This City Limits – Here’s To Hoping

This City Limits Promo Shot_RingMaster Review

Much as recent single Too Scared To Swim took its time to seduce and fully tempt, so too does the new EP from UK melodic punks This City Limits. As that first teaser for its release, Here’s To Hoping ultimately succeeds in awakening a very healthy appetite for and strong enjoyment of its vibrant clutch of songs. This City Limits has a sound which maybe is unlikely to blow ears away first time around, but it rouses attention, tempts further investigation, and as found at The RR, becomes a lingering enticement; a success any band would embrace with eagerness.

Formed in 2014, the Leeds band consists of brothers Will (vocals, guitar) and George Turner (guitar), alongside Rob Burns (bass) and Josh Peters (drums). Their debut EP Brittle Brass & Broken Bone raised potent attention which was further inflamed by the singles, Amputate, Colourblind, and most of all, the aforementioned Too Scared To Swim. Each has lured fan and media attention, good radio play too which is sure to continue as Here’s To Hoping works its charms. Produced by James Hill, the EP is an accomplished slice of pop ‘n’ roll with attitude and steely endeavour its fuel.

This City Limits Cover Artwork_RingMaster Review   It begins with Thief and an immediate tempting of melodic guitar amid an emotive wash of sound. That parts as the enjoyable vocals of Will bring harmonic warm and emotional reflection to the emerging hug of gentle sound, though both aspects soon brew up into a fiery nature and flame brightly against the darker hues of bass. It is a magnetic affair luring ears and imagination with ease, even if maybe not exploding fiercely enough in its angst lined expulsions of passion. Growing with every passing minute in potency and impressiveness, the track seizes an appetite for its enterprise before allowing the infectious rousing of Too Scared To Swim to stir things up even more. With understated but strong hooks lining the melodic and harmonic walls of the certain crowd pleaser, the song canters along with a feel good factor in its heart and feisty nature to its energy, resulting in a stroll of pop punk to get fully involved in.

The calmer emotive croon of Runaway follows; its air intense and melodies inflamed whilst passion runs through it. Without setting a major fire, ears and emotions find themselves coaxed and drawn into the heart of the song, more often than not, vocal chords adding plaintive tones to those of the band as the track makes a smouldering and infectious persuasion. Equally there is no escaping the individual skills of band members; from vocals to guitar, bass to drums, each texture and imaginative twist is built for seduction as shown again by the final pair of tracks.

Neither song ignite personal tastes as fully as those before them yet with its provocative vocal and sonic hues aligned to robust rhythms, Saltwater fascinates and fully pleases whilst the melancholic serenade of So This Is Home, from a string blessed initial sigh, grows into a tenaciously dramatic and dynamic outpouring of craft and sound. It is fair to say that both songs only leave satisfaction full and enjoyment gripped, a success now expected as a minimum from any This City Limits endeavour.

Each listen to Here’s To Hoping leaves it impressing more but still there is feeling that they are in the midst of their journey to uniqueness and the realisation of all their potential. Theirs is a sound looking towards coming of age at some point, a potential and possibility ensuring each upcoming encounter will be keenly anticipated by a great many. Right now though, if bands like Mallory Knox, Lower Than Atlantis, and We Are The Ocean appeal than This City Limits’ EP is very worthy of attention.

The Here’s To Hoping EP is released November 13th through all stores.

Pete RingMaster 13/11/2015

Copyright RingMaster: MyFreeCopyright

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This City Limits Online Promo Shot_RingMaster Review

Energetic Yorkshire rockers ‘This City Limits’ have released their stunning new video ‘Runaway’. The single is taken from their blistering new EP ‘Here’s To Hoping’, which is out on Friday 13th November.

Check the video here –

This City Limits have already picked up glowing comparisons with bands ranging from Mallory Knox and Lower Than Atlantis to the likes of Rise Against and Brand New. The Leeds-based foursome unleash an intoxicating blend of hooks and refrains merged with vigor, power and thoughtful expression.

Formed in 2014, the band consist of brothers Will Turner (Vocals, Guitar) and George Turner (Guitar), bassist Rob Burns and drummer Josh Peters. In April and July 2014, the quartet released two singles, ‘Amputate’ and ‘Colourblind’, receiving keen attention from national press and radio. Since then, This City Limits have spent time working on their increasingly frenetic live shows and growing their fan base, gathering support along the way from figures such as Christian Carlisle of BBC Radio Sheffield and Tom Robinson of BBC 6 Music.

This City Limits’ current single ‘Too Scared To Swim’ was premiered by Big Cheese Magazine, and also picked up strong support from a wide range of radio stations and online publications. In support of the release, the band performed relentlessly over the summer, including shows at festivals such as Blissfields, Tramlines and Clarence Park. The guys now push on with the national release of their new EP ‘Here’s To Hoping’, which includes the stunning follow-up single ‘Runaway’. Stay tuned to the band’s website for details of upcoming tours.


Koshiro – Crown Of Venom

Koshiro Promo Picture_RingMaster Review

Starting off well and just getting creatively bigger and bolder over its six tempestuous tracks, the Crown Of Venom EP from metalcore quintet Koshiro, pretty much reflects the emergence of the British band. Making a good and potent impression with the first release, the band has continued to grow into a formidable proposition on the underground metal scene. Whether their new EP is enough to push them into the thicker glare of the broader metal scene time will tell, as it still suggests there is plenty more from the band to come in greater originality and ingenuity, but it will forcibly remind that the Bristol fury is around and getting stronger and more sonically vocal.

Formed in 2010, Koshiro quickly drew attention and loyal local support with their fierce yet melodically fiery sound. Their self-titled EP of 2012 and a handful of singles around and since it have nudged wider attention with plaudits increasing in turn, whilst live the band’s reputation has similarly only grown, shows with the likes of Feed the Rhino, TRC, Lower Than Atlantis, The Safety Fire, Blessthefall, Malefice, I, The Breather, and LIFERUINER part of their emergence over the years. Crown Of Venom though, is a new big step for the band; in songwriting and imagination it easily outshines all before and musically reveals the band as mentioned earlier, bigger, bolder, and creatively busier. In the words of vocalist Ben Errington, “These new songs are both the most chaotic and the most heartfelt we’ve ever put together. There are tracks on this record that I never thought we’d be capable of; we really wanted these songs to capture our live sound perfectly but take it to the next level, really expand upon our grand ideas which have progressed from our past singles ‘Malevolent’ and ‘Guts Guilt Greed”.

Koshiro Cover Artwork_RingMaster Review     The EP was recorded with long-time collaborator Kevin Peters and opens with the thickly atmospheric, slightly portentous air of Green and Gold. Strings seep elegance and melancholy in equal measure whilst the ever strong tones of Errington share the emotive heart of the track as haunting keys cup his expressive voice with cinematic resonance. It is a potent coaxing into the release and the following King Of Snakes, if a start which does not light any particular fires outside of intrigue despite the prowess of all. Its successor quickly provides a bigger temptation, its initial breath Tricore like with again Errington providing rich bait as around him the guitars of Ben Bone and Thomas Clark begin sculpting a provocative and spiky weave of riffs, grooves, and sonic confrontation. The expected storm does not materialise despite ire and aggression lining all aspects, with the swiping beats of Craig Rudman especially intimidating and again the song does not hold the spark to get the blood raging through veins but with inventive enterprise and fine fluidity to its subtle and bigger twists of gait and ferocity, the song keeps ears and appetite easily on side, especially with its rousing anthemic calls, before being eclipsed by Necromancer.

As suggested, the EP improves and gets more fascinating with each subsequent track, and so as the first pair pleased, Necromancer stirs the senses like a landslide. From a dying heartbeat, the song erupts in barbarous rhythms and crushing riffs but amongst them a delicious scythe of violin ignites air and imagination, its wonderful touch just the first of ingenious hues and ideation within the carnivorous beast posing as a song. It would be hard to say it brings major originality but remembering others mixing up recognisable flavours as cleverly and tenaciously as Koshiro do is hard. The track continues to snarl and brawl with creative zeal but equally aligns the hostility with a striking melodic and vocal croon. In a way Crown Of Venom and indeed Koshiro seem to come of age at this point, a maturity continuing to impress hereon in.

Sleeper Cell steps up next with a rhythmic shuffle from Rudman which resonates through bone as it bewitches with infectiousness whilst bassist Rich Miller lures the darkest predacious tone from his strings as the guitars cast a tapestry of rancor and sonic romance. The ever riveting strings continue to spark adventure too whilst vocally Errington is as compelling, whether with raw squalls or clean persuasion, as the volatile furnace of sound and the musically driven bellow of emotion. The track is a climatic storm of temptation, and as its predecessor also ripe with the shoots of real originality which are definitely blooming within the band’s sound now, Creation Theory swift confirmation as between two vocal samples, which sound like they are voiced by Michael Caine, it sculpts a hellacious emprise of sound as physically carnal as it is evocatively suggestive. Like a war cry in many ways, the track has body and thoughts enflamed and ready to unleash their emotive strengths, a powerful success from a gladiatorial merger of devouring intensity and incendiary invention.

It is the pinnacle of the release, only relenting in its animosity as it departs for closing track Catharsis to begin spreading its melodic warmth with a slightly mercurial and antagonistic underbelly. It was up against it to match the previous trio of songs but still leaves the EP on a high whilst relishing the chance to reveal more of the depth and new diversity in the band’s sound and composing.

Actually there is one more offering upon Crown Of Venom, the bonus of a cover of Sia’s Chandelier. Though Koshiro easily improve the song it does nothing for the EP and quickly found itself ignored in our numerous listens of one increasingly impressive and enjoyable release.

Koshiro are again proving themselves to have the potential to make a big impact on the UK and European metal frontline, even more so this time around. They are probably still a couple of rungs short but with more progress as shown here, watch out world here they come.

The Crown Of Venom is available from September 25th through all stores.

Pete Ringmaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

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Elasea – Where I Belong EP

Elasea-Common-3_RingMaster Review

Creating a rousing proposal with their new EP Where I Belong, UK quartet Elasea quickly show themselves to be a band with all the attributes to become a potently impacting proposition on the British rock scene, now and far more so ahead. The attention grabbing encounter brings five compelling tracks of inventive and impassioned alternative rock for ears and imagination to feast upon. The fact that you can still hear areas where the band is only just discovering depths and unique invention, whilst impressing throughout, it only increases anticipation that the potential shown here has all the possibilities of leading to major things for the band.

Hailing from Hungerford in Berkshire, Elasea initially emerged as a cover band and under the name Highly Personal. The band’s first EP was released in 2013 after which a subsequent line-up change and last year the switch to new moniker Elasea occurred. With that change in the band came a shift in sound too and a reputation earning live presence which has seen the band play with the likes of WeCaughtTheCastle, Funeral For A Friend, and Idiom over time. Now the foursome is primed to nudge upon national awareness with Where I Belong; vocalist/rhythm guitarist Andy Bradford, lead guitarist Calum Radmore, bassist Olivia Jones, and drummer Jevon Smith, who recently announced his departure from the band, following up a clutch of successful videos with a roar of a tempting.

Elasea - Where I Belong (Artwork)_RingMaster Review     The EP opens up with Glass Heart, rhythms and heavy resonating riffs instantly engulfing ears as the just as swift magnetic tones of Bradford uncage the song’s evocative narrative. The thumping beats of Smith shudder on impact, alongside the bass snarl tempering the more fiery exploits of guitar and captivating vocals from Bradford and across the band. Drama constantly stalks the song, hooks and riffs frequently twisting into imaginative incitement before re-igniting the initial and potent creative persuasion brewing the song.

It is a superb start backed just as strongly by the EP’s contagious title track. Immediately it has a breezier energy and flirtation to its pop fuelled rock ‘n’ roll, all the attributes of its predecessor returning to great but lighter and catchier effect. With a touch of bands like Mallory Knox and Lower Than Atlantis to it, the track arguably feeds expectations a touch but such its punkish ferocity and virulent adventure, it barely matters as ears again are fed a healthy temptation.

Lost In The Dark which features Simon Jackman steps up next, cradling ears in a melodic caress straight away before expanding into a reflective croon of sonic enterprise and again tenaciously delivered rhythms. The song constantly expands its body of sound and imagination throughout, though for personal tastes it is missing the particular spark of its predecessors. It is fair to say that it revels in accomplished songwriting and thoughtful invention nevertheless to provide a thickly enjoyable proposal with the mellow twist with great backing harmonies from Jones and an atmospheric weaving from Radmore’s guitar especially riveting deep into the song.

A harsher growl is offered by Time Is Against Us, vocally and musically the song feeding off an aggressive nature to create a mix of rich contrasts and intensive emotions. The bass of Jones is almost bestial in tone at times whilst Smith creates a tsunami like rumble across the ever shifting landscape of the enthralling proposition. Increasingly impressing and growing in strength with every listen, the song sets up the EP’s finale masterfully, its heavyweight presence the gripping shadow to the acoustically lit On The Line. The closing song is sultry radiance but with an earthy texture cast through the persistently impressive voice of Bradford. Alongside him guest vocalist Alex Gale of the band Paper Houses, which Bradford also plays in, lays down absorbing melodic beauty, the two shades of their voices an alluring union which only ignites further when entwining as the song erupts into a flaming crescendo of sound and energy.

The song is an engrossing end to a thoroughly enjoyable introduction to Elasea. This is a band at the start of its ascent and yet to find it’s truly original presence and voice. In saying that Where I Belong shows they already have the invention and craft to command attention, and songs which leave an appetite for more the lasting reaction.

The Where I Belong EP is available from 3rd August 2015

RingMaster 02/08/2015

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THIS CITY LIMITS show their ‘Too Scared To Swim’.

This City Limits Promo Shot

Yorkshire based Melody-Punksters ‘This City Limits’ have hurled out their breathtaking new video and single ‘Too Scared To Swim’.

You can view the video at

Pitching the likes of ‘Brand New’ against modern British rock groups such as ‘Mallory Knox’, ‘Lower Than Atlantis’ and ‘We Are The Ocean’, ‘This City Limits’ serve up a delectable balance of musical power and energy, and sensitive melodic expression. ‘This City Limits’ genuinely offer a fresh take on the currently over-saturated punk-pop genre.

Formed last year and hailing from Leeds, the band consist of blood brothers Will Turner (Vocals, Guitar) and George Turner (Guitar), along with Rob Burns (Bass) and Josh Peters (Drums). Throughout 2014, the animated upstarts unveiled their debut four-track EP entitled ‘Brittle Brass & Broken Bone’, and last April, the quartet released the follow-up single, ‘Amputate’, which marked a turning point for the band, as they garnered attention from national press and radio. The band then spent the latter half of the year playing as many shows as possible, gathering support from Christian Carlisle of BBC Radio Sheffield and Tom Robinson of BBC 6 Music, and enhancing their ever growing fan-base.

This City Limits are now ready to up the ante with the release of their new single ‘Too Scared To Swim’, which was recorded at Steel City Studios with producer James Hill. The track is taken from the band’s second EP, which will be out later this year. ‘Too Scared To Swim’ is an enticing hook heavy affair brimming with alluring melodies and complete with driving guitar work and pounding drums. With shows and festival appearances lined up for the summer, the band are poised to make a name for themselves on the national scene by the end of the year.



All To Ruin – Among Us

All To Ruin Promo Picture

Back in 2013, Welsh melodic metallers All To Ruin made their introduction with the Parables EP, a striking collection of songs whose only real issue was a sound which lay comfortably within that of the crowd. The suggestion and potential though was that the band would evolve into something much more distinct in time. Now the Port Talbot band return with its successor Among Us with the first question in anticipation of its release being had All To Ruin found that unique identity. Certainly in adventure, craft, and maturity, the band’s sound has openly leapt on, but in originality it is a bit of yes and no. A familiarity to bands such as Funeral For A Friend, Protest The Hero, and at times August Burns persists but it is now coloured with a freshness and creative tenacity which makes the band’s sound linger and take on a more individual character. All To Ruin is still searching for that real originality it is fair to say but as you get caught up in their powerful anthemic choruses and the fiery passion of vocals and sound, that moment in time belongs solely to them.

Formed in 2011 and with a demo under their belts by the end of that first year, All To Ruin swiftly lured attention from fans and media alike. It was Parables which lit an even stronger awareness and following, backed as potently by live performances which has taken the band to play over the past four years with the likes of The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl…well the list goes on and on. Entering the studio, as with their last EP, with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium and Bullet For My Valentine), All To Ruin reveal a bigger, bolder, and more flavoursome sound in Among Us with, as earned by the earlier release, similar if not greater responses expected in return.

All To Ruin Cover Art     The EP opens with Take The Reins and instantly encases ears in spicy grooves, hungry riffs, and punchy rhythms. Vocalist Aaron Roberts just as quickly brings his impressive voice to the affair whilst the guitar of Rhodri Williams provides a spiral of sonic enterprise and temptation. That new strength in songwriting and sound needs little prompting to show itself, as too a bolder imagination as the song slips into a gentle melodic embrace of voice and guitar. The thick swipes and rolls of drummer Tom Richardson keep an aggression bubbling though, eventually becoming the spark for a return of the opening impassioned roar of the encounter.

It is heavily enticing start to Among Us taken up another level by its title track straight after. Jabbing beats and a dark throaty bassline from Dan George provide the initial bait, their intimidation swiftly wrapped in the sonic tendrils of guitar. It all evens out as a warmer but no less imposing weave of increasingly gripping melodic adventure unites with the tempestuous and intensive rhythmic side of the proposition. There is also a drama to the song, emotionally and physically, which reveals more of the inventive and mature edge to the band’s creativity. An orchestral seducing in the background of the song helps that theatre arise as it flirts throughout, and once given its clarity, simply captivates in the finale of the excellent song.

Certainly there are plenty of recognisable elements on the two songs so far, but in reality that kind of applies to most releases these days, and as mentioned when songs like Among Us and the following Disconnect bellow with passion and imagination, it is predominantly a flavouring which only adds to the enjoyment. The third song brings a similar canvas to the previous track, an emotive orchestral colouring immersing the imagination as rhythms plunder the senses and vocals unleash the heart of the proposal. Aggressive and reflective simultaneously, the track spins another intriguing web of sparkling endeavour soaked in familiarity though it reveals itself to be even stronger in enterprise and emotion.

Aggression fuels History next, the best song on the EP driven by a creative snarl and provocative energy spawned by carnivorous riffs and uncompromising rhythms. Rather than being tempered this is complimented by the blistering sonic exploits cast by the guitars and the inventive twists further stirring up an already explosive song. On the last EP there was one song which stood out and pushed the envelope on the release and on Among Us it is History.

The EP comes to an end through Beneath The Steel Sky, a blaze of melodic rock which like a friend wraps enjoyably around ears and feeds the appetite. As shown here, technically the band has grown impressively as they have in songwriting and sound, but it is the imagination which lines every song which most stands out even if uniqueness is taking longer to come through. As with Parables though, Among Us suggests it is looming and closer still, but again the reality is that as songs consume ears and imagination only thorough enjoyment is the outcome.

The Among Us EP is available from April 27th via and through all stores.

RingMaster 27/04/2015

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Kill The Silence – Self Titled

Kill The Silence Promo Shot

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

Kill The Silence Cover Art     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

RingMaster 20/04/2015

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