Various Artists -This is the sound of Sugar Town

Artwork _RingMaster Review

Not only lighting our ears this November with another thrilling Horse Party EP, Seymour Quigley of the band and R*E*P*E*A*T Records / Pure Deadly have compiled and unveiled a striking compilation offering some of the best bands helping to make the Bury St Edmunds underground DIY rock scene one of the most exciting to emerge in recent times within the UK. Twelve bands providing a dozen, without exception, ear pleasing tracks, This is the sound of Sugar Town is a magnetic and thickly enjoyable invitation to explore a host of great new bands whilst helping a great cause with all its profits going to Bury St Edmunds Women’s Refuge.

Wrapped in the artwork of local artist and musician Kate Jackson, once of Long Blonde, This is the Sound of Sugar Town opens up with the alternative rock quintet Voter Kernel and instantly has ears and attention gripped. The band covers the senses in a web of sonic guitar bait before relaxing into a vocally rowdy and rhythmic inviting incitement laced with acidic enticement from the guitars. Into its stride Unnatural Gathering Of Animals blows a punk wind with anthemic simplicity and potency, perpetually confirming itself as one of those inescapable roars that just grabs full involvement of the listener.

The same applies to the darker post punk bred What I’d Do from Horse Party. The guitars of Ellie Langley and Seymour Quigley tempt as the beats of Shannon Hope entice, each warming ears for the ever siren like voice of Langley. It is a mix that breeds the great diversity to drive the band’s releases over the past year or so, but also a unique presence to the band’s sound which is no better epitomised than in this tantalising song.

As the third track comes in view, already there is a glimpse of not only the quality in the Bury music scene but the diversity too, The Few adding to that subsequent realisation across the album, with Bury’d Alive. Not to be confused with the truck load of other bands with the same name, especially in the US, the Bury hailing proposal is an indie punk quartet which as its predecessors, soon has appetite and imagination held with an opening lure of guitar and firm beats. Carrying a tasty seventies DIY punk tone to its sound with layers of bluesy spicing amongst it, the track whips up rich bait somewhere between Swell Maps and Outcasts.

The Machismo’s has already ignited lust in these ears with their releases, and do so again with their offering Rise Again and its punk infused seduction. The trio of Sam Marsh, Rachel Marsh, and Karly Stebbings cast a web of flavours and textures bred in varying styles, creating their own temptation which again comes in varied hues as it prowls with mischievous relish through twanging bass groans, sonic sighs, and scything beats. Lyrically the open humour of the band brings a thick smile to the face as its adventure of drooping hopes and their resurrection hit, as the sound, the sweet spot.

As mentioned the variety within the album and the town’s scene is a refreshing enjoyment, continuing with the great tempestuous sound of Rats as Big as Dogs. Their track, Same Difference, is a mesh of harmonic warmth and mesmeric calm aligned to explosive raw energy and aggression. It is only around for two minutes, but a dynamically eventful and captivating time before passing the baton of temptation on to Scare The Normals and their track Tomorrow. Stalking ears with its sinister electronics and prowling rhythms, the song grows into a compelling infestation lying somewhere between Autopsy Boys and Naked Lunch; an electronic/sonic exploration also carrying an alluring scent of Fad Gadget to its creeping enterprise.

A fascinating embrace of psychedelic grooving greets ears in Sky Dance from the quartet Pale Fires next, its sultry shimmer and flowing harmonic tenacity an immersive celestial delight whilst site favourites The Vitamins saunter in with their highly flavoursome rock ‘n’ roll, The Present (Stairway) to entice with a riveting canter of potent vocals and melodic enterprise laced with a grunge/alternative rock toning. Expectations expect the trio to provide a full meal of texture and expression and the track does not disappoint with its virulent shuffle and vibrant personality.

Some growling heavy rock with punk belligerence erupts in ears next courtesy of Tryal of Witches, its Motorhead meets Kyuss meets XII Boar roar Sweating Rum, a dirt crusted pleasure contrasting well with the melodic, ambience scented enticement of alternative quintet Cathedrals and Cars. Posterity Measure is a hug of melancholy and tantalising melodic beauty becoming more energetically aroused and in turn enthralling with every passing minute.

Fortunato provide a track from their well-received Under Your Teeth EP next, Utopia a fuzzy and dynamic croon of voice and sonic imagination with a healthy line in hooks and jabbing rhythms. Its flavoursome charm parts to leave Eleanor Lou to bring the album to a fine close with Ring The Change. Hailing from the market town and currently based in Manchester, the songstress dances on ears and imagination with voice and song, the acoustic hug a mesmeric reflection further honed by the elegant tones of the singer/songwriter.

From start to finish, This is the sound of Sugar Town is a thrilling discovery of Bury St Edmunds’ underground musical heart. Some bands were familiar, many brand new, and each contributing to a release worthy of everyone’s investigation whilst at the same time helping others.

This is the sound of Sugar Town is out now via R*E*P*E*A*T Records / Pure Deadly digitally and on 12” vinyl @

Album track listing…

VOTER KERNEL – Unnatural Gathering Of Animals 03:59

HORSE PARTY – What I’d Do 03:42

THE FEW – Bury’d Alive 02:38

THE MACHISMO’S – Rise Again 02:53

RATS AS BIG AS DOGS – Same Difference 02:00

SCARE THE NORMALS – Tomorrow 06:15

PALE FIRES – Sky Dance 04:47

THE VITAMINS – The Present (Stairway) 03:03

TRYAL OF WITCHES – Sweating Rum 03:35

CATHEDRALS AND CARS – Posterity Measure 03:52

FORTUNATO – Utopia 03:33

ELEANOR LOU – Ring The Change 02:32

Pete RingMaster 18/11/2015

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False Heads – Steal and Cheat

FALSHEADS _RingMaster Review

There was without a doubt a rich twinge of intrigue and anticipation when UK rockers False Heads got in touch about a new single coming out. It was a surge of excitement inspired by memories of the band’s still impressing and thrilling previous pair of EPs and soon fiercely lit again by the actual rousing temptation of Steal and Cheat itself. The single is a thumping stomp of indie rock tenacity amidst grouchy rhythms and punk seeded invention; a track which whips up ears and enthused involvement as easily as it awakens a greedy appetite for more.

artwork _RingMaster Review     East London bred False Heads made its first steps in the opening month of 2014 and quickly began enticing attention and whipping up a loyal and quickly increasing following. Around the summer of that first year, the trio released the Tunnel Vision EP, a rousing quartet of tracks more than doing its bit to lure further and greater focus the way of the band. It also provided a strong base from which the band could expand and explore its songwriting and sound, and that they had by the time its successor, the Wear and Tear EP, had leapt into ears this past April. Whereas the first encounter was a grunge hued affair, its successor revealed a dirtier and heavier rock tempest to its enterprise and invention. Steal And Cheat shows another strong twist in sound from those before it whilst carrying the increasingly distinctive False Heads character and voice.

Steal and Cheat is quickly into its punk ‘n’ roll canter, the guitars and rhythms colluding in a boisterous canter as the trio of Luke Griffiths, Jake Elliott, and Barney Nash get to work on the imagination with theirs. This time around, the threesome weaves a more restrained and minimalistic proposal of, as suggested earlier, indie and punk enterprise bound in a wind of virulent energy and vocal revelry. The bass is a hefty lure, its throaty swing and presence a cantankerous incitement alongside the sonic web of guitar and the invitingly anthemic vocal delivery. With the drums leading the tempting, it is fair to say that everything about the song is an incitement of catchiness though, and increasingly irresistible over its length and every play.

Like a fusion of Houdini, The Vibrators, and Libertines, whose Gary Powell releases the single on his 25 Hour Convenience Store label, Steal And Cheat is instinctive manna for the ears and easily the finest track from False Heads yet.

Steal And Cheat is released December 4th via 25 Hour Convenience Store @

Upcoming False Heads live dates:

November 27th – Cult Cafe in Ipswich

16th Jan – Stag and Hounds in Bristol

Pete RingMaster 19/11/2015

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Asylums – Missing Persons

asylums _RingMaster Review

There is no escaping that UK indie rockers Asylums continue to impress and excite as they reveal more aspects to their kaleidoscope of sonic contagion through their releases. Further evidence of that success is now to be found in new single Missing Persons, their mellowest hug of melodic enterprise and off-kilter prowess yet. The song is also another tenacious roar of the energy and infection soaked revelry that the Southend hailing quartet is becoming richly renowned for and a reinforcement of the eager accusation we are not alone in casting, that Asylums is one of Britain’s truly exciting bands.

artwork _RingMaster Review     The foursome of Luke Branch, Jazz Miell, Henry Tyler, and Michael Webster introduced us to their scintillating creative credentials through the exceptional Wet Dream Fanzine EP this past February. It was a three track collection of the band’s singles to date, and a slightly deranged explosion of angular noise pop to get lustful over. Released via the band’s own Cool Thing Records, the EP was an inescapable wakeup call later backed by the single Joy In A Small Wage. Play-listed by Radio One amongst thick support and attention all round, the track opened up the more seductively mellow side of the Asylums sound whilst accentuating a busy summer of success which saw the band playing a host of UK and European Festivals including Glastonbury. Now it is the turn of Missing Persons to light a fuse to swift acclaim and hungry new appetites for more; success hard to see being escaped such the persuasion of the richly dynamic song.

From its opening strand of spicy guitar, Missing Persons simply lures ears and imagination; that initial hook replaced by similarly effective bass bait as the song slips into a Weezer meets Supergrass stroll with grinning melodies aligning with matching vocals. Bounding along with restraint and eagerness simultaneously, the song is arguably the most straight forward track from Asylums yet, but a deception as essences of Dickies like devilry and Post Adolescence meets Sonic Youth melodic revelry lines its rousing seducing throughout.

The song continues to enthral and ignite, persuading the body to swing to its canter and thoughts to breed lusty praise for its warm psych pop fun. It also confirms that Asylums have many strings to their warped pop bow and a continued fusion of all will only ensure we will all have a thrilling adventure ahead with them.

Missing Persons is released November 20th via Cool Thing Records through most online stores.

Upcoming Asylums live dates:


20th London Forum (with The Enemy)

21st Coventry Empire (with The Enemy)

22nd Portsmouth Wedgewood Rooms (with The Enemy)


2nd Bristol Bierkeller (with Ash)

3rd London Shepherds Bush Empire (with Ash)

5th Newcastle Riverside (with Ash)

6th Glasgow ABC (with Ash)

8th Manchester The Ritz (with Ash)

9th Wolverhampton Leadmill (with Ash)

12th Norwich Waterfront (with Ash)

13th Brighton Concorde 2 (with Ash)

14th Cardiff Uni Students Union (with Ash)

15th Dublin Olympia Theatre (with Ash)

Pete RingMaster 19/11/2015

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Postcards From Jeff – Modern Language

Postcards from Jeff _RingMaster Review

Modern Language is the name of the new single and album from UK artist Postcards from Jeff, and both propositions which capture the imagination in a mix of dusty Americana, alternative rock intimacy, and dreamily emotive atmospheres with cinematic landscapes. Killing two birds with one stone, we are taking a look at the ten-track full-length, a serenade of reflective charm and melancholic isolation which takes the listener into the heart of relatively undisturbed scenery as calm and rich in beauty as it is loneliness.

Postcards From Jeff is rural Yorkshire hailing, Manchester based Joss Worthington, the band a project living and breathing between the artist’s work in the studio producing for other artists. Last year Worthington released Postcards From Jeff’s self-titled debut EP, it and the pair of award winning filmmaker Steve Glashier directed videos it spawned, sparking potent attention towards the band. With the single Suburban Girl already successfully making its mark on 2015, and another trio of videos, again with Glashier at the helm, to accompany the album, Modern Language brings a fresh and alluring escapism for ears, imagination, and most likely the artist himself from the mundane of every day.

Postcards from Jeff - Modern Language _RingMaster Reviewart   That previous single opens up the album, Suburban Girl quickly engaging ears and appetite with its caress of eighties bred melodies and keys honed tempting. Soon joined by the plainer but no less persuasive vocal tones of Worthington, the song wraps around and tenderly engulfs ears and attention with its warm catchiness and emotive substance. Guest drums appear courtesy of Chris Smith, his rapier like beats an organic prompt within the flowing charm of the song where not for the last time on the album, musically the song invites thoughts of bands like China Crisis and The Bluebells whilst the songwriting and rich layer of hooks and melodies within the track have an Ian Broudie like feel, essences which only add to the captivation of song and release.

The following Japanese Man O’ War is similarly infectious and gently energetic, additional vocals from Clare Stagg adding to the provocative warmth soaking the rhythmic drama crafted by Smith. Worthington’s keys provide an emotive narrative which is a worldly as it is personal within a song simultaneously projecting out of the way life and cosmopolitan business in the imagination before making way for the fuzz dreamscape of A House. With electronic beats almost primal in their organic presence, the track is a sonic soundtrack to a sepia clad outlook with tantalising glides through shimmering radiance triggered by provocative keys. More of a smoulder initially compared to its predecessors, ears and thoughts are nevertheless firmly and eagerly involved.

The country scent of Tired Wings brings a clearer, less fuzzy ambience with it which accentuates the tang of the guitar and the inviting rumbles of rhythms. Stagg also returns to kiss the senses with her reserved yet siren-esque harmonies, the combination a glow within the romancing, very slightly Smiths like, body of the song. It is a masterful tempting swiftly backed by the same potency of Goddess Of The Sun, its enterprise as resourceful and adventurous as its voice is sublimely persuasive.

New single Modern Language comes next spreading an oriental/worldly flirtation from its first touch on ears. Keys again conjure a hug of multi-cultural reflection whilst the Mike Doughty like texture of Worthington’s vocals provide a great grounding to the melodic flight leading the imagination and emotions into bold and insular adventures. The song is spellbinding, simply a fascinating and infectious doorway into the craft and world of Postcards From Jeff.

Both Samaritans and Wide Eyed Wonder keep satisfaction rich, the first with its enthralling Lightning Seeds like melody fuelled ambience around punchy rhythms and spicy hooks and its successor through a more of a low key but no less hook stocked tempting. The second of the two misses the spark of the first but is still only pleasing and the same can be said of Lay Low, a croon which gets under the skin emotionally and atmospherically but fails to whip up personal tastes in the same way as those before it.

Modern Language comes to a close with Awake, a pulsating dance of crystalline keys and shadowy rhythms infesting feet and ears with relaxed zeal against the contrast of the plainer dustier delivery of Worthington’s vocals. There is also an undefined familiarity to the track which adds to the pleasure and brings the album to a potent conclusion.

Postcards From Jeff creates songs which manage to be as visual for the imagination as they are vibrant for the ears, the band name itself the perfect representative to the emotional travelogue of the songwriting and indeed Modern Language.

Modern Language is released on October 23rd.

Pete Ringmaster 21/0/2015

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Space – Strange World

Space_RingMaster Review

Having a more flirtatious attitude towards UK rockers Space and their releases over the years rather than giving a purposeful focus to each endeavour, certainly since the excellent Tin Planet gripped attention, there is now the suspicion we may have been missing out. That suggestion comes through new single Strange World, the first song we have taken a proper look at since the band returned to life in 2011. It is a tantalising weave of styles and flavours casting a creative seduction that is as dark as it is nostalgic as it is irresistible.

cover_RingMaster Review     Formed in 1993, Space released a trio of albums in the generally acclaimed shapes of Spiders, Tin Planet, and Suburban Rock ‘n’ Roll, as well as the unreleased Love You More than Football which was recorded four years before the 2004 unveiling of the latter of that trio. These, with a host of singles, marked the band’s twelve year presence before the band split in 2005. The funeral of former drummer Andy Parle in 2009 brought the remaining original members of Space back together, the breaking of the ice between them that planted the seeds for a return of the band which officially came about two years later. Enlisting bassist/double bassist Phil Hartley, keyboardist Ryan Clarke, and drummer Allan Jones to the line-up of vocalist guitarist Tommy Scott, keyboardist Franny Griffiths, and guitarist Jamie Murphy, Space made their live return with a reunion gig at the O2 Academy Liverpool in December 2011. Despite the subsequent departure of Murphy, the band created and released the well-received album Attack of the Mutant 50ft Kebab in 2014. Now down to a quartet with Clarke leaving last year, Space gives a flavoursome teaser to an impending new album slated for early next year with Strange World, a song ready to treat ears and imagination.

That it does instantly as provocative percussion leads just as endearing harmonies and tempting guitar to ears. Immediately there is a sixties air to the song aligned to a mariachi/dark rock ‘n roll climate, like the Walker Brothers slipping into Tarantino country. The distinctive voice of Scott is soon walking through the evocative scenery, his tones having lost none of their prowess and expression over time and comfortably courting the brewing orchestral embrace and elegance of guitar and bass strings matched by the keys as brass bring their own the sultry flames.

Noir lit but as intense as a desert sun, Strange World is an absorbing adventure as intimate as it is cinematically suggestive and seriously compelling. The same applies, if a slightly lesser extent, to the accompanying alternative version of Female of The Species which first ignited ears back in 1996 as a single and part of Spiders. Also taken back to the dramatic era of sixties rock/pop, with an appropriate rawness towing along a sci-fi revelry of that time, the song is the return of an old friend with a nostalgic make-over that is quite easy to get lusty over.

For us Strange World is a treat which is also a kick up the backside to any assumptions that a band that has been around a fair old time and returned after significant time away will have also left their glory days behind them. Band Of Holy Joy recently showed the error in that thinking with their recent new album and now Space with their single, and we anticipate on the excellence of Strange World will be again with their forthcoming next album, are doing the same.

Strange World is released via Mulu Records on October 19th.

Forthcoming dates for the Strange World tour:

Wed 21 /October             SWINDON           VIC

Thu 22 /October               ST ALBANS          THE HORN

Fri 23 /October SOUTHEND         CHINNERYS

Sat 24 /October                NORTHAMPTON              PICTUREDROME

Sat 31 /October                RUNCORN           BRINDLEY

Fri 6 /November               MINEHEAD         SHIIINE

Sat 7 /November             CLEETHORPES    BEACHCOMBER

Sun 8 /November            DONCASTER       DIAMOND

Thu 12 /November          LEEDS    LIBRARY

Fri 13 /November            CUMBRIA            MONROE BAR

Sat 14 /November           STOCKTON          GEORGIAN

Fri 20 /November            WIGAN                 OLD COURTS

Sat 21 /November           CREWE THE BOX

Sun 22 /November          MANCHESTER    FAC 251

Tue 24 /November          SWANSEA           SIN CITY

Wed 25 /November        CARDIFF               THE GLOBE

Thu 26 /November          READING             BOWERY

Fri 27 /November            BRISTOL               FLEECE

Sat 28 /November           COVENTRY          KASBAH

Mon 30 /November        SUNDERLAND    THE POINT

Tue 1 /December             EDINBURGH       ELECTRIC CIRCUS

Wed 2 /December           ABERDEEN          TUNNELS

Thu 3 /December             GLASGOW          CLASSIC GRAND

Fri 4 /December               LIVERPOOL         EPSTEIN

Sat 5 /December              LONDON              BRIXTON JAMM

Thu 10 /December          TUNBRIDGE WELLS          FORUM

Fri 11 /December             WOLVERHAMPTON        SLADE ROOMS

Sat 12 /December            LINCOLN              PLATFORM

Fri 18 /December             GLOUCESTER     GUILDHALL

Sat 19 /December            NORWICH           UEA

Pete RingMaster 19/10/2015

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The Sunday Reeds – Pretty People

TSR_RingMaster Review

Providing a tasty glimpse to the album the band is currently working on, The Sunday Reeds have released new single Pretty People, a melodic snarl of a song which has ears grinning, feet tenaciously tapping, and appetite for more on the side of impatience. It is a rousing protagonist easily sparking high anticipation for the full-length to come whilst hinting at new twists and creative enterprise within the songwriting and imagination of Melbourne based duo Romana Ashton (vocals, bass) and Drew Jones (guitars).

Formed late 2008, The Sunday Reeds soon had attention lit amidst a quickly growing following with debut album Drowning in History the following year. Released through UK indie label Squirrel Records, the album opened the opportunity for the band to undertake an extensive European tour in 2010. At the time a romantic couple, Ashton and Jones split up in Paris, but thankfully stayed together creatively whilst all the pain and torment ending relationships bring, went to inspire and shape their critically acclaimed Amour Tragique EP of 2014. Now they return with new single Pretty People, a song which “On one level ‘is about cliques and their sense of self-importance, and on another, is a caustic social commentary about our culture’s fascination with ‘the trivial’, celebrity, gossip and fame by proxy.” Mixed by James Aparicio (Spiritualized and Mute Records) it is also a very flavoursome lure to things to come and rich pleasure now.

Rhythms and an instantly compelling bassline opens things up, Jones’ guitar soon adding its own bluesy web to already addictive bait working on the imagination. The song finds another heated flame as the beguiling vocal tones of Ashton join her prowess on four strings, this in turn seemingly sparking grooves and hooks in tandem to become hazier and intensely fiery. Like a mix of My Baby and Vienna Ditto but with its own unique character, the single continues to seduce with its shadowy rock ‘n’ roll and fuzzy temptation subsequently leaving a lingering imprint on thoughts and memory as Jones’ riveting almost nagging hooks collude with the temptress guile of Ashton’s voice and bass.

Pretty People is dark glamour and intensive incitement, a song to get seriously involved in whilst breeding a hunger for its impending source. The Sunday Reeds are back and better than ever.

Pretty People is out now via Heartgun Records.

Pete RingMaster 14/10/2015

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Nishe – Lose Control

Nisha_RingMaster Review

Having missed their debut EP a couple years back, Lose Control is our first acquaintance with UK rock band Nishe, a long overdue one if their new single is the kind of thing we have been missing. Without turning the alternative/indie rock world on its head, the track is a sizzling temptation on ears and imagination but equally a lingering draw which hangs around like a brooding lover luring attention again and again. In a never ceasing torrent of tracks wanting to seduce your attention, it is a quality when aligned to impressive craft that does the band no harm at all.

cover_RingMaster Review   Hailing from London, Nishe consists of Giovanni Zappa (lead vocals, guitar, electronics), Harold Wilson (bass, backing vocals), and Thomas Romer-Smith (drums). It is a trio uniting their individual influences for a sound which fuses guitar led snarl and adventure with evocative and similarly infectious electronics. The This is Nishe EP was quick proof of that, its creation coming three months after the band emerged in the August of 2013. It was acclaimed and supported by quickly grouping fans as well as online press and radio shows, including BBC Introducing, on both sides of the Atlantic, many marking Nishe out as the band to watch closely.

Earlier this year, they visited New York where new inspirations struck the band’s songwriting and imagination, Lose Control the first slice of magnetic evidence to its effect. From the opening lure of synths, the song is in command, the rhythmic swing which follows increasing its potency as too the confident vocals of Zappa. Continuing to stroll with an infectiously smiling swagger, the track draws in richer flames of guitar, emotive tenacity, and simply more intensive enterprise from all aspects.

Increasingly compelling with every listen, the track is a tenacious blaze of guitar and electro rock, a contagion which may not be the best song heard this year but it will be one of those most remembered once it infects the psyche.

Lose Control is out on October 9th

Pete RingMaster 07/10/2015

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