Hot Moth – Small Fires EP

Just passing their first year as band, UK rockers Hot Moth have just released debut EP Small Fires. It is an introduction which simply demands attention, three slices of alternative rock woven with just as potent essences of math and punk rock. A further progressive intent does songs and release no harm either, another vibrant texture in a sound which is yet to find its true individuality but has little problem, on the evidence of Small Fires, in making a memorable impression on ears and enjoyment.

Hailing from Brighton, Hot Moth is made up of vocalist/bassist Matt Sparkes also of The Farrah Joy Quartet, guitarist Matt Metcalfe, and drummer Freddie Hills who also hits the skins for another great band from the town, The Slytones. Formed March 2015, Hot Moth has drawn comparisons to the likes of Biffy Clyro, Oceansize, Reuben, and Mars Volta, which listening to Small Fires is often easily understandable. Creating captivating roars equipped with hungry riffs, anthemic rhythms, and strong vocal enticement, the band also has a subtlety to their sound which sees them able to almost serenade the imagination one moment and creatively bully it in the next.

The release opens with Rhino and an initial scaly lure of riffs which soon opens up into a formidable but inviting collusion of rowdy rhythms and sonic enterprise. The entrance of Sparkes’ excellent vocals and expression brings a momentary mellowing which quickly builds again into the same feisty proposal the song leaped in on. Ebbs and flows in intensity skilfully continue as the track provokes and entices with increasing prowess. There is a touch of Freeze the Atlantic to the song, a grittier snarl which works well with the melodically fiery textures that combine with Hills’ dynamic and addictive rhythms.

The impressive start continues with I Miss The Missed, a slightly less energetic proposal in many ways yet makes up for it with the emotive suggestiveness of vocals and melodies. There are plenty of dynamic crescendos involved in the track’s landscape though, evocative eruptions around the tenacious and agile enterprise of Hills and the melancholic tone of Sparkes’ bass. As with the first, there is an instinctive catchiness which permeates everything from the growly swing of the bass to the crisp beats and the potent weave of imagination shared by Metcalfe’s strings. Closing on a boisterous finale, the excellent track leaves a want for more as it makes way for EP closer Levelling The Tales.

A funk infested slice of metal aggravation and melodic infectiousness, the final track is a fiercely beguiling adventure playing like a blend of Reuben and I Plead Irony with the progressive touch of Porcupine Tree. Once more contagion soaks every unpredictable twist and rousing turn with a tapestry of flavours and energies in tow. It is a union of imagination and resourcefulness creating the EP’s best track as it completes a thrilling first listen to a band with the potential to make great strides within the UK rock scene. Available as a name your price download, Small Fires is one extremely easy proposition to recommend.

The Small Fires EP is out now @ https://hotmothmusic.bandcamp.com/album/small-fires-ep

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Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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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/

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Pete RingMaster 12/04/2016

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Los and the Deadlines – Perfect Holiday EP

With more distinctive hues to their creative tapestry of sound than colours in a drag queen’s make-up palette, UK based Los and the Deadlines unveil their new EP to cast a captivating enticing which is as dynamically refreshing as it is imaginatively inflamed. There is adventure on every corner and inventive devilry within each creative breath of the Perfect Holiday EP, exciting times coming with increasing persistence over each and every listen. The band has sparked intrigue and enjoyment with previous releases but those just pale against the vibrant and bewitching exploration of this new Los and the Deadlines encounter.

The seeds of the band began when Arizona bred lead vocalist/guitarist Alex LoSardo moved to London in 2010. After being introduced to guitarist Neils Bakx, common interest and already existing musical thoughts began to bear fruit between the pair as they began writing and composing together whilst studying for their undergraduate degrees. A few line-up changes ensued as the band established its sound and presence, the time offering up a pair of strong EPs in the shape of Metro Talk in 2012 and Part One: Bank last year. Italian drummer Alberto Voglino had joined the band before the release of their second EP whilst Israeli bassist Rotem Haguel linked up more recently after another change in personnel. Whether he was the missing link to the band’s full potency others can decide, but there is no doubting a new spark and maturity, not forgetting energy, to Perfect Holiday which declares a band coming of age.

    The band’s sound is often and understandably tagged as art-rock but as opener Feel At Ease quickly reveals that barely hints at the evolving brews of grunge, stoner, punk, noise, and many other rock ‘n’ roll spices woven together in the EP’s individual exploits. The first song is an immediate throaty groan of heavy bass, discord deranged guitar, and jabbing beats. It is an almost menacingly brewed lure which never flinches as the spoken delivery of LoSardo opens up a just as pungent narrative. Fresh predatory air hits all areas before the song opens out into a catchy and melodically tempting chorus, its appearance another trigger as the song returns to its stalking but with a hungrier and livelier nature. We would suggest as this and all songs play, each listener will find their own references and hints to compare songs with, and here, thoughts of early Squeeze, Split Enz, and just a touch of Pere Ubu nudge these thoughts.

The outstanding start is followed by It Could Be So Much Better, an instantly grittier and more classic rock toned saunter resonating to metallic swipes on drums and blossoming a bluesy tang to the winding grooves of the guitars. Melodic vocals only add to the sultriness whilst off kilter scythes of sonic invention ensures another song not here just to feed expectations, even if it is arguably less adventurous than surrounding proposals with its fiery Red Hot Chili Peppers like smoulder. That is not to suggest the track has an air of predictability, just that it is less creatively ‘psychotic’ compared to the likes of The Youth’s Opinion which follows it. Once again the band opens a track up with the richest bait, rhythms and riffs compelling enticement with a touch of grouchiness which soon expands into a maze of wiry grooves around a Queens Of The Stone Age melodic revelry. Addictively virulent and tenaciously imaginative, the song swings and dances on ears, treating them to further sonic and warped resourcefulness which it would not be too far from the mark to suggest plays with a Melvins spicing.

From one glorious incitement to another as Batshit Crazy steps forward, its entrance a merger of crispy beats and a heavy, dark funk bred bassline around more greatly alluring tones of LoSardo, the vocalist potent whether speaking or singing across songs. Though restrained in its energy and assault, its title sums up the song’s nature perfectly, a funky Jane’s Addiction like prowess colluding with Dog Fashion Disco like imagination. To be fair all references offered never weaken something original to Los and the Deadlines, and as mentioned everyone will hear someone different within the band’s unique waltzes.

The shadowy flirtation of the track makes way for closer We Lust To Shop For Nothing, another with a Josh Homme like touch to its inventive colouring though in no time the song expels a blaze of rock ‘n’ roll which is more I Plead Irony like but constantly creating its own addiction sparking, ridiculously infectious emprise of sound and ingenuity. As all tracks, there is, for want of a better word, bedlam at the heart of the song, a ‘crazed’ weave which is as fluid and magnetic as it is relentlessly surprising.

As suggested earlier, Los and the Deadlines have suddenly blossomed from an enticing potential fuelled prospect into a beast of ravenous and mouth-watering rock ‘n’ roll, though again that really only hints at the thrills found within Perfect Holiday.

The Perfect Holiday EP is out from July 13^th

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RingMaster 13/07/2015

Copyright RingMaster: MyFreeCopyright

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Immigrants – Self Titled EP

Drawing on the inspiration of bands like Faith No More, Queens Of The Stone Age, Nirvana, Soundgarden, and Barkmarket, UK alternative rockers Immigrants are ready to take a sound already whipping up enthused live reactions, to a wider audience with the release of their self-titled debut. It is not a boundary setter or a new template to ignite the imagination of contagious rock ‘n’ roll, but with ease the EP is a seriously enjoyable and adventurous introduction. Four songs which revel in their familiarity whilst presenting fresh and distinct characters, the release is a striking and rigorously pleasing encounter from a band soaked in potential.

The London based trio of vocalist/guitarist Andrew Cunningham, bassist Michael Sellar, and drummer Daniel Clifford as mentioned has found eager and greedy support of their music live as they extensively hit the London music scene since forming last year. With the band and songs fuelled by “a common anger directed against broad scale social issues such as inequality, war and oppression,” Immigrants’ music is a hard hitting and explosive force upon ears and thoughts as evidenced in their EP, and thoroughly enthralling in its ability to emotionally incite and infectiously seduce.

The EP needs little time to make an impressive persuasion of ears and thoughts, especially with tracks like Masquerade within it. From a sonic breath, a grumbling bassline and scything swipes of guitar swiftly awakens a keen appetite whilst crisp rhythms firmly punctuate the brewing bait. Rather than increasing its lure, the song then switches its attack and relaxes into a just as appetising stroll ready for the entrance of Cunningham’s expressive tones of. Sellar’s bass takes the opportunity at this point to start creatively tantalising and flirting with willing ears to increase the appealing lure of the song, a temptation which only blazes brighter with eruptions of roaring riffs and heavy beats leading into a highly infectious chorus. There is an unpredictable adventure to the song and impassioned energy in its music and vocals which captivates even further, resulting in an enthralling encounter which plays like a mix of I Plead Irony and Mojo Fury.

The track alone ensures the band is worthy of greater investigation but backed forcibly by Damage and its more pop punk revelry. With the tempered snarl of Hagfish and the melodic tenacity of Nirvana flavouring its easily engaging romp and energetic vivacity, the song is like an old friend with a new adventure. It is a great foot-stomper and again contagious gateway into the feverish enterprise of the band and its bullish sound.

The harder toned presence of Don’t Back Down shows another strong side to release and invention of the band, its formidable rhythmic enticing and moody bassline an imposing presence taking thoughts into emotive scenery of melodic reflection and intensive intimidation. There is still a virulent contagiousness to the slower stroll, an engrossing beckoning to its prowling weight and passion of the song. Though not as immediate and lingering as others on the release, it is arguably the most inventive and thickly woven proposition, and no less pleasing.

The gentle caressing melodic canter of Hole In My Heart completes the quartet of offerings, its mix of bluesy sonic endeavour and fiery emotively sculpted vocals and melodies, another rich tapestry to immerse in and keenly devour. Again there is a familiar essence to the song though less definable this time but it only adds to the drama and enjoyment of a rather fine song.

Immigrants’ EP makes a powerful opening bid to awaken attention and passion towards their presence. It suggests this is a band still evolving and finding its unique sound but that it will be an inevitable discovery with even greater results than found on this rather exciting first encounter.

The Immigrants EP is available now, for more details check out https://www.facebook.com/pages/Immigrants/563489277015507

RingMaster 20/10/2014

Copyright RingMaster: MyFreeCopyright

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I Plead Irony – This Statement Is False

As we all know rock ‘n’ roll can be a thing of striking beauty and in the hands of some artists at certain moments in time, something which encroaches on the realms of perfection or as close as it is possible to achieve that ever evading absolute. Such is the case with This Statement Is False, the debut album of UK rockers I Plead Irony. It is a masterpiece of rock music in its numerous vibrant guises, band and release an irresistible temptation which croons, rages, frolics, and rampages within the ear across its startling collection of impressively sculpted contagion posing as songs. It is without doubt one of the most exciting and compelling  albums this year, a scintillating mesh of hard, alternative, and indie rock with many more flavours swirling around its aural album of the year nomination.

The Farnborough based trio of vocalist/bassist Rauf Jordan, guitarist/backing vocalist Paul McDonald, and drummer/backing vocalist Lawrence Arnold, have a craft and maturity which roars within their first album as loudly and vibrantly as the sounds and energy they create. The three between them also create distinct sounds within the bands Ipanema, The Fins, Atomic Garden, and Welcome The Howling Tones, and probably more such the hunger to make potent and empowering sounds which burns within the threesome and fuels this outstanding release. Their debut was mixed by renowned French producer Guillaume Doussaud and takes the listener on an adventure driven ride with lyrical narratives which are as easily accessible for thoughts and emotions to relate to as the sounds wrapping them are for ear and passions. It is an irrepressible slab of fun and anthemic temptation, a ‘greatest hits’ like album in stature and infectiousness marking the entrance of one intensively impressive and potent rock band.

Now Or Never is the first track on the album to get the adrenaline coursing through the veins as its seductive blend of melodic rock and feisty intent makes an opening gambit before the passions. Eager guitars stroke the ear initially to awaken attention and once joined by the throaty snarl of the bass and the crisp punches of Arnold, the song provides an honest and striking piece of alternative rock enticement, ridden by the strong vocal tones and delivery of Jordan. It is maybe not the most spectacular start, the album reining in that treat until…well its successor, but it is a pleasing and bracing introduction.

The following Et Tu Brute makes a dramatic entrance, staggering its arrival before the delicious steely bass voice entwines its teasing tones onto the ear drawing everything into a hungry blaze of shadow clad almost sinister sonic declaration from each aspect of the song. With barbs lining the hooks of the song as sirenesque as the melodies and vocal smoothness surround them, there is no possible resistance to a tingle of lust for the striding anthem coated call of the song.

Things only go from strength to strength as both I Can’t Hear You and Honest Villain pull the passions to their feet for an emotive waltz of intensely impacting muscular beauty and punkish devilment respectively. The pair are sensational songs, the first a rising fire of emotional fervour that from an instant smouldering wash accelerates into a burning weave of passion, and the second a sturdy pop punk lilted stomp where the bass finds its most carnivorous throat yet and the guitars hooks that enslave instantly and permanently. One of the major highlights of the album, the song is a perfectly sculpted riot with all the power and bruising charm to secure full ardour in return for its contagion.

The height and strength of each individual sounding song is impossibly impressive, tracks like the virulently catchy [Insert Words Here], the compelling Timewaster (Behind The Glass) with its heart bred emotive heat, and the hot-blooded Faith Or Fear all charging thoughts and emotions with their distinctly unique yet uniformal impassioned grandeur and skilled tempting, whilst amongst them the superb Yourself Defence is the devil in disguise such its epidemically thrilling sonic bait and formidable rhythmic slavery. Riling the hungry ear instantly with the rapacious jaw of bass snarling ruggedly at its victim whilst the heavyweight jabs of Arnold intimidate with every jackhammer swipe, the track is a mercilessly enticing spike of brilliance driven deeper into the lustful affections by the emerging sonic swarm of toxic grooves and wonderfully niggling riffs. It is a brilliant mix of noise and raw melodic rock honed into a hornet strong sting of scintillating provocation and excellence, best track on the album and one of the most aggressively capturing suasions anywhere this year.

The magnetic Wrecking Ball and the voracious Sick complete the release, the final song another intensely magnificent chest beating clamour which simply leads to unbridled satisfaction and impatient appetite for more, bass and drums a threatening beast combining with the sweltering declaration of guitar and vocals for a lasting scald of invention and stirring craft.

This Statement Is False is exceptional, easily one of the most breath-taking and rousing releases found in a long time. Such its ravenous power and exhilarating imagination, it would be no surprise if under the term Rock ‘n’ roll there was a picture of I Plead Irony. Though they have a sound all of their own, in intent and ability to create infective triumphs the band will feed the hearts of fans bands such as Billy Talent, Reuben, Lostprophets and the like with ease.

http://www.ipleadirony.com

10/10

RingMaster 08/08/2013

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