The Senton Bombs – Mainstream

TSB_RingMaster Review

Still basking in the roar of their Phantom High EP, ears get another tasty slice of The Senton Bombs through their new single Mainstream. Taken from the UK rockers’ forthcoming fourth album Mass Vendetta, the track is a slice of dusty blues rock ‘n’ roll with the recognisable Senton Bombs sound and spice woven into an even richer tapestry of diversity and enterprise.

For fans of a band formed in 2004 as The Terrorists and with since a trio of acclaimed albums under their belts, Chapter Zero of two years ago their most potent in praise and success to date, Mainstream holds no surprises in its craft and easily infectious character but as the Phantom High EP earlier this year, it is pointing to a broader rock heart to the band’s sound which we can expect to see blossoming further in Mass Vendetta. Certainly the song has that punk air that the band always carries but as in songs like Black Chariot and Passions of the Passive Aggressive previously, a spicier bluesy nature is breeding in the band’s songwriting and imagination.

cover_RingMaster ReviewMainstream opens on a thumping anthemic rally from drummer Scott Mason, his swift inescapable bait the trigger to tangy grooves spun by the guitars of Damien Kage and Johnny Gibbons. It is a heady flame igniting ears, the darker tones of Joey Class’ bass just as magnetic as he quickly brings his familiar and welcome vocal tones to the emerging swagger of sound. Riffs and hooks continue to collude with the grooved tendril infusing melodic intoxication to the track, whilst slips into varied hues of rock ‘n’ roll only add more appealing theatre to the increasingly tempting adventure and contagion spun by the band.

On the first listen, Mainstream seemed to lack something compared to the likes of previous recent singles Phantom High and Lights Over Phoenix, but that thought was quickly banished as each listen turned the song into one seriously voracious and infectious persuasion…Now on to the album.

Mainstream is released October 23rd via Holier Than Thou Records.

http://www.sentonbombs.com    https://www.facebook.com/thesentonbombs

Pete RingMaster 15/10/2015

Copyright RingMaster: MyFreeCopyright

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

NG26 – Until My Heart Stops

NG26_RingMaster Review

In the hunt for some prime rock n’ roll which is maybe a touch low on major surprises but has all the attributes and invention, not forgetting rousing tenacity, to start a voracious stomp in a dance hall of wallflowers, then say hello to UK rockers NG26 and their new album Until My Heart Stops. Loaded with ten hard/alternative rock tracks soaked with metal aggression, the encounter is one accomplished and rigorously solid slab of heavy rock unafraid to flirt with melodic adventure or a nest of squirming grooves. Whether Until My Heart Stops will be the encounter to knock your socks off we cannot not predict but for an increasingly great and lingering time it is guaranteed to hit the spot.

The beginning of NG26 seems to vary, some reports saying it was the late nineties and other claiming around 2005 or so. Whatever the actual date, the Derbyshire quartet has risen from igniting the local rock/metal scene to sparking national awareness, primarily to their potent live presence and the release of the album Open Your Mind in 2011/12. Critically acclaimed by fans and media alike, the encounter spawned a trio of successful singles and just as eagerly devoured videos for each. More singles followed with praise and attention, as also the Devil’s Kiss EP of 2013, its tracks making a strong teaser for what now excites ears via Until My Heart Stops.

NG26 consists of two sets of brothers, Chris and Jon Topley, on vocals and drums respectively, alongside bassist Rob and sibling guitarist Rich Shaw, who also plays in Cradle Of Filth and the excellent Emperor Chung. It is a line-up soaked in experience which certainly explains the open tightness of songs and sounds fuelling the album, and is in rich evidence straight away as Never Enough sets things off in thumping style. A fanfare like flame of guitar is the first rich lure, quickly backed by plenty more in the shape of rousing riffs and scything beats. The snarling vocal tones of Chris, backed nicely by those of Rob, only add to the anthemic appeal brewing in ears, melodies and dirty harmonies adding their rich part to the infectious mix in matching potency. With a solo from Rich provides additional icing on the riot, the song simply sparks attention and a swiftly eager appetite.

NG26 cover_RingMaster Review     A blues scent spices the opening guitar enterprise of Daylight Breaks, but quickly expectations are left empty handed as the song slips into a mellow and reflective passage of vocals and enticing melodies, subsequently flaring up again to thrilling effect before going through the same magnetic cycle. The track does not quite have the same bite and rabid feel of the first in the end and in turn lacks finding the same success with personal tastes, yet it is a lingering and thoroughly enjoyable stroll setting up Save It For Me. The song unveils its own mix of alternative and hard rock which from a slightly underwhelming start, breeds a web of riveting grooves and agitated rhythms you would sell your granny for. The song epitomises the whole album in the way that whether individual tastes might not spark with particular moments of songs and release, something is always there on the horizon to stir up the passions again.

   Barely Breathe sparkles with technical and sonic resourcefulness next, its body somewhere between Alter Bridge and maybe Periphery, and constantly keeping ears and imagination on their toes before being outshone by Afterlife and its bordering on psychotic jungle of carnivorous rhythms and ravenous riffs, all bound in spicily caustic sonic vines. The track is a major highlight on the release, its rabid ferocity and imagination channelled through the irresistible skilled and hungry craft of all four members of the band.

A more restrained air covers the following Cease Fire, though it cannot defuse the gripping rapacity of drums and bass or the impassioned energy fuelled the satisfaction filling encounter. Again shocks are few but adventure and enjoyment thick, especially with the vocal twist late. The same can be said of Out Of My Life straight after, another track bursting with the impressive individual skills and potent songwriting on offer, though it too has to give sway to one more peak in the album. Little Indiscretions is the most rugged and cantankerous track on Until My Heart Stops, a blistering mix of groove metal and melodic rock ‘n’ roll especially expelling its most addictive strains of persuasion when it is belligerently growling.

As the album draws to a close, the excellent You Sold Me Lies provides an intensive and dramatic tempest of emotion and compelling endeavour whilst in ending things, Song For Mozaz offers a captivating ballad aligning the expressive tones of Chris to the piano and stringed beauty provided by guest musician Ryan Noon. It is a fine end to the highly enjoyable album, a finish which also shows the strength of the singer’s vocals which at other times do not get, for these ears, the most understanding production on the album, occasionally Chris’ delivery struggling against the swamping strength of the sounds around him. It is a smallish issue for the main and certainly disappears with his impressive presence in the last two songs.

Overall Until My Heart Stops is a highly enjoyable release which might not get the pulse racing as much as it might but definitely gets the appetite wanting plenty more, a success many dream of.

Until My Heart Stops is available now via Holier Than Thou Records @ http://holierthanthourecords.bandcamp.com/album/until-my-heart-stops

https://www.facebook.com/mightyNG26

RingMaster 14/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Senton Bombs – Phantom High

10881588_10153733727312281_6826893158374589793_n

If there is one thing predictable about UK rockers The Senton Bombs, it is that they will persistently offer feisty dirt encrusted, punk fuelled rock ‘n’ roll. You can always assume a fresh fiery breath driving each and every offering unleashed by the Blackpool hailing quartet too. It has so far been that way since the band’s first album, Sweet Chin Music of 2009, and it continues with new EP Phantom High. Consisting of five diverse songs all bred from punk ‘n’ roll aggression and carrying a hard rock swagger, the encounter is quite simply an attitude loaded stomp of raw and feverishly flavoursome rock ‘n’ roll.

Formed in 2004, The Senton Bombs has been a regular draw of praise and increasing attention thanks to their passion driven live performances and trio of albums, of which Chapter Zero in 2013, brought the thickest wave of acclaim yet. You know what you are going to get with the band; sounds and songs which devour the energy out of the body and feed the instinctive rocker in us all, but equally each of their releases to date has pushed the band’s music and invention in bold strides and ahead of the band’s fourth album later this year, Phantom High is exactly the same. It suggests a new strength of diversity emerging in their songwriting but similarly an even more potent roar and snarl of the rock incitement which sets them apart from most.

The EP opens with its title track, and from the initial sonic scythe of sound, swiftly has ears, feet, and emotions engaged in its adrenaline soaked charge. Vocalist Joey Class uncages his recognisable and alluring tones almost as soon as riffs rub invitingly on ears and rhythms jab with eager intent. Guitarists Damien Kage and Johnny Gibbons proceed to weave a bait of aggressive riffery and spicy enterprise as the track continues its contagious stomp, a solo especially tangy on the ear, whilst drummer Scott Mason and the bass lines of Class sculpt a frame to it all which is anthemic as the roar of the song itself.

10520105_10153295061197281_6683385127408093904_nThe track is an irresistible persuasion and straight away matched by the similarly outstanding Lights Over Phoenix. Whereas the first song was a riot of dirty hard rock and aggressive punk tenacity, the first single from the EP is a more pop punk seeded infection. Small but potently coaxing riffs are aligned to the equally mellower delivery of Class’ sandy tones, a tempting entrance which instantly has ears keen and toes tapping. Bass and beats need little prompting to add their punchy contributions soon after whilst the guitars flame and entice with gripping eagerness and temptation. A more restrained but no less addictive romp to the first, the track strides with unbridled infectiousness and tantalising enterprise creating an encounter sounding vaguely like a mix of Turbonegro and Hagfish, but ultimately all Senton Bombs.

   Black Chariot slows the energies down if not the enthusiasm for the release next. It is a blues rock spawned prowl, employing more classic and southern rock flavouring than anything they have bred before. The vocals are impressive, cleaner and clearer than those usually offered by Class and just as compelling, and  easy to hope they are used more ahead, but in tandem with the dirtier delivery.

The excellent croon of a song allows a breath to be taken by the listener too, enabling a restocking of energy before Passions of the Passive Aggressive unveils its own blues rock inspired bellow of aggressive and chest thumping, belligerent rock ‘n’ roll. Actually the song does not really explode at any point but through its taunting stalking of ears and urgent eruptions of intensity and scorching voracity, it again has limbs, neck muscles, and emotions inflamed.

Phantom High is finished off by the excellent Surf 6-66, again hard and classic rock thrust into incendiary punk ferocity. Think The Ramones embroiled with Mötley Crüe and you get an inkling of the lingering devilry bringing it all to a mighty close. The excellent song epitomises the EP as a whole, The Senton Bombs sound we have come to eagerly devour navigating new variety and insatiably captivating waters.

Phantom High is not a stop gap release before the band’s new album but a massive teaser of bigger and bolder things to come from the band giving further evidence that The Senton Bombs are one of those shaping a new heyday for British rock ‘n roll.

Phantom High is available from March 23rd via Holier Than Thou Records

http://www.sentonbombs.com/bio   https://www.facebook.com/thesentonbombs

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

https://holierthanthourecords.bandcamp.com/track/lights-over-phoenix

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

The Tripdown Project – Post Modern Delay

The Trip Down Project Online Promo Shot

There has been many a good word heard spoken about UK alternative rockers The Tripdown Project and with the release of their debut album Post Modern Delay, it is easy to see why the positive recommendations and enthusiasm the band garners. It is not a release to set a new template for others to follow or an encounter which has you shouting from the rooftops, but it is an album which tantalises and captivates from start to finish. It is an energetic rock ‘n’ roll proposition, one which is skilled and rigorously magnetic easily raising a keen appetite for the band now and ahead.

Formed in 2009, The TripDown Project rose from the ashes of Sheffield rock band Colorpool. Created by Ritchie Chappell (drums, percussion and vocals) and Jojo Blythe (guitars, synths, bass and vocals), the new project was soon drawing praise and support which encouraged the duo to strike into the live scene. Subsequently expanding with the addition of Tim Pritchard (bass) in 2012, The Tripdown Project was soon signed up by Holier Than Thou Records leading to debut and well-received single Nothing But Envy. That same year saw their three-song My Condition EP push the band towards another shade of spotlight which the following BodyHammer EP only strengthened further as the North East trio continued on their stirring ascent. Post Modern Delay is the next striking persuasion and a release easy to suspect which will spark richer attention and acclaim nationwide.

Opening song My Condition gets things rocking in a contagious and impressive way, its suasion a strong indicator of things to come. The Trip Down Project Cover Artwork'Choppy riffs join broader chord swipes initially whilst a sonic air brews as crisp rhythms and great dark tones of bass add to the instant enticement. It makes for a catchy start; a tempting which only increases it’s beckoning when smooth vocals and harmonies play with the infectious canvas beneath their warm tones. The song is a mix of power pop, pop punk, and melodic rock; something like Weezer meets The Barracudas with plenty of inventive enterprise and creative intrigue lurking within its welcoming romp. The song is rather irresistible as is the opening to and subsequent body of the following Bodyhammer, once again the throaty call of the bass an addictive lure as it opens up the song. Sonic scrubbings of guitar join in next before a virulent hook binds it all ready for the smiling vocals. As with the previous song, and tracks to follow, that smile does not stop there as musically and in energy there is a wide grin and vivacious swagger which refuses anything other than full commitment from ears and imagination for their designs. There is also a familiarity to the sounds and encounters within tracks which rather than defuse their effect generally only hones the virulence into a greater pleasure.

Next up Hiding From My Past slips from the earlier pedestal set but still makes for a nagging treat, guitars and rhythms imaginative in their gleeful endeavour whilst as now expected, the vocals charm and warm the ears. There is a blues rock solo from the guitar which pushes the variety of the song but cannot save it from being just a solid proposition against its predecessors. That matching of early benchmarks is no problem for The Great Kill, a song which took a little longer than others to click but did so with ease overall as its emotive melodies and addictive hooks cast a web of smouldering and lively colours to captivate thoughts and emotions. A seventies psychedelic pop breath soaks much of the song, adding evocative hues to its flavoursome inventiveness, whilst again the vocals croon with harmonic excitement to complete an absorbing dance.

Both Drop Down and Consider It Done sculpt out their own formidable slice of the passions next, the first seemingly holding a darker intensive emotional intent but unafraid to deliver it on twisting grooves and masterful hooks. There is a strong essence of Everclear to the incitement but also a grungier revelry within its evocative shadows, all aspects a gripping adventure swiftly exceeded by its successor. Climbing intensity and riffs assist grooves in enveloping the senses from the off before relaxing into a melodic caress, though there is a fiery air to its climate and feisty energy driving its core persuasion. Like many of the tracks, the song recalls the ripeness of previous decades of rock music, its sultry coaxing something bred in seventies psych pop and energetic temptation like nineties era Foo Fighters.

Samples also have a say within the album, either punctuating songs or making the platform for tracks like Chain Gang to spring from. Metallic impressions are the source for the Brit/power pop shuffle of appealing sounds and anthemic vocals which steal attention immediately after. Hooks and melodies are quite reserved and nostalgic within the passion empowered stride of the song, a combination which once more is seemingly recognisable yet fresh and easy to devour with greed. It is a slaver for feet and emotions, and another big highlight of the release.

The niggling persistence of the riffs driving Heavy Motion makes for a swift seduction upon which equally lively vocals and punchy rhythms add their own riveting temptation. It is a bit of a weird song as those riffs and accompanying, almost grinding hooks are a constant tease building up to an eruption which never comes. Instead mellower harmonic passages emerge which surprisingly do not bring an anti-climax but an inventive twist which works a treat. Its successor Shimmer though noticeably of different character has plenty which either copies or springs from the previous song. It is something which even with the definite uniqueness of the guitar imagination and more exuberant rhythms, does not help the cause of the track when up against such impressive songs elsewhere on the album. To be fair though it still leaves feet and thoughts excited ready for the almost mod like power pop glory of Nothing But Envy, a song which would have fitted in perfectly alongside hits of eighties bands like Purple Hearts and Secret Affair. It is a big bold bordering brash pop song and a further major success on the album.

The hard rock feel of Combat Nation brings Post Modern Delay to a fine if unsurprising close, providing one final dance for body and heart to party with whilst providing another strong lyrical premise. It completes an excellent debut album from The Tripdown Project which evidences the reasons why the band is highly thought of. The familiarity to others and between some elements of songs shows this is a band still evolving but even if they never reach that unique voice, as long as their presence remains this fun and enjoyable few will complain.

Post Modern Delay is available through Holier Than Thou Records now!

www.tripdown.co.uk

8/10

RingMaster 09/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

THE TRIPDOWN PROJECT to release ‘Post Modern Delay’, out 9th June‏

The Trip Down Project Online Promo Shot

UK ALT-ROCKERS THE TRIPDOWN PROJECT UNLEASH STUNNING DEBUT ALBUM!

 

Northern Alternative rock trio ‘The TripDown Project’ hurl out their breathtaking debut album ‘Post Modern Delay’ through Holier Than Thou Records on Monday 9th June through all stores.

With glowing comparisons to everyone from Nirvana to the Byrds, The TripDown Project pitch the bone-crushing power and dexterity of the Foo Fighters against the hooks of The Beach Boys; the result is something genuinely original and captivating.
Born from the ashes of Sheffield rockers ‘Colorpool’, Ritchie Chappell (Drums, Percussion and Vocals) and Jojo Blythe (Guitars, Synths, Bass and Vocals) formed The TripDown Project during 2009 as a vehicle for their songwriting. After a flurry of praise from friends and acquaintances, the TripDown boys were coaxed to the live arena and were swiftly blown away by people’s responses. The two-piece soon decided to pursue the band further, drafting Tim Pritchard in on live bass and adding synths and samples to further enhance their live sound.

It wasn’t long before Holier Than Thou Records snapped up the band, and within a matter of months, they released their debut single “Nothing But Envy” to widespread support from the underground. In mid 2012, the industrious three-piece continued their climb with the release of their new three track EP “My Condition”, which was quickly followed by their next EP ‘BodyHammer’. Both records helped to ready The TripDown Project to break into the scene. Now, armed with their full length debut ‘Post Modern Delay’, the alt-rockers are braced for heady heights.

 

The album kicks off with the hugely melodic ‘My Condition’ which instantly sparks to life with its driving guitars and absorbing vocal melodies. The bouncy groove of ‘Body Hammer’ is next up, as it tips its hat to the guile and craft of Nirvana, while ‘The Great Kill’ highlights the trio’s use of strong dynamics and expansive texturing. As the album progresses, ‘Consider It Done’ fantastically spits out a head-grabbing refrain that’ll cement itself deep within before the irrepressible ‘Chain Gang’ delivers another impossibly contagious track that is surely ripe for radio airwaves. By the time the scathing tuneage of the final track ‘Combat Nation’ hits the eardrums, listeners will be thirsty for more. The rising threesome have delivered a killer album that is sure to rapidly rise their stock amongst the UK rock fraternity. Look out for the band live through the Summer and beyond!

 

Post Modern Delay tracklisting: 1. My Condition; 2. Body Hammer; 3. Hiding From My Past; 4. The Great Kill; 5. Drop Down; 6. Consider It Done; 7. Chain Gang; 8. Heavy Motion; 9. Shimmer; 10. Nothing But Envy; 11. Combat Nation.

BAND MEMBERS: Ritchie Chappell (Drums, Percussion and Vocals); Jojo Blythe (Guitars, Synths, Bass and Vocals); Tim Pritchard (Bass).

FOR FANS OF: Nirvana, Foo Fighters, Weezer.

The Trip Down Project Cover Artwork'

www.facebook.com/tripdown