Crimson Star – Bay View

There is something very clever about the Bay View EP and the sounds it eagerly shares. Certainly the new outing from UK rockers Crimson Star sounds rather good from the off with a blaze of rock ‘n’ roll which may not dramatically impress but leaves a definite appetite for more. But like all relentless fires, it leaves little cinders in the shape of persuasive hooks and grooves which continue to catch in the imagination even in its absence. You could say the five track encounter is a slow burner in many ways despite its sizeable impact first time around and that is a success as potent as anything in our eyes.

Hailing from Birmingham, the threesome emerged in 2012 and since then has earned a rich reputation for their live presence and weighty alternative/melodic rock sound. 2016 saw the release of the Driven EP with the line-up of vocalist/guitarist James Shaw, bassist Roger Ash, and drummer Ross Edgington together. That well-received offering was recorded with producer Romesh Dodangoda (Lower Than Atlantis, Bring Me The Horizon, Funeral For A Friend), a successful union repeated with Bay View.

The EP opens with recent single The Pragmatist and straight away riffs and vocals lure attention, the increasingly grooved invitation of the guitar aligning with the equally potent scowling tones of Edgington. As it establishes its eager stroll, the song ebbs and flows in intensity without losing its instinctively infectious nature whilst always looking to evolve as melodies and the ever captivating grooves share their imagination. More addictive than it seemingly appears at the time, the song is a masterful slice of rock ‘n’ roll setting the release off to a great heavy and rousing start.

The following La Prom carries the same intent, instantly pushing through ears with a bold touch but soon revealing an atmospheric breath around crystalline melodies. Its calm has an underlying volatility which subsequently erupts as fiery grooves and raw riffs join an already laid bait of coaxing rhythms. With great fuzz to its tone and an edge to its energy, they aligning to further melodic enterprise, the song simply hits the spot.

Desert rock grooves fire up within next up Once, their spice leading to a grunge/alternative rock scowl which again is always looking to spring an unpredictable and imaginative adventure. Like its predecessor, the track does not have the immediate sparks of the opener yet grips from start to finish sowing that earlier mentioned niggle in its own way to return at will in the memory; a trait just as successful within Euthanise Me. The muscle of its grooves and rhythmic incitement courts a fine blues rock hue, a flavouring which blossoms within the following dark lit stroll the voice and bass take the imagination on. Like a blend of Foo Fighters and Pearl Jam with a slight touch of Kyuss, the song is unbridled captivation rivalling the first for best song honours.

The release is concluded by Gimme Some, another slice of intriguing rock ‘n’ roll which like the EP just grows and impresses with every listen. Grooves need little time to wrap their persuasion around ears though, melodic shadows and radiance working away on the imagination, as it brings Bay View to a magnetic close.

With double figure listens under our belt, it is fair to say that Bay View has become a keenly devoured and praised proposal. It took its time with us despite its potent start and we can only say share some of your time with Crimson Star to discover some prime heavy rock; it is hard to imagine you will be disappointed.

Bay View is released January 19th

Pete RingMaster 17/01/2018

Copyright RingMaster: MyFreeCopyright

Witterquick – Fire & Ice

With a sound which sits rather nicely yet individually among the likes of Brand New, Young Guns, and Mallory Knox, UK outfit Witterquick has been stirring up plenty of praise carrying attention their way over the past year or so which new EP Fire & Ice can only re-energise. Offering four slices of their melody rich, emotion thick, forceful rock ‘n’ roll, the release confirms the band’s rising presence in the British music rock scene.

With success and acclaim already stoked by their debut EP, Beneath the Spinning Lights, and a sold-out UK tour with Nothing But Thieves among their own shows, Witterquick linked up with producer Romesh Dodangoda (Bring Me the Horizon, Lower Than Atlantis, Twin Atlantic) for Fire & Ice. Straight away it hints at the reasons for the increased attention upon the band, opener Shattered Suns skipping in on a summery breeze before rhythms pounce and the voice of Will Alford impressively grabs ears. The simmer of keys flirt among the tide of riffs and rhythms, guitarists Ben Chanter and Sean Davey creating a web of melody and hooks which tempt infectiously within the invitingly imposing strikes of Andy Lewis’ drums and the brooding tones of Ollie Chanter’s bass. Swiftly infectious and increasingly so as Alford impressively leads the way with his potent voice, the song grips attention and appetite.

A single which has already earned the band eager radio play, Lie To Me follows with its gentle but catchy swing and warm melodic embrace. There is a more caustic edge to the song which swarms its shadows to add further depth to its presence, but it is the emotive tide and melodic dexterity of the band and songwriting which fuels its character to great effect. Though for these ears its predecessor is a mightier lure into the EP, there is no denying the track gets under the skin and into the hips with its accomplished heat and tenacious catchiness.

Hiding Place brings a rockier swagger with its robust presence next, rhythms almost assaulting the senses with their forceful nature. It is a pleasure emulated in the fiery textures erupting from the guitars as the harmonic strengths of Alford are matched by his enterprise on keys. Emotionally and musically anthemic, the track really hits the spot in swift time, it too a perfect lure into the creative heart of Witterquick.

The release is closed up by the gentle fires of I Need A Friend Tonight, a melancholic reflection with crescendos of intensity and emotion which really blossoms over listen. It epitomises the band’s intelligent songwriting and layered sounds, over time breeding the same kind of infectiousness its rowdier companions generate more quickly.

It would be wrong to say that Fire & Ice blew us off out feet yet every moment with it has brought thick pleasure and an intrigue flooded hunger for more and there is nothing wrong with that at all.

Fire & Ice is out now and available @

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Lost Without Cause – Revival

Karly Edge Photography

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

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

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

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

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

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

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

Revival is out now across most online stores.

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

All Ears Avow – Edge Of This

As voices and words gain momentum in offering attention and praise to All Ears Avow, the UK rockers add fuel to the rising fire with their new EP Edge Of This. Six tracks of melody wrapped, riff driven alternative rock, the release is a fresh and appetising slice of rock ‘n’ roll sure to reinforce if not give new impetus to their growing reputation.

Since emerging in 2013, the Swindon quartet has released a pair of increasingly well-received EPs, in the shape of Home (2013) and Reach (2016), and nurtured an eager following and praise for a live presence taking in shows with the likes of Decade, The Computers, Empire, Verses, Jonah Matranga (Far), and Milk Teeth among many, as well as successful slots at festivals such as Wychwood and Gloucester Guildhall’s Underground Festival amidst their own successful UK tours. Edge Of This points to the band being ready to attract even keener and bigger spotlights whilst carrying the potential of even bolder and unique exploits ahead.

The band has drawn comparisons to the likes of Muse, Don Broco, and Biffy Clyro with their sound, references easy to understand as EP opener Caged instantly demands and commands attention; Lower Than Atlantis coming to mind too. As a blurred background assembles, a wiry hook taunts; its intriguing bait soon joined by the potent tones of vocalist/guitarist Claire Sutton. In no time it all comes to a focus driven by the fiercely punchy beats of Sean Ivens. That initial hook still makes a rich lure, even as just as tasty riffs and chords between Sutton and fellow guitarist Jake Willcock collude. By this time Sutton’s voice is seizing a fair share of attention, her tones swiftly impressive alongside that lingering and still deliciously grouchy hook. The track is superb, a mighty way to kick things off and for personal tastes never equalled across the remainder of the highly enjoyable release.

The song is pure hungry rock ‘n’ roll setting a lofty bar which next up Gone certainly has a keen go at rivalling. With its angular but warm melody, the song is a much mellower proposal carrying steel in its presence and attitude rather than the kind of snarl fuelling its predecessor. The dark basslines of Joe Bishop add a great contrast to the lighter but thickly emotive aspects whilst Iven’s swings again have an imposing weight even if showing more restraint than before. With Sutton again pure enticement as melodic flames are ignited by the guitars, the track has ears and imagination hooked before new single Hurricane saunters in with a confident smile to its character and an infectious swagger to its swinging grooving. With unbridled catchiness shaping its rousing chorus and indeed instrumental asides, the song hits the spot dead centre.

Earlier single Just For Me comes next, showing with its muscular body and dark shadows why it alone sparked strong anticipation for the EP. Almost nagging ears with its array of hooks and temptation, the song provides a meaty piece of emotion soaked pop ‘n’ roll with a good spicing of electronic goodness while the following EP title track delves even deeper into the band’s pop natured creativity. The song still has a heavy essence and stubbornness to its physical skeleton but within a melody woven balladry with its own catchy captivation.

Completed by the similarly emotional power ballad of The Middle, a song like the last needing a touch more time to spark the same level of pleasure as those before but undoubtedly getting there with ease, Edge Of This is a potent next step in the ascent of All Ears Avow. As suggested, it does feel like a step in the way to something bigger and finer from the foursome whilst offering a relentlessly enjoyable outing easily outshining a great many similar genre based releases heard this year so far; suggesting there are big times ahead for All Ears Avow.

Edge Of This is out now and available through and

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

Those Who Knew – New Perspective

Formed at the start of 2015, UK outfit Those Who Knew make their national introduction with the release of debut EP New Perspective. Carrying four tracks of infectious, pop scented alternative rock, the release is a quickly enjoyable encounter which makes up for its familiar character of sound and lack of major originality by catching the imagination with its open heart and potential. There is very little to be negative about the release over, as good as nothing apart from slipping into the crowd of similar sounding bands but for a starting block New Perspective makes a captivating opening statement.

Nottingham hailing Those Who Knew quickly made an impact on their local live scene after emerging, spreading out as their shows and reputation took in the Midlands and Yorkshire.  Now they are looking at a broader landscape with New Perspective leading the way and quickly making a potent first impression with its opening track and current single Losing Touch. From its first breath, the song offers an instantly infectious proposal as the guitars of Danny Peet and Jordan Toal create a catchy collusion of hooks and riffs. Vocalist Danny Graves is quickly involved with his strong tones while the swinging rhythms of Joe Miller’s bass and Emily Hall’s lively beats drive things very nicely. With hungry energy and imaginative twists in its design, the song makes a richly pleasing start to the release, something fresh and familiar, reminding a little of Lower than Atlantis, and increasingly potent.

The following Shadow In The Sea is just as tenacious in its nature and presence if with a slightly more restrained attack around its boisterous chorus. Peet’s melodies and hooks again make for a stylish lure whilst Toal’s riffs and enterprise create a pleasing web for ears to get entangled in while vocally Graves impresses. It is an accomplished and infectious proposal matched in success by next up Seventeen, it too a tapestry of creative bait and melodic enticement which maybe openly recognisable but is certainly very appetising. As rhythms keenly stroll and eagerly jab, the guitars encase the enjoyable vocal prowess at large with their own persuasive adventure, weaving familiar textures into something fresh and vibrant.

Closing track, Nothing Left To Lose, has a bit of muscle to its body, the track a sturdier and more robust character of sound compared to its predecessors but certainly not lacking their infectious endeavour. In fact in many ways, the song is the most virulent of the four with its rousing chorus and swinging gait.

It is a fine end to very pleasing first listen to Those Who Knew; a release which will certainly draw a whole new host of fans to the band whilst providing the launch pad to the realising of the potential it keenly carries.

Those Who Knew is available now on iTunes and other stores.

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

Tirade – Self-Titled EP


With its virulent pop swing, it is hard to say that the Tirade sound lives up to the fierce tone of the band’s name, but certainly it makes a sizeable, attention grabbing impact going by their richly enjoyable debut EP.  Consisting of seven eventful and resourceful tracks, the self-titled release is a feisty and bubbling fusion of alternative rock and pop punk which employs familiar strains and textures in something potently fresh and increasingly enjoyable.

Hailing from Manchester, the quartet of lead vocalist/bassist Jake Tilley, vocalists/guitarists Josh Pearl and Alex Young, and drummer Stevo Somerset draw on inspirations ranging from Lower Than Atlantis, Press To Meco, and Don Broco to We Are Carnivores and Reuben for their praise luring sound and songs. Formed last year, Tirade are becoming the eager whisper on an ever growing wave of lips, a secret we expect soon becoming an open and loud shout as their EP nudges national awareness.

With moments of really striking moments, the EP is a consistently enjoyable encounter opening up with a band. Snakes and Social Ladders quickly has ears and appetite engaged as jabbing beats and nagging riffs collude. Soon the song is boldly romping, springing sonic intrigue and tasty hooks all the while across its body. It does hold its full energy in relative restraint, turning it into a gripping infectiousness as the guitars create a repertoire of sinewy, melodically endowed enterprise further coloured by Tilley’s impressive vocals and equally strong harmonies.

tirade-tirade-front-cover_RingMasterReviewThe great start is soon eclipsed by the following theatre of Punch?, a song which is as unpredictable as it is catchy. From its first breath sing-a-long vocals unite with sonic espionage as the guitars twist and turn with technical revelry and math rock spiced invention. The rhythms of Tilly and Somerset drive the song relentlessly, adding to its infection as the imagination of the band, not always as forceful elsewhere, has a field day.

Knives In Your Eyes entangles ears in another flavoursome hook within seconds, its spice surrounded by fiery suggestiveness before the song settles into a calmer stroll expelling that initial heated drama throughout. As with the last song, there are essences which spark thoughts of Swound!, a spiky invention aligned to the melodic prowess of Jimmy Eat World/ Lower Than Atlantis. From start to finish, the track hits the spot with ease as too its successor We’re Having Fun. As rhythms punch, harmonies shine with a trio of voices that blend perfectly across another slice of real catchiness. Even with its contagious instincts though, there is a bite to the Tirade sound, a creative snarl as bold as anything within this tenaciously captivating stomp of a song.

For personal tastes, the sparks which help its previous songs spark a lusty appetite for the release are less prominent from hereon in upon the EP though there is no doubting the appeal and enjoyment found in Travel Agent for Guilt Trips and the following, increasingly compelling Optimism. Again both tracks are a marriage of thumping rhythms and harmonic warmth bound in ear pleasing dynamics but lacking the stronger inventiveness and snap of their predecessors.

The EP concludes with The World Isn’t On Your Side, another highlight closing the release as impressively and raucously as Snakes and Social Ladders opened it. Cantankerously bold, the outstanding track is the heaviest moment of the release, almost predacious as Tirade reveals another string to their creative bow.

It is hard not to think Tirade as a band on a certain rise after this fine release, and once the potential shown here is realised as something truly distinct and unique in sound and songwriting, that loud whisper just might become a raging roar.

The Tirade EP is out now @

Check out the video for We’re Having Fun @

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Beaumont – Nothing


Creating alternative rock with a nice line in pop punk to it, Beaumont is a newly emerging proposal for the British rock scene to contemplate. The beginning of May saw the Birmingham-based quintet release their debut EP, Nothing; a five-track romp of infectious energy and melodic tenacity which quite simply commands attention. That is not to say that Beaumont have come across major uniqueness in their sound yet but with strong potential fuelling its presence, it certainly is something easy to take a real shine to.

Taking their name from a character in Shakespeare’s Henry V, Beaumont is a creative union of friends mixing the melancholic heart of their lyrical exploration with the vibrant catchiness of a melody rich sound. 2015 was a busy year for the band with shows alongside the likes of Light You Up and WSTR a particular highlight to add to individual experiences seeing members touring and playing with bands such as Four Year Strong, ROAM, State Champs, and A Loss For Words over the last few years. Produced by John Mitchell (Lower Than Atlantis, You Me At Six), Nothing is the band’s introduction to a broader national spotlight, and such its vivacity alone, easy to see an invitation rewarded with new fans and keen praise.

With songs which in the words of vocalist Spencer Edmonds, “…cover a range of emotions from hatred and greed to loneliness,” adding “It’s a snapshot of how we were feeling at specific times over the last two years…” , Nothing swiftly entices and pleases with opener Cheapside. An initial melody coaxes ears before thumping beats and spicier melodies join its welcome in league with an already throatily potent bassline. Edmonds’ vocals complete the creative scenery, quickly impressing in quality and expression as he shares the melancholic angst of the song. As mentioned previously, the solemn reflection of word and voice comes bound in lively sounds around a swinging gait driven by the contagious bassline of Reece Aleksander and Mitchell Dornan’s scything beats. It is a web, with guitarists Jake Murray and Chris Inston tenacious in riffs and grooves, which refuses to be ignored as it provides a potent start to the EP soon matched by the excellent Boys & Girls.

BEAUMONT NOTHING EP COVER_RingMasterReviewThe second song makes a bolder entrance, keeping its boisterous character going as it slips into a pop punk infused stroll with nagging riffs and eagerly prowling rhythms. Edmonds again impresses as great harmonies soar around him at times, it all gaining greater energy in the track’s rousing chorus which just tops the thrilling encounter perfectly before it hands ears over to the emotively shadowed and musically vibrant Miserable. Riffs and hooks have a bite to them, backed by the rapier swings of Dornan, which accentuates and gives greater character to the melodic endeavour surrounding them. With its predecessor, the song provides the pinnacle of the EP, though the ‘step down’ is barely noticeable as Art School manages to simultaneously croon with emotive flame while whipping up a feisty physical involvement. It might lack the extra spark of adventure of the previous pair, but in no time it tempts with throbbing riffs from bass and guitar amidst the contagious nature of hooks and group vocals, and a blaze of a chorus.

The Springsteen referencing E Street brings Nothing to a strong close, it too missing that final piece of the jigsaw yet has ears and enjoyment hungry for more whilst showing fresh aspects to the songwriting and sound of Beaumont. As catchy as anything on the EP, it makes a fine end to a thoroughly engaging and satisfying first look at and listen to a band with promise and imagination which alone could see them make great strides ahead.

The Nothing EP is out now via Reclaim Music through most online stores.

Pete RingMaster 06/05/2016

Copyright RingMaster: MyFreeCopyright

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