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 http://www.allearsavow.bigcartel.com/ and https://allearsavow.bandcamp.com/

http://www.allearsavow.com/    https://www.facebook.com/allearsavowband    https://twitter.com/AEAOfficial

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.

https://www.facebook.com/thosewhoknewUK   https://twitter.com/ThoseWhoKnew_

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

Tirade – Self-Titled EP

tirade_RingMasterReview

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 @ https://tiradeuk.bandcamp.com/album/tirade

https://www.facebook.com/TIRADEbanduk    https://twitter.com/tiradeband?lang=en-gb

Check out the video for We’re Having Fun @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Beaumont – Nothing

Beaumont_RingMasterReview

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.

https://www.facebook.com/beaumontuk   http://www.twitter.com/beaumontuk   http://reclaimmusicgroup.com/artists/beaumont/

Pete RingMaster 06/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Elessar – Reflections EP

Elessar_RingMasterReview

With a spring tour around the UK mere days away, British alternative/pop punk band Elessar set the scene and tone with their debut EP, Reflections. It offers five tracks of infectiously appetising and thoroughly enjoyable rock ‘n’ roll which might not be bursting with major originality but certainly gives the listener a fun and rousing time; a success never to be sniffed at.

Formed last year, the Gloucestershire-based Elessar soon invited attention with video/single Arrogance that May. Its line-up consists of school friends in Ricky Powell (vocals/guitar), Alex Evans (guitar/vocals), Jack Gambling (bass) and Dan James (drums), and it is fair to say that the quartet took little time to hit and earn a potent reputation on the local live scene swiftly expanding outwards from their first steps as a band. The Reflections EP is the outcome from the band working and recording last year with Romesh Dodangoda (Funeral For A Friend, The Blackout, Kids In Glass Houses), a release seemingly a long time in the unveiling from that first single but soon revealing the rich potential of Elessar.

art_RingMasterReviewIt opens with that first single, and straight away Arrogance has ears welcoming a sturdy wall of hungry riffs and swinging rhythms. Things relax a touch as the vocals step forward though grooves still engagingly flicker and hooks bite through the guitars as those initial rhythms continue to command attention with their tenacious and weighty persuasion.  Hitting its stride in no time, the song soon offers a contagiously rousing chorus and an enticing mix of varying intensity and eventful twists; all fine elements in the anthemic proposal that body and voice cannot resist getting involved in. It is a great start and easy to see why the track made people look up last year, and a success potently backed by the following likes of My Skin and Holding Back.

The first of the two shares a more melodically tempting lead into its proposition though again bass and drums unite to create a formidable spine and thumping drive for what becomes an increasingly fiery encounter unafraid to ebb and flow in attack and raw energy. Holding Back, in comparison to the almost imposing drama of the previous track, unveils a pop catchy character to its vivacious dance with ears and imagination. Hooks and melodies leap and lure like flames in the track’s robust fire, licking at the senses rather than burning them but asking and earning attention with every enjoyable twist and turn.

On the surface a casual listen finds a similarity between the songs on the EP, but deserved focus provides the window to some stylish and emotively fired individuality. Empty Frames is a song though which needs no extra effort to see its uniqueness; punchy beats and a brooding bassline the lure into inflamed melodic enterprise and spirit arousing energy accentuated by a subsequent drop into minimalistic moments of vocal caresses within an evocative ambience.

Goodwill completes the EP with its strong and captivating presence, though it does not have the same kind of effect on personal tastes or the same level of creative drama as its predecessors even in a certainly dynamic body. All the same, the song is a fine end to a release which suggests that Elessar warrants real attention, certainly if bands such as Taking Back Sunday, You Me At Six, and Lower Than Atlantis ring your bell.

The self-released Reflections EP is out on CD and Digital Download April 22nd via iTunes and other stores.

Elessar Spring Tour:

 27.04 – Manchester, Factory

28.04 – York, Fulford Arms

29.04 – Newcastle, Space Bar

30.04 – Leeds, Eiger Studios

01.05 – Stoke, Underground

02.05 – London, Nambucca

05.05 – Cheltenham, 2 Pigs

06.05 – Cardiff, Undertone

07.05 – Truro, Charlies Bar

08.05 – Exeter, Cavern

09.05 – Birmingham, The Rainbow

10.05 – Bristol – The Louisiana

https://www.facebook.com/ElessarBandUK   http://www.twitter.com/ElessarUK  https://elessaruk.bandcamp.com

Pete RingMaster 22/10/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Diamond Days – People Change

DD_RingMasterReview

In the second half of 2015, UK alternative pop/rock band Diamond Days grabbed attention with the release of two singles in quick succession; songs which built upon the potential and success of their previous EP. Now they nudge the bar of their melody rich sound again with new track People Change; a single confirming why good, praise loaded things are constantly being said about the Liverpool band.

DD art_RingMasterReviewFormed in 2014, the quartet soon sparked keen online attention with the release of debut single Start It From The End, its release soon followed by over 60,000 views on YouTube and the luring of over 30,000 followers across social media since. Drawing on inspirations ranging from Fall Out Boy, You Me At Six, and Panic! At The Disco to Foo Fighters, Young Guns, and Lower Than Atlantis, the band’s sound has persistently evolved with each release too starting with their impressing debut EP, We’ve Come A Long Way. Live the band has equally earned a potent reputation, sharing stages with bands such as The Blackout, William Control, Metro Station, Motion City Soundtrack, Fearless Vampire Killers, and Verses along the way. Both the Love Struck Kids and I Rewind singles of last year hinted at further growth in songwriting and sound which now People Change backs with infectious charm.

An opening melodic sigh brings in the punchy beats of Mark Highdale and the enticing lures of guitarists Tom Shepherd and Alex Fearn first, the latter equally as swift in offering his strong voice and expression to the emerging song. It is a rousing start which never explodes but continues to fuel the growing harmonic and melodic roar. Darker textures are provided by the bass of Tom Jack Jackson, giving a great temper to the vibrancy which soaks the song from enterprise and craft through to the potent tones of Fearn.

There is also a great hint of new unpredictability emerging in the band’s songwriting too; a sudden twist into a calmer emotive climate without real warning one great moment in the increasingly magnetic encounter.

With a great video to accompany it, People Change looks like being the start of another strong year for Diamond Days and an enjoyable one for us.

People Change is out now.

http://www.diamonddaysmusic.com   https://www.facebook.com/DiamondDaysUK   https://www.twitter.com/diamonddaysuk

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Apherium – Embrace The Fall That Brought Us Here

Apherium_RingMaster Review

Our introduction to British alternative rockers Apherium came last September with the Neoteric EP. It was a striking and attention grabbing offering if one whose major peaks left the surrounding adventure of the release seeming like it was lacking a spark or two. The potential was inescapable though, and now in full flow in new offering Embrace The Fall That Brought Us Here. The new three-track EP from the Somerset quartet blows its predecessor out of the water and though it might contain less songs each shows a band on close terms with increasing craft and tenacious invention.

Its members having met at college, Yeovil hailing Apherium emerged in 2011 and within a year had released a self-titled EP and debut album The Cycle. Drawing on inspirations from the likes of Midgar, Biffy Clyro, InMe, TesseracT, and Anathema, the band continued to evolve and hone their sound in an exploration which provided a stirring tapestry of flavours in last year’s acclaimed Neoteric EP At that point it was announced as the band’s finest moment to date, though as suggested, the foursome of vocalist/guitarist Larry Turner, bassist/vocalist Callum Shortland, guitarist/vocalist Ross Derby, and drummer Ashley Jones have burst onto a new plateau of sound, invention, and seemingly passion with Embrace The Fall That Brought Us Here.

Recorded with legendary producer and sound engineer John Mitchell (YouMeAtSix, Lower Than Atlantis, Enter Shikari), the EP opens up with Resolve, a song swiftly enticing ears with jabbing beats and a moody bassline as guitars cast a thick mesh of sonic coaxing. A moment’s relaxation sparks a bold stroll ridden by the impressive vocals of Turner. Thereafter, the song is a forceful and anthemically engaging proposal, enhancing its gripping start with potent backing vocals amidst a rhythmic intensity and melodic flames which rise up with increasing contagion. By mid-way on the first listen, it is impossible not to be fully involved with participation a given by the second and certainly third outing with the excellent encounter.

Embrace The Fall That Brought Us Here (Artwork)_RingMaster ReviewIt is an attribute all three songs have, a familiarity which plays like an old, but previously unknown, friend. They also share the quality to be the lead song, the big invitation to the EP. Embrace has that pleasure and quickly has its infectious claws in ears as stabbing beats and irritable riffs collude with the emotive tones of Turner and the brewing ascent of evocative melodies. Raw vocal expulsions are amongst the unpredictable and inventively infused elements that create even greater hooks within the catchy, bordering on volatile blaze where angst powered roars are seamlessly merged with elegant calms.

Closing track Ever Present bruises and seduces from the off, the scything swings of Jones imposing drama backed by the moody tones of Shortland’s bass whilst the guitar enterprise of Derby and Turner is at times pure creative theatre and persistently an arousal of the imagination. Emotively inflamed and dynamically compelling, the song is a mighty end to the thrilling next step in the rise of Apherium.

With their last EP, comparisons to bands such as Funeral for a Friend were easy to suggest, but as the band has untapped further into the creative depths hinted at previously, Embrace The Fall That Brought Us Here emerges as something solely Apherium; with the promise of more to be discovered bringing extra intrigue in their future.

Embrace The Fall That Brought Us Here is available from February 29th, and able to be pre-ordered @ https://apheriumofficial.bandcamp.com/album/embrace-the-fall-that-brought-us-here

Upcoming Tour dates:

Feb

29th – Leicester, Sumo

Mar

1st – Guildford, The Star Inn

2nd – London, The Garage

3rd – Bristol, Stag & Hounds

4th – Yeovil, Quicksilver Mail

5th – Wigan, The Old Courts

http://www.apherium.com/     https://www.facebook.com/apherium   https://twitter.com/apheriumband

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/