Lost Without Cause – Revival

Karly Edge Photography

It has been a while since outfit Lost Without Cause had ears and appetite grabbed with mini album Take Back Everything, six years in fact, but now they are back with a brand new release and a sound which has matured and blossomed into one powerful statement. The Revival EP is an encounter which if it does not get you first time around will on its second sweep through ears. Each of its four songs comes blessed with melodic enterprise and instinctive infectiousness, traits admittedly just as open in its predecessor, but bred with a new confidence of imagination and craft which alone commands attention.

Hailing from the South East of England, Lost Without Cause consists of vocalist/bassist Simon Marks, drummer JamesJJ’ Jaggers, and newest member in guitarist Tony Stead. Formed in 2004, the band swiftly stoked eager fans and attention with their pop infused alternative rock sound. 2011 saw Take Back Everything stir up a whole new ball game of recognition with its lead single, Trigger and accompanying video, being heavily featured on Kerrang TV and supported on national and online radio shows. Live the band has shared stages with the likes of Bastille, Kids In Glass Houses, Fozzy, Don Broco, Lower Than Atlantis, Sacred Mother Tongue, My Passion, The Crave, Koopa, Fei Comodo, None The Less, Saving Aimee and many more. Revival in some ways reflects the ‘return ‘of the band and what is sure to be a regenerated rise in their reputation and presence within the British music scene.

Breathe starts things off and the track instantly has attention hooked as the dark grumble of Marks’ bass lines up alongside his strong expression carrying vocals. JJ‘s beats in turn hit with relish before it is all wrapped in the melodic enterprise of Stead.  Instantly appetising and swiftly infectious, the song proceeds to stroll with wild nostrils and flirtatious hooks, its melodic jangle a teasing lure in the jungle of more exacting rhythms. It is fair to say that previous song Trigger has been the marker for Lost Without Cause up to this point but no longer as Breathe steals its thunder.

The following Depleted brings a Green Day-esque feel to its rousing canter, a hue soon immersed in the band’s own character of sound and invention. Great vocal harmonies and support to Marks across the band light up an already earthily anthemic incitement; swinging rhythms and spicy grooves all adding to the riotous yet skilfully controlled encounter.

Teardrops and Cigarettes in contrast is a mellow aired, warm seduction playing like a blend of China Crisis and Placebo with a further spice of Jimmy Eat World involved. Its gentle but lively sway has hips quickly involved, the sultry strains of the guitar courting the imagination as swiftly though it is the vocal unity again and the song’s adventurously imaginative landscape which seals the deal, not forgetting one glorious finale of emotion and power.

The EP finishes with Another End, a slice of rock pop which might not quite match up to those before it for personal tastes but only adds to the overall pleasure with its catchy rock ‘n’ roll and sonic dexterity.

Listening to Revival, it is easy to feel that Lost Without Cause’s time to make an indelible mark is imminent, if not with their fiercely flavoursome new EP with whatever comes next.

Revival is out now across most online stores.

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Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

Echotape – This Could Be Anything

The successor to their well-received debut album, Wicked Way of 2016, UK quartet Echotape has just released the This Could Be Anything, an EP already sparking keen attention and success. It is a flavoursome dose of the band’s increasingly flourishing indie pop/alternative rock blended sound led by a single which in swift time was selected for Topman store UK coverage last month and featured by BBC Introducing.

Linking up with James Lewis (Clean Bandit/ Arctic Monkeys/ Rudimental) for the EP, Echotape have tapped into a fresh new breath in their music hand in hand with greater maturity in songwriting and sound. The EP has an air of confidence which in turn gives even greater energy and boldness to its body in relation to its impressing predecessor. It is an undisguised essence which fuels the striking presence and imagination of opener Forget It, that aforementioned lead single.

Straightaway jangling guitars and the rumbling tones of the bass coax attention; skittish beats dancing alongside as vocals provide their own potent lure within the track’s melodic breath. There is a touch of Skellums to the song as it continues to boldly stroll through ears with a creative swagger and vibrant air. The infectiousness which equally soaks the song seals what is pretty soon an already done deal, its instinctive catchiness gripping feet and spirit in no time for a party in the imagination.

The following Out Of Love similarly makes a fully enticing entrance, its harmonic start breeding another eagerly infectious canter with sultry sighs to its sonic winds and atmospheric suggestion to its melody rich and harmonically glowing skies. Keys and guitars again weave a captivating enticement exploited by the outstanding vocal unity within the band; it all kept relatively earthbound by the grounded but no less tenacious rhythms.

Don’t Want Anyone keeps up the anthemic might of the EP with its own rousing roar. It does not quite have the weight and virulence of the previous pair of songs but easily has feet shuffling and energies sparked with its animated craft and invention before leaving for 4AM to close up the release.

The final song is an emotively honed ballad accentuating the impressive vocal qualities and strengths within the band. It is another moment of captivation which only grows minute by minute into another highly enjoyable and memorable experience. Certainly, Forget It is the jewel in the EP’s crown but every song within its walls suggests that Echotape is ready to embrace far bigger attention.

This Could Be Anything is out now via Believe Digital and Gentlemen Recordings on iTunes and other stores.

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Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

Plastic Barricades – Mechanics of Life

Plastic Barricades is an alternative indie rock band from the UK which has just released their new album Mechanics of Life. It is a collection of melody spun songs which entice with craft and warmth whilst strolling through a landscape of emotions embracing the beauty of romance, hope, melancholy and more.  Musically its venture is just as welcoming of varied flavours as country, rock, and indie bred essences unite in ear pleasing enterprise.

London based, Plastic Barricades consists of vocalist/guitarist/keyboardist Dan Kert, bassist Daniele Borgato, and drummer Frazer Webster. Its beginnings though came in Tallinn, the capital of Estonia in 2007. Their well-received Tree of Ideas EP of 2012 was followed by Kert and original bassist, Jan Laan, relocating to the UK. A few additional members came and went before Laan left to be replaced by Italian Borgato in 2013. It was also a year which sadly saw the band’s Rome bred drummer Matteo Ippolito passed away bringing things to a standstill. In time a replacement was sought and found in Webster and the band pushed again to build on their already rising success. Numerous award nominations and successes have come with the increasing reputation of the outfit and a sound embracing the inspirations of artists such as Radiohead, Oasis, Coldplay, Muse, Keane, Razorlight, and Nirvana. Mechanics of Life is their next step in luring attention and a tempting easy to see those with an appetite for gentle yet emotionally stirring massages of melody will find very palatable.

How Goldfish Grow gets things rolling, its eager stroll and boisterous jangle instantly catchy and tempting. The song continues to tease before relaxing to cradle Kert’s vocals, though soon its lively heart jumps to its feet again with each following cycle becoming increasingly infectious. Melodies shimmer across the darker tones of the bass whilst Kert’s sonic flames add to the track’s controlled but open drama. It is a great start well backed by the slightly sturdier body of Singularity 2045 though it too is woven from warm melodies and electrified tendrils across spirited rhythms. As with its predecessor feet are a willing involvement just as ears are to the imaginative air of the song which at times has a XTC like essence.

The summery caress of Our Favourite Delusions is next, its warm simmer welcoming blues lined flames throughout; heat which matches the lyrical punches before Be the Change entices with its own radiant charm and social nurtured melancholy. It is a song which comes alive when energy and intensity erupts in voice and sound but certainly more than satisfies from its first reflective touch with the enterprise of Kert’s guitar a potent spice in it all.

As the individual melodic weaves of Around the Sun and Needles in Haystacks intrigue and award ears with their proposals, Mechanics of Life keeps unwavering attention in its hands, the pair if without quite matching the persuasive levels of those before only pleasing that focus. It is a success Shine! builds upon with its sultry climate and melodic glaze over a understated but firmly catchy gait and personality while Half of Your Soul straight after features the bewitching sigh of female vocals alongside Kert which only adds to its fascination; a lure with also just a hint of country warmth in its infectiousness.

The album finishes off with firstly the highly enjoyable and bubbly rock ‘n’ roll of Medicine Man, a boisterous canter of sound and creative drama which is followed by the similarly engaging and tempting Voices. Together both tracks establish the pinnacle of the release, the second taking favourite song honours before leaving Masterminds to close things up with its catchy folkish sortie through ears wrapped in blues kissed guitar and melody smiling keys.

There are times when there is a wish Plastic Barricades were a touch bolder in their imaginative adventures and put more of a bite into their arousing eruptions but there is no denying that Mechanics of Life more than delivers on enjoyment and enterprise.

Mechanics of Life is out now on iTunes and Spotify.

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Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Jack of None -Who Shot Bukowski

Having released one of the most fascinating albums of 2016, US trio experimental brother sister trio Jack of None offer up one of this year’s most compelling in its successor Who Shot Bukowski. Weaving a tapestry of art, alternative, post punk and electronic rock, to simplify their sound, the band infests ears and fingers the psyche across ten tracks of creative drama. It is a journey into the shadowy side of the human condition, an adventure into devious infectiousness, and increasing addiction to embrace with every manipulative listen.

Splitting themselves between Philippines capital Manila and Chicago, Jack of None consists of brothers A.G. (principal composer on guitar, bass and synths) and Julian Syjuco (guitar) alongside sister Maxine (poet-songwriter and vocalist). Last year their first album, Who’s Listening to Van Gogh’s Ear?, was greeted with widespread acclaim, going on to receive 3 nominations at the 15th Independent Music Awards including Best Album in its genre, though what that genre maybe is anyone’s guess such the eclectic nature of their imagination and sound. Who Shot Bukowski is destined to not only replicate its predecessor’s success but thrust the threesome towards thicker and richer attention with its irresistible theatre of contagious intrigue and bold enterprise.

Swiftly Who Shot Bukowski reveals that doughty adventure and imagination in opener Strangest Bedfellows, allowing the hints and seeds sown in the more industrial lined Who’s Listening to Van Gogh’s Ear? to blossom and flourish. The track glides in on a slow swing, guitar and rhythms teasing with tantalising bait around the seductive temptation of Maxine’s voice. Steelier grooves erupt as things get provocatively hazier and magnetically sinister but still the emotive affair between ear and song continues to have the thickest grip whilst sharing increasingly catchy and flirtatious lures along the way.

It is an outstanding start swiftly matched by the following pair of Sticks and Stones and X-Y-Sex. The first of the two merges industrial and psych rock with folk pop hues, its touch simultaneously grainy and warm as Maxine erotically touches the imagination with her tones. A Marilyn Manson like causticity breaks as the track bursts into a more volatile state but soon returning to that initial now increasingly jazz funk laced calm; a carousel which continues to turn across the song before its successor steals the show with its noir lit beauty and haunting contagion. The previous track reminded of US industrial electro rock outfit Scream Machine, this even more so but equally has something of eighties UK band The Passage to it too. Like a dream almost nightmarish in its Orwellian design as visual eroticism teases, the track is pure bewitchment leading the imagination on a flirtatious dance from start to finish.

Dear Georges (Vous Petit Monstre) is next, an even darker bête noire of emotion and thoughts with its entrancing charms and seductive shadows, all led by Maxine’s almost predatory melodic grace and the similarly disarming exploits of her brothers. It too carries flames of metallic toxicity through the raw torrents of guitar but is at its most fantastic with its deviously mellow caresses.

Lyrically every song is a story, a gothic poem of sorts which is as much an engineer of the imagination as their delivery and the sound cradling their revelations, The Brainwashers another fine example within its raw dance and invasive electronic machination. A uniquely beguiling hook offsets a slight repetition of earlier tracks in certain moments, a lining of dark sounds and insidious suggestion adding greater individuality to the encounter before Polyamorous Serial Monogamist writhes seductively in ears. Every melody and smouldering syllable is a physically swerving enticement only accentuated by the surge of guitar and keenly slapping beats, it all woven into a mesmeric incantation.

From the six seconds of Again, the excitable rock ‘n’ roll exploits of The Princess and the Pistol (Can You Feel That?) tenaciously romp with the senses, the track a restrained yet tempestuous incitement while next up Little Devil Girl provides its own suggestive haunting with almost visceral charm and beauty. It is an edge which grows with the subsequent surge of guitars and bass groan which emerges within the garage punk scented treat, the superb encounter never losing its composure but instilling lingering seeds of fear.

The album closes with Tenderly, She Said, a song which from a melodic kiss of acoustic guitar grumbles and smooches with the ever arresting presence of Maxine. Progressive in its tone, hungry in its diversity of texture and flavouring, the song grabs ears and imagination with sublime craft and ease, epitomising the album with its own inescapable alchemy.

Who Shot Bukowski simply captivated and thrilled from its first moment in speakers and ears, and indeed has only tightened its lure and grip ever since. This time around Jack of None would not be too misguided in hoping those previous nominations become awards.

Who Shot Bukowski is out now across most stores and @ https://jackofnone.bandcamp.com/album/who-shot-bukowski

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Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Ghost Of Social Networks – If This Isn’t Love

Though being captivated by UK outfit Ghost Of Social Networks is becoming predictable there is nothing feeding expectations when it comes to the songs and invention crafting their appeal. It is a trait just as rampant in new single If This Isn’t Love; a song which holds no surprises in eagerly hungry ears but is a fresh escapade in the adventurous enterprise which has captured the imagination song after song so far.

Ghosts Of Social Networks is the one man project of Manchester based musician/songwriter Nathan Till, though a proposition which expands with the full-time assistance of drummer Ben Dargue and bassist Andrea Gobbi for shows. Early last year, Till released the debut GOSN single in the attention and acclaim grabbing shape of Love Potion/ Mockingbirds; a potent introduction only reinforced and built upon by subsequent singles Comeback Kid, No Going Back, and earlier this year the truly outstanding Outside The Wheel. The last of the releases laid down a new plateau for the sound and imagination of Till, one now magnetically courted by If This Isn’t Love.

Again seeing Till link up with producer Gavin Monaghan (Editors, Robert Plant, The Sherlocks), If This Isn’t Love instantly entices ears with a keen melodic jangle and swiftly entangles them in the following gnarly welcoming hook. As rich bait as they are though, they are the mere key to a surge of infectious temptation driven by boisterous rhythms and the ever alluring tones of Till. Quickly an eighties new wave scented hue emerges; a Paul Haig meets Lloyd Cole air adding extra spice to the track’s tenacious swing. Till is never one to keep things restricted to one line of persuasion though, adding imaginative twists and turns of energy which just add to the song’s boisterous appetite stoking adventure.

Whereas previous single Outside The Wheel slept with darker shadows, If This Isn’t Love sees Till play with openly warmer textures and a pop bred boldness which has hips and feet lustfully engaged even as a lyrical edge teases thoughts. It all makes for another outing with GOSN which leaves pleasure and a hunger for more, rampant…time for an album?

If This Isn’t Love is released 18th August via Integrity Records.

https://www.ghostsofsocialnetworks.com/    https://www.facebook.com/GhostsOfSocialNetworks    https://twitter.com/GOSNmusic

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Bottle Next – Bad Horses

Bottle Next is a hard folk band from the French music scene. It is a tag which is maybe unique to the band not having come across it before but only partially touches on their sound. Weaving seriously engaging songs from the imaginative threads of everything from indie and pop, through progressive blues and hard rock to folk and indeed any mischievous form of rock ‘n’ roll you wish to suggest, Bottle Next make for a tantalising proposition which within debut album, Bad Horses, persistently encroaches upon rich fascination and aural seduction.

There is a real sense of fun within and with the duo of guitarist/vocalist/saxophonist Pierre Rettien and drummer/vocalist Martin Ecuer; a feistiness and devilment which openly fuels their music. From the release of their first single in 2011, the pair has drawn increasing attention and support with a pair of EPs surrounded by other individual tracks and videos as well as an energetic live presence which has seen them play across France and further into Europe; sharing stages with the likes of Triggerfingers, Lofofora, Zebda, Mass Hysteria, Didier Wampas, and No One Is Innocent as well as appearing at festivals such as Rock’n’Poche Festival, The Festival du Chien à Plûmes, Musikmesse in Germany), Belgium’s Mannrock (Belgium) and the Swiss Zikamart Festival.

Released a few weeks back, Bad Horses is an announcement for a wider range of ears and spotlights of the presence of Bottle Next; the Daniel Bergstrand (Meshuggah, Soilwork, In Flames) mixed release swiftly making the most of the opportunity with its opener Break Down the Door. The initial twang twisted strums of Rettien have an instinctive striking swing to their nature, a zeal matched in the senses rapping beats of Ecuer. That energy is equally as frantic in the delivery and character of the former’s vocals; together the duo creating a body inciting, spirit dancing slice of tenacious melodic rock as garage raw as it is hungrily infectious.

It is a thickly enticing start matched in memorable heights by next up Choices, the song a swagger loaded stroll of blues tinged rock ‘n’ roll sharing a Queens Of The Stone Age meets In The Whale like adventure. There is a rapacious essence to the grooves winding around ears and an atmospheric suggestiveness to the keys which interrupts the urgency of the canter whilst emerging folkish revelry has a funk seeded grin encapsulated by the earthily sultry lures of sax.

From one mouth-watering escapade to another as next up, Running Herd, takes ears in its grips with stabby riffs and agitated beats, both entangled in a volatile web of melody and vocal dexterity. As with its predecessors, involvement in its tenacious shuffle is instinctive; voice and hips giving quick submission to its imaginative multi-flavoured dance before Revolution shows the grittier hard rock side of the band’s sound. It too though weaves in a lure of melody and pop scented indie enterprise topped by a chorus wearing sixties/seventies pop rock catchiness.

A slightly calmer air drifts over Age of beauty; the song tempting and vivaciously crooning like a mix of XTC and Be Bop Deluxe though like all songs it never settles for one idea or style for much longer than it takes the imagination to adopt one of the moments of creative chicanery.  At times it is an almost punchy encounter, the next a floating caress and consistently a captivating proposal before the outstanding Overthere grabs an already keen appetite for the release’s romp with its heavier touch and spikier climate. Again a grunge seeded essence runs alongside the song’s heavier rock instincts, colluding in a slimline, impulsively addictive temptation smoking in its shadows with a wealth of additional flavoursome scents.

The album’s title track is a more kinetic and wiry caper, guitars and drums magnetically nagging and popping as the track’s rock heart and vocals roar; pure rock ‘n’ roll its creative mantra while Machines courts a matching breeding in its mellower, blues rock tinged pop ‘n’ roll. Both offerings make swift deals with ears and imagination, More Humane matching their success with its folk/indie rock enticement brewing up from within initial suggestive smog of melodically nurtured atmospherics; funk and progressive keys born revelry growing across its enthralling body sparking canter.

The melody woven infection of The Lift off straight after is no less an inducement of physical participation, its warm and boisterous invitation a fest of inventive festivity for limbs and energy. The same equally comes with closing song The Woody Man where its folkish colour and melodic charm takes the track’s kinetic nature in hand, giving it a great layer of restraint without defusing its multi-style embracing devilry and impact on body and spirit. It is a great end to a rather fine album which it is fair to say had us leaping and grinning from start to finish, no track anything less than an imaginative galvanic romp. Bad Horses offers something really fresh in its familiar flavours and boundless enterprise in its bold and playful quest to simply rock ‘n’ roll. The best album you will hear this year, maybe or maybe not; destined to be one of the most enjoyable, without question.

Bad Horses is out now @ https://bottlenext.bandcamp.com/album/bad-horses

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Pete RingMaster 30/05/2017

Copyright RingMaster: MyFreeCopyright

Mosley Bar – Royalties

Following up their well-received debut EP, Another Record Sleeve, which sparked strong attention the way of the band and airplay from the likes of BBC 6 Music BBC Introducing, Mosley Bar uncage successor Royalities this month to show that the potency of the first was no flash in the pan. Offering four tracks with a fine line in instinctive catchiness and enterprise, the EP reinforces the British North West hailing quartet’s potential of making a real impression on the UK rock scene.

Formed in 2015, Mosley Bar draw on the inspiration of bands such as Arctic Monkeys, The Libertines, Catfish and the Bottlemen, Two Door Cinema Club, and Circa Waves in a sound which has a certain familiarity to it but equally a freshness of youth and imagination. Certainly the first pair of artists in that selection of influences comes to mind easily with the band’s sound but infests without disguising the potential of bolder adventures ahead; a promise which is richer and already more imaginative in their new offering against the strong showing within Another Record Sleeve.

Royalties opens up with a song which has already lured praise carrying attention, Two Apart quickly enticing ears with its initial guitar jangle around the distinctive tones of vocalist/guitarist Ryan Ward. In no time, the swinging lure of Tim Williams’s bass and the melodic enticement of guitarist Adam Eccleston add to the song’s blossoming, the lively beats of Matthew Wright driving things with spirit. It is easy to see why the infectious exploits and dynamic prowess of the track has drawn keen plaudits, its boisterous exploits and web of melodic and sonic enterprise an accomplished and riveting proposal lined by that enjoyable Arctic Monkeys spicing.

With increasing drama and emotive intensity roaring through ears, the excellent opener makes way for the similarly instinctively catchy Wide Awake. Its own line in hooks and flirtatious industry is even swifter in persuasion than that of its virulent predecessor, Eccleston and Wards’ guitars infesting feet and hips as the latter continues to bring his magnetic voice to the rousing mix. For us, the track simply outshines the first and pretty much anything from the band to date; its body boisterous and character a fine blend of recognisable and new essences colluding in one irresistible incitement.

The punchy stroll of next up Philip is aligned to a melodic shimmer and psych pop flavouring, contrasting textures which unite with evocative imagination around the hearty stomp of a song erupting with persuasive zeal. It is another frisky and buoyant landscape of sound which grows listen by listen into a rousing temptation; a growing temptation also emulated in Chasing which brings things to a fine close. The slow burner of the bunch, though its breezy energy and playful nature is a quick success on ears and appetite, the song simmers and shines with increasing potency to provide another highly enjoyable outing with Mosley Bar.

Listening to Royalities, it feels like now is the time for Mosley Bar to add bolder, more unpredictable elements to their music. Their new release does have a whiff of that evolution to be fair and added to the band’s natural weaving of infectious music around insightful words, there is no reason that the journey ahead for band and fan will not be eventful and thoroughly enjoyable.

Royalties is out now across  most online stores.

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Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright