song leaving no minute short of unexpected and riveting drama; a weave just as potent within the cancerous air and emotion of Maths. Somehow the track manages to be mesmeric too, haunting the psyche as it defiles the senses and stirs the imagination.

Fell Off A Horse is next unleashing a few seconds over a minute of rabid punk rifled bitterness before Jobbernaught tantalises with inviting melodies and catchy rhythms on its way to infesting ears with its own emotional and sonic malignity. Both tracks leave pleasure thick and the soul blackened and prime for the closing brutal rock ‘n’ roll of the album’s title track. Where the Merfalo Roam strolls in with a vendetta to its swagger and open infectiousness to its enterprise even when turning into slow, psyche winding incursions upon body and emotion. With violinists Kim Pack and Sarah Pendleton bringing melancholic grace and beauty to the song’s emerging and all-consuming emotional and sonic volcanic storm, the track is sheer magnetism; a mighty end to a similarly impressive release.

Where The Merfalo Roam punishes as it rewards, withering body and emotions as it invigorates them. It is not going to be for everyone but for invasive sludge/doom/hardcore hearts, it is a must.

Where The Merfalo Roam is released November 11th via Alive and Breathing Records and @ https://intothestorm.bandcamp.com/album/where-the-merfalo-roam

https://www.facebook.com/rideintothestorm/   https://twitter.com/intothestorms   http://rideintothestorm.nfshost.com/

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Art Of Burning Water – Between Life And Nowhere

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It is fair to say that any proposition from Art Of Burning Water is not for the faint hearted or anyone looking for melodic refuge. The trio’s sound though, and indeed new album Between Life And Nowhere, is something that a passion for ruthless noise with a penchant for violent infectiousness should and will eagerly embrace.

The London based threesome of drummer Mike, guitarist/vocalist Grief, and bassist Kunal create hardcore sandstorms of sonic intolerance and rhythmic barbarity; twisted punk ravages which are as pestilential as any plague but built on grievous grooves and piercing hooks ridden by the rawest of throat ripping vocal squalls. It is a trespass which has fuelled a host of releases from the band since 2003 and provided one half of an impressive split 7” with Nervous Mothers earlier this year. True to say, the band’s sound may have alienated as many as it has befriended but those hooked on their creative hostility come with zeal many bands would pay for.

A fury of ten songs over twenty minutes, Between Life And Nowhere has no times for niceties and flies at the senses from its first breath. A sonic lance and sample triggers Rambo Survival Techniques into life, the guitar an intrusive wave of sound backed by the thumping beats of Mike and Kunal’s grievous bassline. With Grief’s flesh wilting vocal spite soon infesting all, the track grumbles and rumbles like a bear with toothache, searing the senses whilst teasing them with an underlying catchiness which in turn lines the even more hellacious heart of Prime Example Of A Lonely Child. The track ebbs and flows in its intensity, never releasing ears from a sonic abuse but taunting the imagination with its primal instincts and another sampled incursion as spicy grooves and hungry riffs join in cantankerous intent.

The excellent Barbara O’Reilly comes in on the final sonic twine of its predecessor; swiftly uncorking its caustic toxicity with a punishing persuasion before the twenty odd seconds of You simply erupts in primal cancer upon the listener which in turn is followed by the less nasty but just as intrusive adventure of To Be Brave. With swinging beats linking up with a growling brooding bassline, the song makes a calmer entrance, the guitar teasing and inviting before the full tempest of emotion and rage at the track’s heart ruptures into its virulent sound. Twisting from raucous hostility to predacious stalking across its irritable body, the song quickly hits the sweet spot.

The acerbic melodic nature of Voivodian Solutions To Die Kreuzian Problems just as rapidly ignites ear though any kinder essences are lined with their own venom and soon involved with unbridled rancor as shown again within the infectiously woven drama of Alesha and the scathing rapacity of Prone To Bouts Of Hopelessness. The first of the two entices and brutalises with every harsh rhythm and heavy metal infused grooves, its punk ‘n’ roll almost welcoming but only to an awaiting destruction while its successor crawls over the senses with its poison on full show before savaging with full malevolent energy.

A handful of seconds is all that Baby Without Your Love has and needs to share its distorted enmity, leaving the quarrelsome and increasingly violent punk ‘n’ roll of Kindness Is Strength to bring the album to a fine and feverish close.

As suggested earlier, Between Life And Nowhere is not going to find a home in everyone’s ears, something it and the underrated Art Of Burning Water seem to revel in. Both offer punk/hardcore which leaves the kind of scars which sorts the men from the boys and both deserve a portion of your flesh and attention.

Between Life And Nowhere is out now via Bigout (France), Sleeping Giant Glossolalia (USA), and SuperFi (UK) and available @ https://artofburningwater.bandcamp.com/album/between-life-and-nowhere

https://www.facebook.com/aobwmusic   http://www.superfirecords.co.uk/aobw/

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP

thumbnail_ep-cover_RingMasterReview

Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @ https://deadhandsband.bandcamp.com/releases

https://www.facebook.com/deadhandsmusic   https://twitter.com/DEADHANDSBAND   https://www.instagram.com/deadhandsband/

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Eight Days – More To Life

eight-days-band-promo-shot_RingMasterReview

Seemingly tagged as melodic hardcore more often than not but showing a hefty side in hook laden punk rock in their new proposition, British trio Eight Days is one of those bands knocking on the door of broader attention. Since emerging on the first breath of 2014, the London based outfit has earned a reputation of being one of the more potent forces within the underground scene. Evidence of that strength linked with a generous invention for ears and imagination to embrace can be found in the More To Life EP, a release suggesting that Eight Days might soon be going above ground to tap into national attention.

With inspirations said to come from the likes of Norma Jean, Black Peaks, Blink 182, and Yellowcard, Eight days released their debut at the end of their first year. The well-received No Idols EP was followed by the band rampaging across the UK on numerous tours before sophomore EP, Surrounded By The Ones Who Want Me To Fail, was unveiled to greater acclaim, proving that the months had also seen the band’s songwriting and sound blossoming.

More to Life is another step forward in all aspects by Eight days, a quartet of songs as raw and emotionally intrusive as they are fiercely infectious with dramatic hooks and surprising twists to the fore. There are still areas where uniqueness is a less obvious proposal but continuing as they are, that is something easy to suspect being remedied in the future.

eight-days-cover-artwork_RingMasterReviewThe EP opens up with Was It All Worth It and straight away the track has attention hooked as a melody, with a mix of warmth and shadow in its character, wraps enticingly around ears. A rising storm of rhythms led by the feisty beats of  Lewis Fife with the brooding rumble of James Carty’s bass alongside soon join the invitation, it all taking the listener into the turbulent yet catchy heart of the song where the guitar of Ben Brazier casts suggestive melodies and inventive hooks around his emotion flushed vocal squalls. It is a potent mix captivating from start to finish, melodic and post hardcore textures engaging each other in an arguably less than original but certainly potent way for a strong start to the release.

The band’s imagination kicks up a gear from hereon in starting with Unclear as the threesome bring some stronger punk rock elements into their bruising dramatic roar. Carrying a touch of Cancer Bats to its bellow, the second song bounds through ears with venom and animosity though again the instinctive catchiness of their song’s gaits and swinging rhythms make it all very enticing. Spicy hooks and unexpected twist and turns in the imagination of the song makes it stand out in no time, group shouts and the predatory growl of the bass adding to a creative drama not as obvious in its predecessor.

It is a fresh invention and boldness even more persuasive in the following Counterweight. From its first breath, the song is throwing tangy grooves and virulent hooks at the listener while Brazier’s throat is raw through ire fuelled confrontation. The track is irritable rock ‘n’ roll, an irrepressible trespass on the senses and the biggest highlight of the already impressing release.

A growling grouchy bassline opens up final track Walls; hard and melodic rock spiced flavours mixing with the band’s instinctive aggressive enterprise. At times a twist away from taking best song honours from its predecessor, the song is a fine end to a very satisfying release.

More To Life is proof that Eight Days are something fresh in a crowded melodic hardcore scene and once they find that real uniqueness there may be no stopping them.

The More To Life EP is out in stores on Friday 14th October and @ https://eightdaysuk.bandcamp.com/album/more-to-life and http://eightdaysuk.bigcartel.com/

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

Pete RingMaster 13/10/2016
Copyright RingMaster: MyFreeCopyright

Twisting sounds and textures; exploring the sonic roar of Fero Lux

Fero Press_RingMasterReview

Casting their own fusion of math and hardcore upon the senses, Fero Lux is a South Florida quartet beginning to spark richer attention. The release of latest album No Rest has played a big part; the raw but addictive sound it shares demands attention as in infests the imagination. Live the Broward County hailing band has similarly earned a formidable reputation so we thought it was high time we got to discover more about the band. With big thanks to vocalist Victor, we look at the heart of Fero Lux, its beginnings, that latest album and more…

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

Yo! Thanks for talking TO us.

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

We’re a band called FERO LUX from south Florida. When we started, we all played in other bands. Our guitarist, David, wanted to start a heavy, mathy band. So he recruited us all. I was in something else at the time that I wanted to take seriously, and realized this was more fun. So…over five years later, here we are.

So you have been involved in other bands before so has that had any impact on what you are doing now, in maybe inspiring style or change of direction?

Oh yeah. We’ve all been playing in bands for 12+ years. I think FERO LUX is a HUGE melting pot of all of those bands combined. Our sound certainly has an overall heavy theme, but we’re all over the place if you listen to our latest record from front to back.

What inspired the band name?

We were huffing the smell of 100 unwashed turtle tanks. And boom…FERO LUX.

art No Rest_RingMasterReviewWas there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Yeah, like I mentioned we started with a sound in mind, but after half a decade we certainly found what we were aiming for all along. I think it shows on NO REST.

Do the same things still drive the thoughts of band from when it was fresh-faced or have they evolved over time?

I think we’ve become more socially aware. We always wanted to be a band with something to say, and I think we’ve harnessed that a little better over time.

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

It’s more refined. The song writing is far more structured, but there are still a lot of riffs you have to hear more than once to kinda fully understand; still heavy, still mathcore. Also, this line-up–myself, Ben, David, and Nick are the most cohesive we’ve had to date.

Has it been more of an organic movement of that sound or plenty of moments where the band deliberately wanted to try new things?

It was certainly organic. We just lock ourselves in our warehouse and jam until new songs come out. We don’t really vocalize how we want them to sound. They just…sound.

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?

At The Drive-In is one we all say we can agree on musically. They pushed it like no other. They mesh all sorts of ideas and themes into each record…and ALWAYS had something to say. We consider them a very brilliant and selfless band.

Is there a process to the songwriting which generally guides the writing of songs?

Nawh.

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

Global strife.

Give us some background to your latest release.

NO REST came out on March 25th, 2016. It’s about a bunch of different things happening all over the world and locally. There’s heavy stuff, and not so heavy stuff. I personally like to think it has something for everyone.

Can you share some insight to the themes and premise behind it and its songs?

The opening track is called No Insignia. It’s about the war crimes committed on Ukraine and Crimea upon the invasion from Russian soldiers who wore no identifying insignia. People were forced from their homes, people were killed, and we here in America cared more about what was taken off Netflix that month.

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

They’re finalized beforehand. I’d say the lyrics are usually 85% done beforehand and I just top it all off whilst in the studio.

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

It’s certainly my favorite. Live, we like to jump on people and have them jump on us. What fun is a live show if everyone is just standing around? And when we’re tuning and whatever, I like to try to make people laugh. We’re a “serious” band who tries to not take ourselves too seriously.

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

It’s hard in south Florida. We have to drive over 6 hours just to leave the state. We’re always envious of the north eastern states that can cross three or four borders in the time it takes us to get to Georgia. We’ve found the cities we do well in down in Florida, so it’s been cool to revisit them. But we’re planning some longer stuff for Fall and Winter and we’re very excited to share these dates with everyone.

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

It’s honestly crazy. Bands that seem to know how to manipulate Tumblr and Instagram get huge. Unfortunately for us, we don’t know how to do either of those things. We also don’t know how to sign unfair record deals. So I feel like we’re destined to remain the size we currently are. But who knows…maybe Myspace will come back?

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

Thank you again! Check out our music and videos at https://www.facebook.com/feroluxmusic and http://fero-lux.bandcamp.com

As far as a reveal, not yet! But we’re doing a small run in August, so if you’re in the south east, come check us out!

Pete RingMaster

The RingMaster Review 21/08/2016

Copyright RingMaster: MyFreeCopyright

Bad Case of Big Mouth – Break It to Build It EP

BCOBM_RingMasterReview

New Jersey band Bad Case of Big Mouth creates their sound by bringing the contrasting qualities of pop driven punk and hardcore together and as their new release shows, it makes for one highly enjoyable proposition. The Break It to Build It EP is an infectious and often intrusively commanding fusion of hook-heavy punk rock and metalcore scented voracity, five tracks which tempt and assault with equal measure and craft. It is not maybe the most unique proposal but even by the end of track one it is certainly one of the most rousing.

Formed in late 2010, the East Coast quintet has continued to hone their sound and earn rich support and plaudits around their local scene and beyond. Their acclaimed live presence has seen Bad Case of Big Mouth share stags with the likes of State Champs, Chunk! No, Captain Chunk!, and Hit The Lights as well as making attention grabbing performances at festivals like Skate and Surf, two Bamboozle Fests, and on The Vans’ Warped Tour on four separate occasions. Now with a tour along the East coast with Crunkasaurus Rex coinciding with its release, the Break It to Build It EP is ready to nudge bigger spotlights.

The EP forcibly launches itself with opener We Wasted the Good Surprise on You; riffs and melody thick hooks instantly encouraging attention as rhythms are swung with firm intent. The clean tones of John Price swiftly impress, matching the lively hooks on offer and uniting nicely with band roars and the fiercer vocal scowls that join the affair.  It is infectious stuff with an imagination which constantly keeps the listener on its toes to counter a somewhat familiar character in sound.

CD ART_RingMasterReviewThe great start is continued by What a Save; aggression and raw vocal confrontation leading its initial assault on ears. Even with its hardcore ire and antagonism, there is a certain catchiness to the nature and enterprise building one tempestuous proposal, one which blossoms further as the guitar of James Benedetto helps spin a melodic web around the mellower but equally captivating clean vocal persuasion. Continuing to twist between its primal and seductive extremes with a gorgeous breakdown within, the song hits the spot easily before making way for the robustly raucous roar of Take Off. As virulently poppy as you could wish and as physically angry, the anthemic proposal is another treat on the ear and example of the Bad Case of Big Mouth ability to combine contrasts with skill and imagination.

Growing Distance keeps enjoyment high even if it lacks the punch and inventive spark of its predecessors, though it does show the band’s wish to stretch their songwriting and melodic invention in fresh ways whilst still intruding enjoyable on the senses. There is nothing not to like about the song or the EP’s closing offering, No Guarantee. A foot to the floor slice of pop punk initially, it goes through the gears of energy and ire with charm and invention to bring the release to a rousing close.

It is so easy to like and enjoy the Break It to Build It EP and understand why Bad Case of Big Mouth is beginning to stir greater attention. As they evolve a more unique sound, here is a band looking at much bigger things.

The Break It to Build It EP is out now via Manic Kat Records @ http://www.manickatrecords.com/releases/bad-case-of-big-mouth-break-it-to-build-it/

https://www.facebook.com/BadCaseofBigMouth   https://twitter.com/BCoBM   https://www.instagram.com/badcaseofbigmouth/

Pete RingMaster 21/08/2016

Copyright RingMaster: MyFreeCopyright