King Colobus – Self Titled EP

king-colobus-promo-shot_RingMasterReview

There are times when something just clicks with ears and imagination, instincts instantly seizing the day and directing responses with almost lustful energy. That is what happened to The RR when facing the self-titled debut EP from UK rockers King Colobus. From virtually its first breath on the opening listen, the four-track theatre of blues and alternative rock trespassed and seduced the imagination and passions. It is pure drama, creative adventure as bold and ballsy as it is imaginatively intricate and sinisterly persuasive.

With its seeds sown in 2013, King Colobus officially stepped forward two years later. Vocalist/guitarist Stewart MacPherson and bassist James Bailes had already collaborated on ideas and songs for a future project when independently they both relocated to Devon. There they linked up with Plymouth based guitarist Gavin Huck and drummer Simon Marsh, uniting as King Colobus.

There is no escaping inspirations found in the likes of Queens Of The Stone Age, Soundgarden, Johnny Cash, and Interpol in the band’s sound but equally they have a personality and character to their music and songwriting which is sure to intrigue fans of others like Japanese Fighting Fish, Damn Vandals, and Inca Babies. There is uniqueness to their sound though which is most vocal and suggests why the quartet has already earned a potent live reputation whilst taking in shows supporting artists such as Sea Sick Steve, Band Of Skulls, De Staat, and Crazy Arm.

king-colobus-cover-artwork_RingMasterReviewRe-released this past week, the first King Colobus EP is a majestic introduction to the band and needs mere seconds to grip attention and appetite through opener Get Up. From its initial dark minatory melody, its texture wiry and tone ominous yet pure enticement, the track bounds in with swinging rhythms and a growling bassline supported by just as primal riffs. MacPherson instantly engages and recruits already persuaded ears, the song itself bluesy in air but pure virulent rock ‘n’ roll with an underlying punk snarl. It is a controlled web though, teasing and taunting rather than assaulting and only increasing its grip as a shimmer of guitar around alluring vocals breaks the tenacious trespass before breaking into an even bolder compelling incitement.

It is a stunning start swiftly reinforced by the song King Colobus, it too opening with a juicy lure before uncaging its heavy blues rock saunter. Bass and vocals stand individual in tone but equal in temptation as beats jab with relish at the senses, the song’s flames waiting to erupt in a sizzling blaze before settling down again until further incendiary expulsions throughout its compelling body. Showing an array of flavours making up their sound, at times the track reminds thoughts of Josh Homme and co and indeed The Doors but again the result is individual to the foursome.

Tits and Teeth steals its fine share of the passions next, its dark vaudevillian devilry carrying an air of sadly demised circus punks The Shanklin Freak Show, further evidence of the host of spices in the King Colobus invention. The song as good as stalks its victim but relishing its creative invasion of ears and imagination with energy eager to consume its prey whilst, with virulent catchiness, recruiting their participation.

Final track Wait immediately reminds of nineties band Skyscraper, having their instinctive rock ‘n’ roll infectiousness and tenacity to command attention; invention and imagination blossoming in its success. Grooves and hooks tangle the senses as rhythms ground out an easily given submission to their insistent prowess, vocals leading it all with their own rousing presence.

It is a glorious end to a must hear release not only bringing King Colobus to wider attention for the first time but suggesting there is really something major brewing down on the south coast.

The King Colobus EP is out now through all stores.

http://www.kingcolobus.com/    https://www.facebook.com/kingcolobus/

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

Astral Cloud Ashes – Too Close to the Noise Floor

Album Art_RingMasterReview

With three attention grabbing and imagination sparking singles under the belt, Astral Cloud Ashes unveil debut album Too Close to the Noise Floor. It is a collection of songs which arouse and serenade the senses, often simultaneously as the project’s mesmeric songwriting and emotive melodic elegance seduces.

Astral Cloud Ashes is the new project of Jersey bred songwriter/musician Antony Walker, previously better known as one half of the Channel Islands hailing Select All Delete Save As. Having already created music under the name ALPA, amongst other monikers, Walker quickly sparked attention to his latest project last year with first single Too Close To The Noise Floor, the now title track to the new album. Primarily a solo project but with backing vocalist Jason Neil a permanent fixture in the band, Astral Cloud Ashes draws on inspirations ranging from The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything as well as flavours bred in indie and alternative rock/pop. Equally though, the album shows bold ventures into more progressive and post rock pastures without losing the instinctive catchiness and melodic romancing found in those earlier propositions.

Mixed across its tracks by Gareth [The Fold], Edd HartwellPaul Miles, Daniel Szanto,  and Walker himself, with the mastering undertaken by Tim Turan, Too Close to the Noise Floor opens with The Man I Had To Become. Instantly a temptation of bubbling guitar captures ears, the coaxing quickly joined by a wave of rhythmic jabbing and a thicker weave of melodic guitar and harmonious vocals. It is a gentle yet boisterous affair easily whipping up the imagination and spirit with Walker’s distinctive tones the mellow flame within a more combustible web of enterprise. It is a great mix which marked those early singles but already seems to have blossomed within the album into a more adventurous and confident entangling of the listener.

The great start is followed by the album’s title track, Too Close to the Noise Floor showing a rawer, more imposing energy as it takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Punching its rhythmic and contagious essences home, it also carries a hazy climate to its atmosphere with the bass a deliciously throaty lure amongst nothing but virulent temptation. Embracing a XTC feel and Melvins like revelry, the track has body and appetite eagerly involved in swift time.

Grateful for the Ghost In Our House steps forward next and as the last track showed a more formidable presence to its predecessor, this song reveals a fiercer predation to its opening and subsequent invention within another wash of suggestive melodies and smouldering dynamics. Though not in the actual sound, it is easy to see where an influence of The Cure comes into play, Walker creating an emotional and musical drama which has the senses riding a roller coaster.

Recent single Get Real follows, strolling along with the ever present catchiness which Walker conjures with seeming ease across every track. Guitars pop and bubble throughout the song as rhythmic tenacity creating an anthemic frame to the vocal and melodic ingenuity before Flashback takes over. A calmer and mellower engagement but even more emotively forceful, the song caresses ears with a lone guitar melody before being joined by a heavily shadowed bassline aligned to a broader floating melodic enterprise. Vocally, Walker provides an introspective narrative as provocative as the poetic almost volcanic fuzziness of his guitar. Adding another individual shade and hue to the album, the track shows the broader landscape of Walker’s songwriting and an intimacy, whether personal or observational, which fuels his words.

With drummer Max Saidi guesting, Avant Blah! strolls boldly in next, its lo-fi pop ‘n’ roll blending Weezer infection with Pavement-esque invention while its successor Lites almost lumbers into view in comparison with the brooding bass and irritable riffs to the fore. In all songs there is a great repetitious quality brewed by Walker, here almost coming over drone like to great effect around the solemn melody and the similarly melancholic vocals. As it expands though, a wave of rich textures and rousing energies flood the song, returning throughout the low-key yet thickly enjoyable, almost imposing encounter.

The excellent This Once Great Place has an air of The Cure again with its atmospheric landscape, reminding of the A Forest/Pornography era of the trio across its own captivating journey before the equally impressive Housing in a Bubble makes a grab for best track with its more punkish/grungy roar of sound. Everything about it has a snarl not heard on the album previously; revealing more of the diversity the release carries whilst stirring up a fresh greed in ears and pleasure.

Our Holiday brings Too Close to the Noise Floor to a sombre and enthralling close, the track initially a dark sigh but soon building its own catchy canter loaded with spiky hooks and spicy melodies around another slightly foreboding and compelling bassline. Once more thoughts of Robert Smith and co are sparked but again as a flavour in something individual to Astral Cloud Ashes. It is a riveting end to a striking and increasingly impressive first album from Walker.

The clues to the project’s potential were there in its first trio of singles, and now confirmed and partly realised by Too Close to the Noise Floor. The feeling is that there is plenty more to come and to be explored within that promise, and going by the strength of this thoroughly enjoyable offering, we are all in for many treats ahead.

Too Close to the Noise Floor is released July 11th @ http://apple.co/1RFvoL8

https://www.facebook.com/astralcloudashes   https://astralcloudashes.bandcamp.com/   https://twitter.com/AstralCloudAsh

Pete RingMaster 08/07/2016

Copyright RingMaster: MyFreeCopyright

Astral Cloud Ashes – Flashback

Flashback (artwork)_RingMasterReview

Having made a strong and captivating introduction to itself with the single Too Close To The Noise Floor, the Channel Islands hailing Astral Cloud Ashes are about to follow up that success with Flashback. Providing another potent teaser to a forthcoming debut album, the new single also reveals another dynamic and colour to the project’s songwriting and sound. Whereas its predecessor was a lively stroll of infectious enterprise and energy, Flashback is a calmer and mellower emotive engagement and just as magnetic.

Astral Cloud Ashes is the new project from Antony Walker, one half of the duo Select All Delete Save As which especially earned deserved acclaimed with their album Ultra Cultura in 2014. Walker has been exploring his own solo creativity for a while, often under the name ALPA, amongst other monikers, but as quickly suggested by his first single as Astral Cloud Ashes, this new venture is one with the potential to match and even eclipse the previously mentioned ‘day job’ band. Sound wise Walker draws on inspirations from the likes of The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything for an indie/pop/rock persuasion, presumably self-tagged, as future-core.

Flashback caresses ears with a lone melody initially before the guitar is swiftly joined by a heavily shadowed bassline and floating melodic enterprise. At the same time, Walker provides an introspective narrative as gently provocative and ear pleasing as the harmonic embrace of sound around it. Guitar jangles, crisp beats, and emotive toning subsequently add to the web of alluring textures building the captivating proposal; a song wearing varying shades of The Lightning Seeds, Pavement, and Dinosaur Jr. to its melodic and evocative charm.

The track is a warm and fascinating encounter showing, as suggested earlier, another aspect to the band and offering another reason to keep an eager ear open for the first Astral Cloud Ashes album later this year.

Flashback is released May 4th across all major online distributors.

https://www.facebook.com/astralcloudashes/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Seprona – Trap Door

Seprona_RingMaster Review

Emerging in 2014, British indie pop/rock band Seprona is proving to be one of the new breed of bands lighting up the Liverpool music scene. Certainly they are one of the eagerly talked about and recommended propositions thanks to songs like new single Trap Door. A lively melodic romancing of ears with a catchiness to take care of the physical side of persuasion, the track is a broader invitation focusing on national ears to back up the fine live reputation already earned.

Initially locking themselves away in an abandoned pub on the outskirts of Liverpool city centre where they practised and honed their sound in conjunction with a prolific writing of songs, Seprona soon made their first step and subsequently mark on the local live scene. Since then they have ignited numerous venues like Sound City last May where they played with the likes of The Flaming Lips, The Vaccines, and Belle & Sebastian and at festivals such as FestEVOL alongside Serpent Power and Dave McCabe & the Ramifications. Musically inspirations from the likes of Arctic Monkeys, The Black Keys, Interpol, and Radiohead into a sound, go into their sound, spices which, going by the new single alone, nurtures an individualism which is also instantly ear friendly.

artwork_RingMaster ReviewNow in a development deal with Rooftop Records, a label owned by Parr Street Recording Studio’s Chris Taylor, which gives Seprona access to recording time as well as valuable mentoring, the band is ready to whip up more attention with Trap Door. A crystalline melody erupts around a pulse of beats first to entice ears, a coaxing soon enhanced as a brief cinematic sample emerges alongside the throbbing groan of Tom Larkin’s bass. Within another breath, the potent tones of Daniel Badger lay invitingly upon the melodic veining spreading across the song, his and fellow guitarist Sammy Issa’s poetic enterprise a gentle but potent suggestiveness for the imagination and emotions to embrace.

As boisterously mellow as it is, the song also has an infectiousness which is impossible to ignore. It is perpetual bait which is only highlighted further by the great framing rhythms of drummer Joe Grove, and with everything combined, plays its part in a weave of sound which, even as brief as the song is at under three minutes, leaves a lingering imprint.

Enthralled by the tantalising touch of Trap Door it is fair to say that we, as many more, are very much looking forward to hearing more from Seprona, something you cannot say about every embrace of sound you meet.

Trap Door is out now via Rooftop Records from iTunes and other online stores.

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Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

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Media Stres – E.V.I.L. II

Photo by Lucija Obadić

Photo by Lucija Obadić

Media Stres is an alternative rock band from Croatia which has already made some potent nudges on ears with their previous releases but now offers their biggest incitement on the broadest attention with new EP E.V.I.L. II. The five track release is the continuation of debut album E.V.I.L. (e-Virus Influenced Love), an encounter released in two parts with its second revealing the fulfilment and more of the potential fuelling earlier propositions.

Hailing from Cakovec, Media Stres emerged in 2012 drawing on inspirations from the likes of Biffy Clyro, Placebo, Muse, Royal Blood, and Punčke for their imaginative weave of sound ranging from alternative and progressive rock to post-punk and dirtier hues. Demo EP Fear and Panic was released in 2013 as the band unleashed their live presence and hunger which has since seen them play over sixty shows in Croatia as well as in countries such as Serbia, Hungary, Slovenia, Austria, and France. The first well-received part of the album, E.V.I.L. was unveiled in the December of 2014, an introduction for a great many to the band which quickly marked out Media Stres as a prospect to keep a close ear upon. Now the trio of guitarist/vocalist Karlo Komorski, drummer/backing vocalist Matej Obadić, and bassist Aleksandar Hutinec complete their first full-length with E.V.I.L. II, whilst setting down a new plateau to their adventure and invention, not forgetting compelling sound.

AlbumCover2_RingMaster ReviewWhereas its predecessor was themed by a narrative concerned with the impact of technology on society and how corrupt that society became with said technology, E.V.I.L. II is the exploration of people living in the shadow of two super states and having to decide to which of the two they belong. It opens up with the scene setting Nations and instantly bold rhythms from Obadić provide an anthemic lead into the waiting narrative, the gnarly tone of Hutinec’s bass quickly adds its suggestive tempting to the coaxing too. In no time the equally dramatic tempting of Komorski’s guitar stirs up song and air, providing a sonic breeze around the hypnotic lure of increasingly pungent rhythms. It is thick captivation crowding ears and appetite, one blossoming further as Komorski unveils the song’s tale with his potent vocals as the song bristles and feistily simmers with an essence of Muse and at times something slightly Manic Street Preachers like.

The outstanding start slips into the just as enthralling and quickly addictive Right or Wrong. Making a more reserved but no less gripping entrance with bass and percussive jabs early bait, the track is soon entangled in the sonic and melodic enterprise of guitar and a spicing which plays in many ways like a mix of Fatima Mansions and Interpol. The moment when the protagonists in the album’s story have to choose their homes, the track paints the drama of the situation with a fiery blend of contrasting textures and intimidating shadows which line every shaft of melodic light and infectious flume within the intensive oppression involved. A progressively lit slice of contagious rock, the excellent track is matched in success and drama by the grungier tones of Consolation and its Bowie-esque colouring to another rhythmically and sonically dynamic incitement. Even with its rousing rock ‘n’ roll, the song’s emotion is dark and fuelled by a loss of hope again enjoyably presented by the vocal expression and strength of Komorski whilst bound in the band’s provocative endeavours.

The break out of world war is the canvas for End Times, an apocalypse sound-tracked by the song’s lively canter with melancholic melodies and, as ever, powerfully alluring vocals and highly persuasive rhythms. The song is persistently boisterous in its gait, its swing a perfect temper and spark to the solemn weave of words and emotions cast in something akin to The Smiths and Teardrop Explodes with again that Fatima Mansions like creative spicing involved.

Hope with its brooding climate spawned from the initial magnetic groan of bass completes tale and release. Shadows again encroach alongside the scything strikes of guitar and rhythmic rumblings whilst a solemnity coats the sultry melodic tendrils veining the rebuild of a desolated land and an increasingly receptive imagination to the invention and evocative theatre of Media Stres. The track is superb, matching all that came before and leaving a lingering compulsion for ears and thoughts to keep E.V.I.L. II alone a persistent companion.

The first EP of E.V.I.L. was an impressive and resourceful adventure but its successor simply overshadows it in every aspect. Media Stres may still be a secret yet to be discovered by a great many but expectations and hopes are that the band is set to receive the full attention and support their striking invention and music undoubtedly deserves.

E.V.I.L. II is available now @ https://mediastres.bandcamp.com/album/e-v-i-l-part-2

http://mediastres.com.hr/   https://www.facebook.com/MediaStres/

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

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This Burning Age – Desolation

this-burning-age-ep3-desolation-band-photo-5th-day-records-2015_RingMaster Review

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.

this-burning-age-ep3-desolation-5th-day-records-2015_RingMaster Review   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

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Bare Traps – Inside

Bare Traps - Inside_RingMaster Review

Following up the sizeable impact their debut single made with its release this past July, UK indie popsters Bare Traps have released a worthy successor called Inside; a song easy to expect earning similar reactions to those lured by the Every Time. Bursting with a melodic smile and funk bred rhythmic hips; the song is one feel good involvement for body and emotions.

Hailing from London, the quartet of vocalist Mikey Brown, guitarist Luke O’Gorman, bassist/keyboardist John Grant, and drummer Scott Dillon have drawn on inspirations from the likes of Blood Orange, The Smiths, Foals, and Chic for their sound, a mix which if exactly not in sound, in feel and texture you can certainly relate to as Inside incites instinctive festivity. Debut single Every Time took little time in sparking attention and support, its lively magnetism of melodies seeing the song entice over 5,000 plays on SoundCloud and rising to 7 in the Hype Machine Twitter Charts. Gearing up to unveil their first EP, recorded as the single with John Davis (Bloc Party, Led Zeppelin, The Maccabees, Arctic Monkeys, Beady Eye), Bare Traps now raise the ante with the even more danceable Inside whilst revealing a little more of the diversity seemingly bubbling away in their songwriting and sound.

The song opens on a shuffle of guitar enticing and rhythmic coaxing, that gentle but potent bait continuing as the bass opens up its dark throat and beats begin to bring livelier energy to their enterprise. The voice of Brown has a strong and distinctive expression to its tone, a texture aligning well with the smoother swing of keys and the guitars. With the pungent rhythms it all adds up to an inciting contagion which swiftly has feet and appetite in eager involvement. A whisper of an eighties bands like Heaven 17 and China Crisis hint at older minds across the enchantment of the song but equally it has an indie jangle and resourcefulness which resembles the essence of Foals and a little at times of Interpol.

Inside is also a grower, a song which just seems to gain more character with every listen and placed alongside Every Time, it is already easy to suggest Bare Traps has the potential, craft, and imagination to make a big impact ahead.

Inside is out now via iTunes.

Pete Ringmaster 22/09/2105

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