Go Primitive – 100 Ways EP

Pic MARIANNE HARRIS

Pic MARIANNE HARRIS

If you are looking for a slice of rousing alternative rock then taking a punt on the new Go Primitive EP would definitely be a good move. Featuring five tracks which seriously stir ears and appetite alike, the release is a sparkling offering from a UK band heading towards strong attention. Admittedly the 100 Ways EP employs many recognisable flavours within its tapestry of creative contagion, but what it lacks in major surprises it heavily makes up for in fresh adventure and creative tenacity.

Hailing from Rugby in Warwickshire, Go Primitive has been making a potent name for themselves locally and further afield, luring in an increasing horde of fans and media attention. Live the quartet of guitarists/vocalists Tomm E Williams and Adam White, bassist Dan Teale, and drummer Ben Goodwin has earned a reputation for adrenaline fuelled live performances, sharing stages with the likes of Mallory Knox, We Are The Ocean, The Subways, Lonely The Brave, Hawthorne Heights, and Yashin along the way. Now they are set to provoke national spotlights and support with the Romesh Dodangoda (Funeral For A Friend, The Blackout, Kids In Glass Houses) produced 100 Ways, a success easy to see being within its highly enjoyable persuasion.

It opens up with Breathe In, Bleed Out Go and instantly fires up ears and imagination with a rousing vocal roar against firm beats and the inflamed tempting of guitars. It is a relatively restrained but rich start quickly working on thoughts and emotions, expanding its potency as fiery melodies collude with shadowy rhythms within the persistently provocative vocal cry. References have already been made to bands such as Lower Than Atlantis, Mallory Knox, and Don Broco when talking about Go Primitive, suggestions easy to understand from the opener alone.

100_Ways_RingMaster Review   Its impressive presence is soon eclipsed by the excellent In A Band, a slice of rugged pop rock with a host of addictive hooks and tenacious enterprise around the excellent vocal union of Williams and White. The track is pure temptation; every lick of a riff, swing of a beat, and dance of a syllable virulent incitement impossible to avoid getting physically involved in let alone ignore.

The Sun Will Rise takes over next, its more fiery textures and sonic tone also a swift invitation with inescapable bait laid down by the anthemic craft and jabs of Goodwin. The bass of Teale is a darker coaxing too, it’s throaty prowl less intrusive but just as magnetic in the captivating emotive croon of the track. With a great tempestuousness to its air and touch, the song carries a volatile edge which hints at more than it realises but adds tension and attitude to the stormy music surrounding the excellent vocals.

The EP’s most virulent moment comes in the niggling hook of Save Your Self, it initiating the quickly blossoming slice of sinew crafted and melodically spicy rock ‘n’ roll. The track is another highly persuasive and anthemic stomp tempting feet and emotions with a web of nagging grooves and spidery sonic imagination, perpetually veined by an infection of rhythms and repetitious invention not forgetting that gripping first enticement.

Coming to a more than solid close with the highly flavoursome and emotively honed What You Pay For, an initial seeding of creative prowess which blossoms to greater and more riveting success with every listen, 100 Ways is a thoroughly enjoyable and exciting introduction to Go Primitive. It is hard not to imagine, as the band grows and evolves a more unique sound, that they will further come into their own and truly stand out on the crowded alternative rock landscape. More of the same next time would go down rather well too though.

The 100 Ways EP is out now @ http://goprimitive.bigcartel.com/product/100-ways-e-p

http://goprimitive.co.uk/   https://www.facebook.com/GoPrimitiveUK   https://twitter.com/goprimitive

Pete RingMaster 02/12/2015

Copyright RingMaster: MyFreeCopyright

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Calling Apollo – Hunter |Gatherer

Picture 134

Though not a slow burner, the five track encounter making a potent impression first time around, it is fair to say that Hunter |Gatherer from UK quintet Calling Apollo just gets bigger and more impressive over each and every listen. It is a proposition which suggests that its creators is still a band evolving and discovering their ultimate sound but powerfully hinting that when they do it will be something to get very excited over. To be honest Hunter |Gatherer is already an attention grabbing proposal which whips up a keen appetite and anticipation in return for its mix of familiarity and fresh invention; the EP a potent step in the full emergence of one very promising band.

Rising from Cardiff towards the end of 2012 as a quartet, the band spent time creating and honing their sound inspire by artists such as Deftones, The Cure, Funeral For A Friend, Thrice, The Doors to Kings Of Leon, Nine Inch Nails, and Muse amongst many. Vocalist Christian James Neale was recruited early the following year before the five-piece hit the live scene, starting with a show in Newport which earned rave reviews. This was followed by the release of the band’s debut EP Vessels; an encounter self-recorded in a tiny box bedroom in Barry and released as a free download to great responses. In 2014, Calling Apollo ventured into the studio for the first time, recording the Clone City/1945 single. It was a greedily received offering by fans and underground media alike, a success easy to see repeated and more by Hunter |Gatherer.

Picture 133   The release opens with the meaty tones of Hunter, riffs and rhythms a pungent proposal from the off entwined with inviting melodic strands of guitar. Though there is a recognisable air to the song quite early, its busy enterprise and imagination means there is a strong unpredictability to the encounter. The vocals of Neale instantly hold attention, his presence with a melodic embrace around him bringing a Placebo essence to wrap the robust rhythms of drummer Zak Woolf and bassist Luke Walters. The pair in turn provide an anthemic but also tempestuous canvas for the guitars of Kevin Williams and Dan Hughes to colour and spiral from whilst rawer backing vocals compliment Neale to good effect. The song does not leap out at the imagination and emotions as maybe it should have given its creative endeavour, but it certainly awakens keen interest which is more heavily inspired as each subsequent song comes forward.

The following In This City makes a gentle guitar caress on ears initially, its melodic romance swiftly reinforced by the mellow tones of Neale. As it entices, the pairing breeds a rising intensity which erupts in a controlled but tempestuous stroll of agitated rhythms and sonic tenacity. Once in full swing the track is a captivating contagion of emotive expression, revealing the one reference which dominates all when describing the band’s sound. Though there is a great variety to the music, it is Billy Talent which this and following songs most remind of, Calling Apollo sculpting the same impassioned, hook loaded adventure the Canadian band is so adept at

The outstanding encounter makes way for Chemical Breaker, a song which also makes a restrained entrance equipped with radiant melodies and stirring rhythms before boiling up into a more turbulent and engrossing proposal. Though it does not constantly have the same dramatic spark as its predecessor, it is a track which becomes more volatile and fascinating minute by minute and over time, setting up emotions and a now hungrier appetite nicely for the closing pair of richly enticing songs.

Monsters has moments where its potency is more diluted than in other instances within its body but when bounding along with boisterous and dynamically striking enterprise it is a mouth-watering exploit. Even its less fiery essences provide an enthralling incitement to be held firmly by. Melodies and vocals never lack emotive energy whilst the more controlled aspects of the song where the band for personal tastes could have pushed themselves into darker more unpredictable waters, do not hang around long enough to defuse the aggression and voracity of sound and song.

Enjoyable as it is though, Gatherer quickly outshines its predecessor, its opening breeze of melodic coaxing around a shadow kissed bassline tantalising. The lure only thickens as floating harmonies and the voice of Neale open up the narrative, bringing one irresistible hook in voice alone to the chorus. The absorbing song continues to hug the web of guitar intrigue and craft wrapping ears, its reflective elegance a warm breeze eventually heading into a more rugged wind of energy and intensity to bring even greater pleasure. The track is a fine end to a thoroughly engaging release.

Produced by Romesh Dodangoda (Kids In Glass Houses/Funeral For A Friend), Hunter |Gatherer is a highly satisfying next step for Calling Apollo. It comes loaded with potential and a hope that the band really kicks on and boldly explores their already quite individual sound. Those hints of uniqueness within the release, combined with more familiar yet potent influences, makes EP and band a must check out recommendation.

Hunter |Gatherer is available now via Signal and the Noise Records via https://callingapollo.bandcamp.com/album/hunter-gatherer

https://www.facebook.com/CallingApollo

RingMaster 26/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

ELESSAR show ‘Arrogance’

Elessar Online Promo Shot

Spanking new energetic Punk pop crew Elessar nationally release their brand new video for ‘Arrogance’, out now and viewable at…

https://www.youtube.com/watch?v=-RErpG6UC5k&feature=youtu.be .

 

Gloucestershire new guns, Elessar, are braced to stamp their own imprint on the currently buoyant Brit-rock scene with their stunning brand of contagious punk rock. By pulling from the powers of Kids In Glass Houses, Blink182 and Taking Back Sunday, the South-West crew unleash a captivating sound that warrants attention.

 

Formed in 2015 by school friends, Ricky Powell (Vocals and Guitar), Alex Evans (Guitar and Vocals), Jack Gambling (Bass) and Dan James (Drums), the four piece melodic punk rock outfit have wasted no time in hitting the live circuit. Already, the band have been praised for delivering energetic live performances and have wooed audiences from Newcastle, Leeds, Manchester and London to Exeter and beyond.

 

The ascending tunesmiths have now just finished working on tracks with esteemed producer Romesh Dodangoda (Funeral For A Friend, The Blackout, Kids In Glass Houses) and the first of which, ‘Arrogance’, will be nationally released this May. ‘Arrogance’ showcases the band perfectly with a truly delectable hook that is duly supported by weaving riffs. These punk rockers wield a sharp knack for killer melody, and with key management now in place courtesy of UAC, big things will happen this year. Stay glued to Elessar’s sites for announcements.

 

Watch ‘Arrogance’ right now at

https://www.youtube.com/watch?v=-RErpG6UC5k&feature=youtu.be

https://twitter.com/Elessaruk https://www.facebook.com/ElessarBandUK

Leopards – Future||Fate||Forever

Leopards Online Promo Shot

It seems like we have been enthusing over a torrent of impressive debuts from and introductions to truly promising bands this year already, and taking their place in that list is certainly UK alternative rock band Leopards who are about to unveil their new EP Future ||Fate ||Forever. A five track blaze of melodic rock infectiousness and alternative tenacity, the encounter is a highly appetising and imaginatively crafted adventure which maybe does not quite push the band head and shoulders above a flock of similarly flavoured propositions but definitely allows the band’s presence and potential to shine and grab attention.

The Manchester quintet emerged in 2010, weaving in inspirations from bands such as Mallory Knox, Don Broco, Natives, and Lower Than Atlantis into their own fresh ideation. Their live presence was soon putting the band on the map locally as did with broadening success early releases, though it was the release of the track Have Heart last year that a wider attention was nudged. It is a spotlight easy to see being properly awakened by the Romesh Dodangoda (Kids in Glass Houses, Funeral For A Friend and Twin Atlantic) produced Future||Fate||Forever hereon in though.

That notion is soon raising its suggestiveness with opening track Save Yourself. In a single breath the potent rhythms of drummer Rhys Gibson are framing a blaze of melodic enterprise cast by the guitars of Ben Corbett-Mills and Craig Henderson, through which a just as flavoursome bassline from Billy Fletcher adds its shadowed expression. The strong start relaxes in intensity as the swiftly impressing vocals of Jenna Clare begin unveiling the song’s narrative, a dip embracing her warm tones but keeping the already fascinating character of the song as potent as before. The PromoImage-2-600x599feisty hard rock weight and energy begins lapping over ears with tidal regularity as the whole song progresses, ebbing and flowing across its length and around the broadening enterprise of guitars and vocals. Speared by the rhythmic tenacity of Fletcher and Gibson, the track continues to grow, edging nearer to a climactic chorus which steals the song’s show ultimately as Clare roars with passion and a melodic tang which grips her delivery.

The impressive start continues to hold ears and attention tight as both Promise Me and Take Control dance with creative vivacity over the senses. The first of the two twists and flirts with a pop rock invention and unpredictable imagination next, occasionally stopping in its tracks for brief seconds to wrong-foot and spark new adventure to the superbly spun sound. Aligning itself to this is an anthemic bellow which again finds its focal point through a pungent chorus that easily recruits the listener’s own endeavours to its cause. Its successor bounds in with similar energy and creative hunger, and again is unafraid to shuffle up its attack and flavours. It is, as the EP, probably fair to say that the songs are not creating new templates for alternative and melodic rock, but equally they bring a fresh and invigorating proposition which leaves pleasure full and interest in Leopards eager.

The outstanding Broken Family steps up after, this a song which in some ways draws on the existing qualities and successes of the previous songs on the EP to shape its own infectious temptation. There is maybe a touch of similarity across the quintet of songs as well as an unmistakeable Paramore essence, but each and proven powerfully here, explores its own distinct and captivating identity whilst keeping ears and emotions firmly enthused. The catchiness of the song is irresistible pop rock at its most potent, firing up body and imagination ready for the closing charms of April. The final song emerges on an almost tribal spread of rhythms, Gibson instantly enslaving an instinctive like as Clare croons with siren-esque elegance within the melodic hug of guitars aligned to darker bass shadows. Once again Leopards hold attention and pleasure in the palm of their creative hands, something Future||Fate||Forever does from start to finish with ease.

The EP is a thoroughly enjoyable first major prod at national attention, and confirmation for those in the know that Leopards is a band with very healthy and impacting horizons just waiting for them if they want them.

The Future||Fate||Forever EP is available from February 23rd physically @ http://leopards.bigcartel.com/product/future-fate-forever-physical-ep and digitally through all stores.

http://www.weareleopards.co.uk/

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

 

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Syren City – Escape EP

Syren City Online Promo Photo

Seemingly labelled as post hardcore, UK rockers Syren City has a sound which almost defies tagging as it employs a wealth of rich flavours such as punk and metal through to alternative and hard rock, and that is still only scratching the surface. It makes for a rousing incitement as evidence by their new EP Escape, a release which is best described as one almighty roar. Consisting of five tracks which twist with the flair of a pole dancer and has more moves than a senses ravaging roller coaster, the band’s new proposition is quite simply a ferociously compelling and thrilling adventure.

Hailing from Bristol and formed in 2011, Syren City took little time to light up venues around Wales and England, supporting the likes of Turbowolf, The Alarm, Max Raptor, Futures, Young Legionnaire, Attack Attack, and Blitz Kids, whilst festival appearances has seen them share stages with bands such as Brand New, Don Broco, We Are the Ocean, Mallory Knox, Kids in Glass Houses, and Feed The Rhino. Their live performances and their impressive portion of a split EP with fellow Bristolians and metalcore band Koshiro, has led to keen anticipation for Escape, an appetite fully fed by the impressive collection of contagious anthems.

The band hits top gear straight away with opener Bleed. It is a rampage of a song, heavy hitting and rigorously coaxing rhythms from drummer Louis Catlett aligned to the throaty lure of Adam Armour’s bass, an irresistible entrance soon PromoImageenhanced by the scything riffs and chords provided by guitarists Ian Chadderton and Adam Hopton. Instantly there is a feel of Foo Fighters to the muscular persuasion which increases as vocalist Simon Roach reveals his strengths. With gripping backing vocals and shouts adding to the incendiary array of hooks lining the charge, there is also an essence of Max Raptor and the now defunct Always The Quiet Ones to the stomp though all mere spices to something openly distinctive to Syren City. The track continues to set a fire in ears and emotions, its unpredictable invention and side steps in its imaginative emprise as swiftly addictive as the face on tempest of aggression and melodic enterprise.

The stunning start is followed by Our Disease, another track taking mere seconds to seduce senses and passion with its vocal bellow. This bait leads into a punkish antagonism in voice and sound before it in turn evolves into a hard rock stride. As it predecessor, the song mixes up gait and attack with seamless and skilled resourcefulness, never relinquishing its grip on ears and imagination with its increasingly catchy and enterprising temptation. It does not quite match the opening triumph, due to the majesty of that song, but easily ensures that the EP continues to inflame body and emotions as does its successor Fire In Your Name. The third song unveils an enticing sonic groove straight away which rapidly makes way for the potent lead and backing vocal mix, before returning to bind a stroll of punchy beats and raw riffs. As with most songs, that earlier mentioned post hardcore essence is a rich colour to the canvas of the track, but as with all it comes soaked in variety and diversity, melodic hues and a metallic sonic veining adding to the pop punk seeded emotive howl of the song.

The treats keep coming as Long Way Down enters the affair next. The blend of raw and aggressive confrontation within Roach’s predominantly melodic coloured vocals alone make a rigorously enticing offering whilst grooves and hooks in the heavily swinging tempest of the song, only add to its addiction sparking tendencies. The track shows a more savage side to the band’s sound and songwriting whilst still embracing their melodic natures; providing yet another highlight before final song Asphodel brings it all to an infectious close. Revelling in a hard and melodic rock web of enterprise, the song bulges with rhythmic sinews and fiery sonic endeavour whilst vocally Roach impresses once more as does the contributions of the band in the same department. At times raging with nostrils flaring and in others an evocative croon, the track is a mighty end to a similarly impacting release.

Escape is a riveting encounter from a band easily living up to the buzz around them whilst even in its impressive presence and success, revealing the potential for much more in Syren City.

The Escape EP is available now @ http://syrencitymerch.bigcartel.com/

https://www.facebook.com/SyrenCity

9/10

RingMaster 15/09/2014

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Midday Committee – Girls In Open C

newpromo

UK pop punks Midday Committee continue their steady and increasingly impressive emergence with new release Girls In Open C, a six track plus intro mini album of melody rich emotively designed pop songs with a raw edge to their presence and energy. There has certainly been a buzz around the Portsmouth quartet across the south of England for their vibrant presence, shows with Kids In Glass Houses, Lower Than Atlantis, Mallory Knox and Verses adding to their strong stock, but with a newer grazing glaze to their sound that attention threatens to spread much further afield through the new release. Arguably there is nothing dramatically new to the songs upon the release, a familiarity always making its hints to stop the band from distinctly standing apart from other similarly genre clad bands, but equally there is a craft and passion not forgetting creativity to the foursome which ensures they are not just another easily forgettable proposition. With songs which linger and hooks that dig in deeply to prolong the potency of tracks long after they have finished their declarations, Midday Committee warrant eager attention.

Formed towards the end of 2010, the band has been through the expected line-up changes in its initial growth as well as less assumed happenings like near fatal accidents involving Jet Ski’s to build a presence with the prowess to turn heads and light fires as their increasingly potent fanbase proves. Their previously two EPs, Nice Kids, Bad Judge Of Character in 2011 and I’m Sure Someone Mentioned A Cheque the following year, marked out the band for acclaim and attention but it is fair to say that the Matt O’Grady produced Girls In Open C sees the band at a new level in songwriting, sound, and craft. As all good pop punk proposals, the songs making up the release are as anthemically infectious as they are melodically bewitching, whilst the heart and passion of the band soaks every note and syllable so that the release may not be unique but it is undeniable contagious and a long term engagement.

From a fourteen track Intro which maybe has been given a track listing of its own just to say there are seven offerings on the release (too Frontcynical?), things start properly with I Swear To God I’m Going To Pistol Whip The Next Guy Who Says Shenanigans, a track which emerges from the coaxing of that potent brief starting piece. The guitars of Rich Sanders and Keiran Heath cast a pleasing graze of riffs and sonic tempting across the ears but it is the great throaty tone of Adam Hall’s bass which steal the initial focus most of all. That is until the excellent vocals lay their compelling hand on the suasion. Whether it is Sanders or Heath which leads the narrative, both driving the vocals together across the release, we cannot say but it is hard not to take to the delivery as keenly the potent sounds around them. With the drums of Kurtis Maiden a respectful but thumping protagonist to it all, the song makes a powerful marker for the release to follow. Melodies and hooks do not demand but command a healthy appetite towards them whilst the accomplished stance and flavoursome weave of enterprise just catches the imagination.

Maybe I Should opens up with a similar melody to its predecessor though it is soon courted by distinctly different rhythmic bait and guitar sculpted endeavour. As the first everything from the individual skills and united melodic enticement is easily accessible and infectious though the track does lack the spark of its predecessor, that little something to lick at and tease the passions into a stronger submission. Nevertheless with precise hooks and good group vocal calls the track continues the strong start with ease which Casino through a slower emotive showing matches. The shadowed dark tones of the bass once more seduces whilst the emotionally atmospheric caress of vocals and guitar bring senses and emotions thoughtful satisfaction which is lit further by the ever catchy choruses.

The pair of the virulently infectious and inventively bright Hometowns and the eagerly vivacious in energy and charge Game’s Been Called, keep spirits lively and pleasure intense, both rife with addictive hooks and ear seducing melodies all coming with a bite and edge to captivate further. Again there is that definite surface familiarity across songs which prevents some tracks leaping out as they should but beneath that with focus there is plenty simmering and subtly inventing within songs which ultimately stand out, and in the case of the second of these two with an open blaze of dramatically imaginative persuasion leaning into a classic closing vocal lure.

The release is finished by the excellent Just Me And You which features Christina Rotondo of the also impressive and well worth checking out Searching Alaska. The song starts out as an acoustic embrace with simply bewitching dual vocals which alternately embrace the senses. The track is a delicious encounter which if remaining in this state would have brought the curtain down to a rousing applause but once the vocals hold hands and the rest of the band flesh out their emotive hues, the track becomes an evocative fire.

It is easy to see why Midday Committee is highly thought of by a great many and with Girls In Open C expect them to move into a more intensive and deserved spotlight. The release also suggests that the band is still evolving with plenty left in them to discover and explore which has anticipation already quite excited.

Check out the video for Hometowns @ http://www.youtube.com/watch?v=LUQwO5_evP8

https://www.facebook.com/Middaycommittee

http://middaycommittee.bandcamp.com/

8/10

RingMaster 07/04/2014

Copyright RingMaster: MyFreeCopyright

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My Favourite Runner Up – Crossroads

My Favourite Runner Up Online Promo shot

     Everything about Crossroads, the debut album from Welsh rockers My Favourite Runner Up is big; massive choruses and hooks matching an equally hefty energy, but most of all it provides big satisfaction with its superbly crafted songs. The band’s previous EP Thoughts, Feelings, Actions impressed and thrilled upon its appearance in 2012 but it was just a taster of things to come as shown by this resourceful stomp. The new album takes all the striking elements found on its predecessor and twists them into even catchier irrepressible temptations but equally it shows a greater maturity in the songwriting of the band. It is fair to say there is a sense of familiarity to the blend of pop punk and rock which breeds their songs but the quintet delivers it with such resourcefulness and adventure that they leave most others in the shade.

    My Favourite Runner Up began in 2006 and taking influences from the likes of New Found Glory, Jimmy Eat World, and Mayday Parade into their emerging sound were soon drawing attention and positive responses. They built a potent fanbase and reputation through their live performances, shows with the likes of Madina Lake, Mallory Knox, Kids In Glass Houses, Cerys Matthews, The Blitz Kids, Kids Can’t Fly, Bury Tomorrow, The Hype Theory, I Spy Strangers, and many more marking the past years. The band recorded their debut EP in 2010 with producer Romesh Dodangoda who has recorded all subsequent releases with the band. It and the following Thoughts, Feelings, Actions brought eager acclaim upon their presences, the second especially stirring up impressive critical responses and airplay. Now building on a busy 2013 for the band of touring and playing shows, My Favourite Runner Up’s first full-length is poised to push the band into an intense spotlight, an easy assumption such its rousing qualities.

     Crossroads flies from the blocks with the excellent opener Light A Fire, guitar strokes and pulsating drum beats from CDBO06.pdfThomas Carr waking up the ears before the band uncages a contagion of sharp hooks and storming riffs with the lead vocals of Christian Evans laying down another strong lure within the web of enterprise provided by the guitars of Andrew Towell and Tom Hawkes. The song strides confidently throughout, at times showing restraint in its overall lively charge but constantly leaning persuasively on the senses with exciting dynamics and melodic potency. It is a tremendous start to the release immediately backed up by the new video single from the album, Poison. The second song swings into view with a swagger to the guitar and smile to the voice of Evans. Like a middle weight boxer dancing on its feet, the track bounces and leaps around the imagination with virulent infectiousness, the flames of guitars shadowed by again thumping rhythms and the dark tones of bass of Lee Walker.

   Both Never Again and Love Comes First march with large strides into the emotions, the first an emotively carved blaze of melodies and harmonies, the songs continuing to be blessed with great group combinations vocally. The song is more of a reflective stroll musically than its predecessors but still embraces excitable energy and keenness building to a huge anthemic chorus, a constant trait the band leaves most other similar bands sounding quite pale against. The second of the two raises the pace again, its ridiculously addictive chorus with equally epidemic vocal coaxing from Evans irresistible. Guitars and beats romp with skill and mischief in the ears but also with an invention and imagination which reveals the depths of the band’s thoughtful songwriting. It is one of the major pinnacles on the album standing boldly aside the opener and the following No More Fight within a wholly elevated range of triumphs. The next song has a stronger punk intensity to its body but does not lack any of the melodic endeavours and infectiousness of others whilst providing a scintillating groove to further ignite the imagination.

     Through the sublimely magnetic title track, a song with another chorus impossible to resist contributing to, the passion drenched Your Own Worst Enemy, and the compelling Storytelling the album continues to burn and entice brightly, the trio of songs individual in sound and character but united in uncaging hooks and melodies which simply seduce the strongest hunger in an already enraptured appetite for the album’s might. It is easy to wax lyrical about Crossroads when songs like this leave no ardour kissed reaction and pleasure unused.

     With an album of such high standards maybe slips in appeal if not quality are inevitable and with Scars and Better Without You, the band does miss the high mark set previously. To be honest there is little to dismiss the pair over, their craft and presentation undeniably impressive but both lack the same spark and adventure of their companions, thus failing to linger in thoughts and emotions. Home though ensures the album ends powerfully, almost combative rhythms and melody bred flames framing and flaring around the ever strong vocals whilst Walker saves his best bassline for this closing treat. It concludes a towering triumph of an album which suggests My Favourite Runner Up has the potential to be the next big thing UK rock proposition. Crossroads is one of the most enjoyable and impressive pop punk/power pop albums heard in quite a long time, if not the best.

www.facebook.com/myfavouriterunnerup

9.5/10

 RingMaster 13/02/2014

 Copyright RingMaster: MyFreeCopyright

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