Shot Of Hornets – Make Out A Picture

A release to make a lingering impression, Make Out A Picture is the debut EP from British alternative rock band Shot Of Hornets. Consisting of four tracks which snarl and rousingly seduce with equal measure, the encounter is a beast of an introduction to the Welsh trio. There is a predacious edge to every element making up its gripping drama and forceful enterprise just as a virulent contagion fuels the anthemic unpredictability shaping its ear pleasing character. Together it provides a creative and impassioned theatre of sound and imagination as compelling as it is so often breath-taking.

Hailing from Mold in North Wales, Shot Of Hornets consists of brothers Daniel (guitar/vocals) and Conor Cahalane (drums/lead vocals) alongside Charlie Farnham (bass/vocals). Emerging last year with inspirations from the likes of early Biffy Clyro, At The Drive-In, Hundred Reasons, and Fightstar in their creative arsenal, the threesome soon began making potent impressions with their fierce live presence and shows. Now it is Make Out A Picture set to rattle national awareness of Shot Of Hornets, with success surely an inevitable return for the EP’s galvanic might.

The band lays a tight grip on ears and appetite straight way with opener Corrosive, needing little time to tempt both as swinging beats and an instantly grumbling bassline starts things off. Angular strikes of guitar and group snarls behind the inviting tones of Conor swiftly join the affair and increase the infectiousness already sparking the senses. Smooth slips into mellower moments and discord kissed twists leads to a seriously rousing chorus, all the time an intensity and volatility seemingly lying in wait, eager to erupt but instead simply adding great depth to the song and enterprise persuading ears; when it does escape a great Reuben-esque feel flows through the track, ending in a scintillating finale which in tone continues into the song’s successor.

Don’t Go Chasing Shadows, Arthur is exceptional, from its initial lively stalking of the senses and barbarous tempest through to its quirky and deranged character one of the best tracks heard here this year. Vocally and musically the band prowls and leaps upon the imagination with their unique ideation and adventure, keeping things as enthrallingly off-kilter and seriously infectious. At times the song reminds of the now demised UK band Engerica, in other moments courting something lying between System Of A Down and Hundred Reasons, and relentlessly leaving ears and pleasure greedy for more.

The brief instrumental interlude of Firm Handshake provides a tantalising atmospheric hug though truthfully instincts after the first listen is to dive straight into closing track Everything With Nothing. The closer is another track which emerges as one kind of creature and slowly evolves into something different as one inventive minute follows another. The song’s initial abrasive growl is soon replaced by a melodic and emotive reflection though certainly vocally that raw edge still lurks. Subsequently, inescapably catchy lures and fiery flames add to the track’s theatre, spiky rhythms and riffs joining scything grooves and grisly punk infused predation as the song twists and turns and in turn bewitches with every unpredictable moment.

If Make Out A Picture is a sign of things to come, expect to hear plenty more of Shot Of Hornets in sound and acclaim. The EP is a debut which demands attention, rewarding with songs which bring the imagination and spirit through a band with very healthy horizons ahead of them.

The Make Out A Picture EP is released July 1^st through all stores.

https://www.facebook.com/shotofhornets     https://twitter.com/SOHbandUK

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

I Plead Irony – The Solution Is The Problem

Just a handful of months short of three years ago, UK trio I Plead Irony uncaged one of the most rousing and creatively imaginative rock ‘n’ roll albums heard that year and to be honest since. This Statement Is False was compellingly equipped with ferocious and virulently contagious alternative and punk rock roars which, though frequently acclaimed, never quite got the rich attention it and the band deserved. Fair to say though, the Farnborough hailing band was certainly recognised as one of the UK’s most exciting emerging bands by a great many. Now the biggest spotlights are under serious tempting once again with the release of the band’s second album The Solution Is The Problem, it another creatively raucous and energetically incendiary slab of sound and invention to get lustful over.

In many ways, The Solution Is The Problem takes over from where its predecessor left off; imagination stirring and inventively mischievous songs to the fore but swiftly it reveals the broader landscape of creative tenacity and imagination now colouring the fresh maturity in songwriting and sound. Managing to provide more of the riveting same whilst unleashing a whole new character of insatiable adventure, the album is an inescapable arousing of spirit, imagination, and greedily devouring ears.

Formed in the early days of 2011, I Plead Irony was a growing force on the south eastern live scene from its first steps. Sharing time with its members’ other projects such as Ipanema, The Fins, Atomic Garden, and Welcome The Howling Tones, the band released This Statement Is False in 2013, their debut mixed by French producer Guillaume Doussaud. It awoke a new wave of national ears and appetites to the presence of the band and in turn a new host of fans to excite with their renowned live prowess. Now The Solution Is The Problem is the bait to really stir things up; an enticement which has all the qualities and potential to make the threesome of vocalist/bassist Rauf Jordan, guitarist/backing vocalist Paul McDonald, and drummer/backing vocalist Lawrence Arnold, the name on eagerly sharing lips and recommendations.

The album impressively opens with Tiny Violin which enters on a rusty cinematic coaxing. Soon after, a wiry guitar invitation winds around ears, hefty rhythmic swipes and a brooding atmosphere soon in close attention. In no time, the track is strolling with eager intent through ears, the excellent vocal presence of Jordan leading a thick mix of textures and flavours busying themselves within the song. There is a touch of Hundred Reasons meets Japanese Fighting Fish to the track, a spice within a sound which is swiftly and increasingly recognised as prime I Plead Irony. It is simply superb, a rousing and dramatic proposal thick in emotion and intensity entangled in strands of inventive endeavour.

The potent expanse of diversity within the album is soon beginning to reveal itself with What If. From vocals to sound, it carries a rockabilly meets melodic rock ingenuity which simply seduces as the track, with the bass on the front foot, prowls ears. Hooks litter every lure of the song’s invitation whilst a virulence of emotive and creative dexterity infests the imagination and psyche. As its predecessor, the track is aural gold and an unstoppable manipulation of the body and listener participation, much as Not The Face which follows straight after. It too is quickly in command, its buoyant infectiousness aligned to imposing aggression and anthemic tenacity with a Billy Talent like resourcefulness to it all.

Already the album is an addiction in the throes of success and strongly backed by the feisty persuasion of Sisyphus and even more so its successor Just A Machine. The first of the two is a relatively reserved and reined proposal but with the bracing edge and slightly cantankerous nature that frequents the I Plead Irony sound. If without sparking the same lusty response as those before it, the sonically fiery song has ears and pleasure full before the second of the two steals the limelight with its Foo Fighters toned incitement. From the delicious crankiness of the bass and the lung roaring vocals of Jordan through to the maze of off-kilter dynamics and ever evolving energy, the track is an anthem to stir the passions and a tapestry of unpredictable invention to ignite the imagination.

What’s Best For You bounces along next with a Jimmy Eat World infectiousness and agitation though yet again any references offered are mere hues in a thick slice of I Plead Irony originality, as evidenced by the rumbling rock ‘n’ roll of Unsung Champions straight after. Jordan and Arnold needs little time to create a web of rhythmic seduction and intimidation which McDonald binds in melodic and sonic enterprise as the vocalist’s vocals shine with narrative and expression. There is nothing about the song not to greedily like; every chord and rhythmic roll the prelude to a theatre of discord lined imagination and spirit inflaming flirtation, it all honed into rock ‘n’ roll alchemy.

The body is soon lost to the addictive shuffle and contagion of Prove Me Wrong; its imposing catchiness wonderfully aligned to a metal inspired trespass as magnetic as the track’s virulence is epidemic like. The song is also another reflection of the bigger and bolder landscape to the band’s writing and invention, an aspect pushed further by the equally intrusive and dynamic Divide[…]Collide. A tenacious snarl is never far from the surface, even as a melodic saunter works with the darker tone of voice and emotion , but similarly the band’s striking imagination is consistently there leaning in on every unexpected twist and resourceful turn of the excellent encounter.

The Solution Is The Problem is brought to a thrilling close by firstly the web of intrigue and galvanic textures making up the Kill The Crow and finally Tragedy Debut, a glorious slice of punk ‘n’ roll which sends the listener this way and that whilst having them, like a puppeteer, physically and emotionally dance. Both tracks hit the sweet spot with the closer especially exhilarating with its invasive and memorable theatre of blues, punk, and muscular alternative rock.

Such the might of This Statement Is False, it was never going to be easy to follow it up but The Solution Is The Problem makes light work of the challenge with its bigger and bolder, not forgetting thrilling plateau of invention and persuasion

The Solution Is The Problem is out now via Rose Coloured Records @ https://ipleadirony.bandcamp.com/

http://www.ipleadirony.com   https://www.facebook.com/ipleadirony   https://twitter.com/ipleadirony

Pete RingMaster 12/04/2016

Copyright RingMaster: MyFreeCopyright

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This Burning Age – Desolation

It has taken a while to get here but now inciting ears and emotions, Desolation proves the wait was more than worth it. The new EP from British electro rockers This Burning Age is the third in a four EP cycle which began last year. The three track encounter is a rousing and forcibly provocative proposition proving that whatever has happened and evolved in the time between releases, the This Burning Age songwriting and sound has potently grown through it.

The EP’s songs feel physically and emotionally fiercer than ever but equally more inventively woven from the depth of sound and flavours which have always marked the band’s sound and releases. Originally a solo project for vocalist/songwriter/guitarist Friday, the Birmingham band emerged on the live scene as a full line-up after the release of debut album A Muzzle for the Masses. Wanting to take its heart and success to live venues, Friday enlisted guitarist/keyboardist Jon Farrington-Smith, bassist Davey Bennett, and drummer Christian Jerromes (since replaced by Jack Josypenko) to the band, with the years since seeing This Burning Age play with the likes of Fearless Vampire Killers, William Control, Heights, and Hundred Reasons amongst many.

   The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.

First song up on Desolation is Tatterdemalion, a quickly voracious and rousing proposal but one just as quickly slipping through an unpredictable and tempestuous landscape of intensity and creative resourcefulness. From its initial fuzzy flame of riffs, imposing rhythms stir the blood with just as potent scything grooves getting involved. The song hits a commanding stroll before relaxing into a prowling gait lit by a great steely twang of the bass. This ‘restful’ passage in turn welcomes the distinctive tones of Friday, his expression and emotion as open as ever as keys glow with simmering but bright temptation around him. Fiery expulsions of energy and heart then drive the soon to break chorus, its ferocity lingering to add richer hues to subsequent melodic and slightly restrained moments. For the main though, the track is a cauldron of inventive twists and turns, an array of styles colluding in a striking blaze which at times pokes thoughts of bands like Joy Division, in others of the likes of Pitchshifter and Smashing Pumpkins or Trent Reznor and Anti-Clone.

The outstanding start makes way for Drown In Silence, a song which leans more or certainly quicker to its industrial and electronic rock side as lively cascades of punchy rhythms and suggestive synths fall upon ears before dissipating for the emotive reflection of voice and atmospheric melodies. Calm before the storm, the track is a furnace of emotive energy and heart but again thick intense shafts which share time and the imagination with increasingly volatile and ferocious crescendos, all these keen essences uniting in an explosive and dynamic climax to another increasingly contagious persuasion.

As striking and irresistible as they are, the first two songs are slightly over shadowed by the closing Ab Aeterno (From Forever), a mesmeric introspective unveiling from Friday in voice and emotion. A crystalline twinkle of keys light a creeping mist of evocative melodies from the song’s first breath, the vocals emotionally raw as guitars and stirring beats add their weight to the unfolding intimate drama. Like a mix of Bauhaus and very early U2 embraced by the dark ethereal craft of Nine Inch Nails, the song glows with charm and shadows, eventually igniting in a searing fire of sound and suggestiveness.

It is a transfixing end to a breath-taking release from This Burning Age, the band’s finest hour without doubt though you get the feeling even now that we have seen nothing yet.

The Desolation EP is out now via 5th Day Records @ http://thisburningage.bigcartel.com/

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Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

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Brightlight City – Adventures EP

The Adventures EP is a proposition which might not be going to set the rock world ablaze but with three tracks of virulent alternative/melodic rock, the new release from Brit tunesmiths Brightlight City is still likely to be a greedily devoured feel good encounter. It is one of those incitements easy to turn to for an energetic and feistily contagious time. It is not changing the landscape of rock ‘n’ roll but definitely the release gives it a healthy dose of feisty enterprise.

The Surrey quintet began in 2014, swiftly releasing a trio of songs and embarking on mini tours across the UK. Inspirations come from the likes of Hundred Reasons, Million Dead, Foals, Yourcodenameis:milo, At the Drive-In, Refused, Biffy Clyro, and Jimmy Eat World, spices evident in the band’s debut EP Breaking Straight Lines which was recorded with producer Jason Wilson (You Me At Six, Fightstar, We Are The Ocean, Reuben) and released last October. Now the band unveils its successor, Adventures, which was also recorded with Wilson. As its title hints at, the new EP explores new aspects to the band’s sound; the band recently commenting on the release with “Adventures is an EP, as the title suggests, that takes the listener on an adventure; stories of late nights, life, death, love and society all set against the instrumental back drop of a massive alternative rock sound.”

    The release opens with new single The Finish Line, and instantly sparkling guitar bait is sunning itself in the imagination as rhythms provide a sturdy and darker company. The vocals of Jamie Giarraputo similarly are a warm and vibrant invitation, nestling perfectly in the weave of enterprise cast by guitarists Justin Giarraputo and Jono Staunton. The track strolls along with an endearing quality and a catchiness which really sparks in the addictive chorus whilst the resonating bass of Dan Stubberfield adds further potent magnetism alongside the punchy beats of Ben Bell which punctuate all the hooks and melodies with relish.

The following I’m Only Good At Adventures backs up the impressive start to the EP with its own infectious swing and dance on ears. Once more hooks and melodies seduce, though with less impacting bait than found in its predecessor. Nevertheless the song is an easy to consume and get involved with proposal of rock ‘n’ roll warming up ears and appetite for the outstanding closing track.

Reaction is superb, from its opening earthy groove and dirty riffs attention seizing bait which never loosens its grip even when slipping into a slow caress of voice and melodies. It is just the teaser though for the contagion to follow, bass and beats prowling with a glint in their eyes as guitars spin a web of imaginative melody clad temptation. Vocally Jamie Giarraputo is just as magnetic, his delivery carrying a gentle swagger to match the bass groove and sonic devilry seducing ears and imagination. Jimmy Eat World is mentioned as an inspiration and there is no escaping the similar potency of hooks and enterprise within the song to the US band’s greatest moments.

The track is irresistible and brings an excellent release to a masterful close. Listening to the Adventures EP, it does feel like Brightlight City is still searching for their truly unique sound. When it happens though and if songs carry the same qualities discovered on this new encounter, it is hard to imagine anything stopping a global success.

The Adventures EP is out digitally from May 11^th and physically on the 15^th May.

http://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial

RingMaster 11/05/2015

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

Wolfetone – Silence Is Acquiescence

A slow burner which takes time to getting going in some ways but emerges as a quite tasty slab of adventurous rock ‘n’ roll, Silence Is Acquiescence suggests the UK has another highly promising proposition in its rock scene under the rather cool name of Wolfetone. The release loudly hints that this is a band we should definitely be watching out for ahead, and with its rampant potential and increasingly persuasive songs, the band’s highly enjoyable debut album suggests why wait, a sentiment we can only concur with. It is a attention holding start to Wolfetone’s persuasion on a national spotlight, one with a few things needing ironing out ahead, but a collection of dynamic and exciting songs which do what all encounters should, leaves ears eager and satisfaction full.

Hailing from Northampton and Milton Keynes, Wolfetone has taken little time luring in eager support and attention through a live presence which has seen the band pick up highly favourable reviews and increasing acclaim whilst sharing stages with the likes of Heart of a Coward and Scholars. Their dynamic mix of alternative and melodic rock is bred with inspirations from bands like Billy Talent, Sikth, Protest The Hero, Foo Fighters, Reuben, and Hundred Reasons but as Silence Is Acquiescence shows, but it is a sound with its own emerging and distinct personality as shown by the album.

It opens up with Blame Culture, a track which personally did not grab as quickly or fully as following songs subsequently do with greater ease. In saying that once the big healthy bassline showed its lure and a potent wiry hook bound a flame of riffs, the track certainly had interest and appetite engaged. In hindsight it is a relatively low key song in comparison to many of its successors, but doing enough to tempt and certainly showing the strength of the band’s songwriting as well as their individual and united skills. The firm and punchy rhythms of Baz Woodsford and the increasingly alluring dark throated tones cast by Ollie Young’s bass make the strongest impression in a song which ultimately lacks the spark to ignite personal tastes. That success though is swiftly solved by the following Tanks, a vibrant and immediately striking slice of melodic rock veined by another spicy bassline and a potent blaze of enterprise from the guitars of Andy Simmons and Dan Moloney. There is also a pop punk contagion to the stride and chorus of the encounter, offering a dynamism lacking in the last song which in turn feeds a new energy in the craft of the band. The vocals of Moloney also have a new lease of life, ably backed by the rest of the band in a three pronged harmonic adventure.

Born Human steps up next and is similarly loaded with an eager attitude and adventurous nature; the album in full swing now and providing all the proof as to why Wolfetone is beginning to stir up a buzz. The prime hook of the song is a tangy temptation too which steals the show from equally robust and tenacious elements within the seriously catchy proposition, whilst the changing gait of the song adds to the easily accessible but unpredictable nature of the track.

The feverish Enemies with its emotional intimacy and thumping heartbeat has ears and imagination greedily involved, a tempting reinforced by the excellent slip into melodic and harmonic calm with just an edge of angst. It is a passing breath though as the song is soon flexing creative and rhythmic muscle as hooks bite and melodies flame over the captivating frame of the song. Another highlight of the album, it is matched in success by the impassioned drama of Lost Boys, where guitars and voice create a colourful scenery of lively melodies and reflective emotion respectively, and the punkier exploits of Milton. An immediate favourite on the album, the track stands toe to toe with the listener through abrasing riffs and bracing rhythms whilst vocals croon and hooks spread infectious enterprise. Once more the bass Young feeds instinctive likes as if it already knows what the listener wants, his growling instrument the darker intimidation of a song which is prepared to brawl but would rather rigorously party with the listener.

Another highlight of Silence Is Acquiescence seduces straight away, The Constant a song which is happy either stirring up a tempest of sound and endeavour or laying warm melodic hands on the senses, and does both with invention. There is certainly a depth to the sound and songwriting of Wolfetone which is untapped but hinted at throughout the album, this song the strongest evidence of that further promise and potential which we will hopefully be exploring over future releases.

The album is finished by an acoustic version of Blame Culture, a wholly captivating offering with bewitching strings, but one which does emphasize the only issue with Silence Is Acquiescence, and that is the production on the vocals. Less prominent on the first couple of tracks but increasingly obvious as songs pass by, the excellent voice of Moloney and the supporting tones of the band come in a hollow embrace. It is a slightly cavernous effect surrounding them which is almost as if the vocals were recorded in a large cold bathroom rather than where the rest of the songs were laid down. The fact it cannot stop the songs making such strong impressions is testament to the band and the writing but it does just temper and stop an impressive debut from being a truly striking introduction.

Nevertheless Wolfetone has set down a potent marker and base for their next steps, and bred a definite appetite for their highly enjoyable sounds with their impressive release.

Silence Is Acquiescence is available from February 23^rd @ https://itunes.apple.com/gb/album/silence-is-acquiescence/id955979528 and through all stores.

https://www.facebook.com/wolfetoneuk

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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Casino Thieves – The Quiet Road Home

Laying somewhere between a brawl and infectious seduction, The Quiet Road Home EP from Welsh rock band Casino Thieves is a rousing slab of raucous rock ‘n’ roll to tempt ears and a lingering appetite for more. The second release from the trio it is not an encounter which might blow you away, but with its potential filled invention and impassioned sound, it is a proposition to suggest that Casino Thieves have the goods and skills to become a potent part of shaping the British alternative rock scene ahead.

Emerging from the South Wales valley, Casino Thieves has grown through varied line-up changes as well as name, and honed a sound over time to lure attention with ease. Debut EP Russian Courage put down an alluring marker which The Quiet Road Home has not only run on with but turned into an even stronger and tenaciously persuasive incitement. Receiving its nationwide release December 8^th, the five track encounter roars with inescapable energy and passion, exploring the promise of the already accomplished songwriting and sound of vocalist/guitarist Jeremy Dessent, drummer Adam Kerslake, and bassist Leon Jones. As suggested it might not have you shouting from the rooftops but The Quiet Road Home more than likely will have you getting the ladder ready to get to those heights for a future major triumph.

Casino Thieves start things off with the excellent Halogen Eyes, a song immediately rubbing up and lifting ears with a thick flush of riffs and thumping rhythms led by the potent tones of Dessent. It is not long before thoughts find a Hundred Reasons spicing to the already hook spilling encounter whilst the thicker more intensive tenacity of the song hints at a Reuben flavouring. It is soon a dramatically striding proposal, vocals full of expression and purpose whilst hooks and a great heavily voiced bassline contrast as they add choice temptation and shadows to the song respectively. From start to finish, the song is an adrenaline driven anthem leaving feet and senses breathless and appetite greedy.

The following Licence To Kill takes its foot off the gas just slightly, but still offers a dynamic and contagious protagonist to fully engage thoughts and emotions. A snarling bass sound and rumbling beats provide a rhythmic drama whilst guitar and vocals add rich sonic and expressive colour to the thoroughly engaging offering. It makes for a fiery yet controlled tempest of intensity, which croons and roars in equal measure, something which applies also to the next up Exit or Entrance. Opening with a tangy groove and another dark throated bassline, the song is soon flaming with the resourceful tones and stringed enterprise of Dessent, whilst both Kerslake and Jones create a gripping web of rhythmic enticing. It at times provides a mellow if spicy caress and in other moments borders on a rage of intensity and toxic charm, subsequently taking best songs honours on the release.

Crash stomps in next, hooks and sonic imagination a swift tempting within another great almost muggy energy. Vocals bring their appealing hues as the song, which without creating a truly original landscape, gives plenty for imagination’s teeth to tuck in to and emotions to find a lingering attachment to. It is hard to say that the track is distinct enough from others on the EP, or at times from what assumedly might be South Wales bred inspirations to the band, but it cannot defuse a lure and open invention which makes for a richly satisfying companion.

The Quiet Road Home closes with the melodic balladry of Beautiful Lenses, a sonic breeze of a song showing another aspect to the band’s songwriting and invention. It delves into dark corners and emotive exploration, providing a fascinating flight of sound and enterprise for a solidly enjoyable end to a fine release.

Casino Thieves are becoming no strangers to strong support and acclaim and will only be garnering more through The Quiet Road Home. The three-piece is on a noticeable ascending rise, something easy to understand with songs like those filling up the band’s impressive second release in their armoury.

The Quiet Road Home EP is available now through all digital outlets.

https://www.facebook.com/CasinoThieves

RingMaster 08/12/2014

Copyright RingMaster: MyFreeCopyright

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King Canute – Drive EP

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks and short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

Copyright RingMaster: MyFreeCopyright

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