Elephant Memoirs – No Pressure No Rush EP

Formed in 2013, British outfit Elephant Memoirs have honed an ear grabbing sound which has grown release by release. New EP, No Pressure No Rush continues that successful trend, offering up six of the band’s most potent and imaginative songs yet.

Hailing from Gateshead, the trio of vocalist/guitarist John Aspinall, bassist Carl Aspinall, and drummer Barry Drew create a thoughtful style of alternative rock which has seen them already compared to the likes of Manic Street Preachers, Biffy Clyro, Placebo, and Queens Of the Stone Age. As No Pressure No Rush suggests, it has not found its unique character yet but there is no denying that each song provides individual and imaginative adventure.

Recorded with Kyle Martin at The Garage Studios in South Shields, No Pressure No Rush opens with Homework. A vocal hush ignites an attention luring pulse of guitar which in turn sparks a composed stroll of swinging rhythms and alluring sonic causticity. The potent vocals of John nestle within the raw flames, the track continuing to almost lumber along. It is an intrigue provoking proposition which certainly had us firmly attentive and animated if not quite as excited as later in the release.

Pink is a vocal repetition of the EP’s title within a sonic trespass. Brief yet suggestive, it leads the imagination into the awaiting pop rock of A Little Metaphor. John is again a strong clean lure against the scuzzy exploits of his guitar, Carl and Barry creating thick rhythmic bait stirring song and appetite alike. As it swings along, it is easy to hear why those earlier mentioned comparisons arise; all adding to the infectious song’s strong appeal. There is muscle and depth to its catchy body though which easily engages the imagination, a richness of textures just as bold within its captivating successor Ether. With drama in every twist and enterprise in every turn, the song grabs best track honours, the fire in its body alone seriously compelling.

The release concludes with firstly Orange, a lead of sonic pulsation and melodic intimation luring ears into the infectious rock ‘n’ roll saunter of Complete Resonsibility. Though it lacks the spark of the preceding pair, the EP closer easily hooks keen attention with its tenacious and arousing character, sparking a bounce in the body to match its own.

It is a fine skilfully accomplished end to a release which is potential stocked and craft laden. Elephant Memoirs is still growing and brewing their sound whilst continuing to create highly pleasurable proposals such as No Pressure No Rush. It is a journey we for one are thoroughly enjoying.

The No Pressure No Rush EP is available now @ https://elephantmemoirs.bandcamp.com/album/no-pressure-no-rush

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Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright

The Starling Radicals – Promisedland Vol 1

It is probably fair to say that last year was a disruptive one in the emergence of Welsh band The Starling Radicals, the band having to deal with “several sequential departures of recently-joined members” though it did give their fans the well-received Wasteland EP. They have come through that turbulence though with a new stable line-up and now a new encounter in the shape of Promisedland Vol 1 which as good as demands keen attention.

Formed in 2012, The Starling Radicals has built a strong and loyal following with their alternative rock bred sound nurtured with the inspiration of bands such as Nirvana, Stereophonics, and the Manic Street Preachers. Two years after stepping forward, the band released debut album Saintland, the potent first step in their rise within the UK rock scene. Promisedland Vol 1 is another leap forward and with its quartet of hook rich and rousing slices of tenacious rock ‘n’ roll, quite easy to see pushing the band and reputation a few more rungs up the ladder.

With George Toulouse offering instinctively bold vocals and guitar, Gareth Bain the dark hues of magnetic bass, and Joe Steele the lively swings of his beats, The Starling Radicals quickly get down to business with EP opener I’m With Her. Straight away an enticing wiry hook escapes the strings of Toulouse, rapacious rhythms quickly adding to the almost carnival-esque initial prowl of the song carrying just a hint of The Shanklin Freak Show to it. It is a compelling and thrilling start which maybe loses its edge a touch as warm melodies and Toulouse’s instantly striking vocals step forward. Their presence though brings a new wave of Police meets Manic Street Preachers infectiousness which in turn entangles with that earlier temptation, the song revelling in its variety and creative dexterity as it firmly grabs ears and imagination.

The band quickly show that opening a song in fine style was no flash in the pan in the first as the following You Make A Mess Of Me uncages its own delicious hook built groove to get things underway; the guitar again the instigator soon aided by controlled but bold rhythms and Toulouse’s rich tones. Its swing never allows a moments rest even when the song simmers though it is always ready to bubble over again within its melodic rock ‘n’ roll. As with the first track there is something familiar at play but an essence only adding to the enjoyment of its infectious and enterprising proposal.

The Scottish Play has a dirtier air and snarl in its blues scented rock ‘n’ roll as well as a more classic rock scenting though ultimately it is their fellow Welsh men in the Manics which comes to mind as the track hits the spot just as potently as its predecessors.

The release ends with Heart This City, a song which did not make the same kind of impact as those before it at first but it is fair to say with Toulouse vocally as alluring as ever and rhythms an anthemic undercurrent, it grew in persuasion and temptation listen by listen. It makes a fine finale to a release which maybe is not as unique as it might be but pushes the sound, reputation, and stature of The Starling Radicals to new heights and indeed the pleasure of their company.

Promisedland Vol 1 is out now.

http://www.thestarlingradicals.com/    http://www.facebook.com/TheStarlingRadicals/    https://twitter.com/thestarlingrads    https://www.instagram.com/officialstarling/

Pete RingMaster 29/11/2017

Copyright RingMaster: MyFreeCopyright

Gavin Chappell-Bates – We Are The Ones

GCB_RingMasterReview

The beginning of the year saw British singer songwriter/guitarist, Gavin Chappell-Bates unveil the video for new track Refugees. It was an ear catching offering also providing a teaser for the Cambridge musician’s forthcoming debut album. Now the release of We Are The Ones is upon us and fair to say if that earlier proposition spiced up the tastes buds there is plenty more highly flavoursome goodness to be found and feasted upon in the thoroughly enjoyable album.

The musical desire and devotion of Chappell-Bates is said to go back to the age of eleven and being inspired by Sgt. Pepper, an ‘awakening’ backed by “ his musical friends and a few early lessons by Ezio’s Booga.” Learning his craft playing in various local bands  which included Bokaata, The Deadlines, We Are Godzilla, and Up & Atom , Chappell-Bates decided to pursue a solo career in 2014, drawing on influences listed as The Beatles, Feeder, Aerosmith, Buddy Holly, The Bee Gees, Smashing Pumpkins, Our Lady Peace, and majorly Manic Street Preachers for his own creative adventures. The following year saw first EP, Black Holes released. Its attention provoking presence was followed by the singles 95 and We Are The Ones, each luring more eager ears the way of his emergence. Equally live he has been sparking strong praise and support around the UK, playing venues such as Bury St. Edmunds’ The Hunter Club, The Rescue Rooms in Nottingham, and in London the likes of Hoxton Bar and Sebright Arms.

Already earning strong radios play on BBC Introducing, BBC 6 Music, and XFM among many others and being was nominated for Best Male Solo Artist in the 2015 NMG Awards, Chappell-Bates is looking to now spark national awareness, something We Are The Ones certainly has the potential to give a potent nudge to. Produced by James Coppolaro, who with drummer Rob Gibiaqui (Sergey Lazarev, The Pinker Tones) plays alongside Chappell-Bates on the release, the album swiftly has ears keenly attentive with opener Church Of Rock ‘N’ Roll. A rousing and contagious slice of sound boisterously living up to its title, the song springs punk riffs and spicy hooks on ears as Chappell-Bates’ vocals lead its lively anthemic pull. It is a punchy and infectious start setting up an eagerness to hear more which the following All Ways more than satisfies.

Art_RingMasterReviewThe second song equally has an infectious swing to its presence whilst pursuing a more melodic/alternative rock imagination in its energetic persuasion. As with many songs there is a familiarity to the sound and nature of the song but equally a fresh essence that highlights Chappell-Bates’ own invention, the following 95 another example. It carries an air of the decade of rock spawning its title yet casts a vibrant pop ‘n’ roll flavouring which has the catchiness of modern rock pop flirtation. Its pleasing presence is matched in success by Refugee next, its initial gentle melodic caress growing in weight and intensity as keys shimmer in the background. Soon that brewing intent erupts in a fiery crescendo and chorus before repeating the cycle to engaging effect with Chappell-Bates’ vocals again a potent hue to his songwriting and its colourful realisation. A more subtle but increasingly provocative texture is provided by guest violinist Prue Ward and cellist Anna Scott, their evocative and here melancholic imagination a great spicing colouring a handful of tracks hereon in.

The album’s title track is another; its melodically reflective balladry evolving into a warm and inescapably catchy rock pop canter framed and steered by a robust and tenacious web of beats before making way for the acoustic tempting of Writing In The Sand and in turn the delicious spirit sparking incitement of Black Holes. The first of the songs has a sunny air to its infectious gait and a smouldering intimacy to its vocal and lyrical embrace whilst the second immediately has ears and imagination gripped with its opening throaty bassline and subsequent tone. A Nirvana-esque feel coats the beginning of the song whilst its emerging virulent stroll lies somewhere between Weezer and The Presidents of the United States of America, all essences combining to colour an encounter whipping hips and voice into eager involvement as it takes favourite song accolades on the album.

Dead End Disco Streets brings a great electronic spicing to its magnetic and physically buoyant temptation, indie and electro pop flavours uniting to embrace and dance with the equally spirited vocals before Follow The Light unveils its own animated serenade which dances with ears rather than laying sentimentally upon them though it is certainly emotively shaped and fuelled. As if any more proof was needed, the song is further evidence that Chappell-Bates knows how to write pop and rock songs which simply stir attention, proof swiftly backed by The Finest Hour and its Big Country like landscape of melodic and folkish hues.

The album concludes with firstly Last Angel, an emotionally intense country spiced ballad featuring the guest vocals of Kathryn James and keys of Jamie Brooks, and finally the acoustic/folk pop sparkle of Starlight. Both songs have brightness to their sentiment loaded proposals, especially the last which with a hug of strings is edgy and provocative as the best pop ballads always are.

Certainly some songs ignited more lusty reactions than others, but from its first note to last syllable, We Are The Ones is a proposition that can only be enjoyed from an artist with the potential to made big strides in the UK rock/pop scene.

We Are The Ones is released April 8th through R*E*P*E*A*T Records and @ https://gavinchappellbates.bandcamp.com/album/we-are-the-ones

http://gavinchappellbates.com/   https://www.facebook.com/GavinChappellBates   https://twitter.com/GChappellBates

Pete RingMaster 07/04/2016

Copyright RingMaster: MyFreeCopyright

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Media Stres – E.V.I.L. II

Photo by Lucija Obadić

Photo by Lucija Obadić

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

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

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

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

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

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

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

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

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

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

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Eujenics – Kalashnikov

Eujenics_RingMaster Review

With their debut single Meniscus, UK alternative rock band Eujenics announced themselves as a potential fuelled and seriously striking proposition. It was a song bulging with emotive textures within a pungent atmosphere of provocative craft and fiery imagination; an impressive incitement breeding intrigue and an eager appetite for more. Its successor Kalashnikov has now been unleashed to confirm all thoughts and suggestions arisen about the band whilst uncovering another aspect to their increasingly gripping sound.

Hailing from Sunderland, the quartet consists of vocalist Nic Wood, guitarist Chris Hanna, bassist David Scott, and drummer Adam Hay. Since forming earlier this year, Eujenics has of course made their introduction through the September released single Meniscus and backed it up with shows at the O2 Academy and Bannerman’s, with another on the immediate horizon at Trillians. The last track’s success also saw it being featured on Nick Robert’s BBC Radio Newcastle show and listed as Amazing Radio’s track of the week, a reaction easy to Kalashnikov initially emulating before pushing things on again.

The new single opens on a delicious earthy and predatory bassline from Scott, the beats of Hay soon in tandem with a similar stalking to their presence. In no time the song is ablaze with a wall of stoner-esque, rapaciously heavy enterprise from Hanna, a melodic suggestiveness also swiftly springing from his endeavour as the enticingly volatile delivery of Wood completes the arousing incitement on ears and emotions. As with the last single, there is a raw scent of Manic Street Preachers to the encounter, and the emotive tenacity of Mind Museum, though the track is a far more dynamic and explosively tempestuous encounter which suggests possible inspiration from a Therapy? or Reuben.

The track continues to be a fire of physical and emotional angst, skilfully crafted and layered to make a thick impact from start to finish. Eujenics again impresses as they build another almost tsunami like roar of creative drama and persuasion within Kalashnikov. The band is currently working on their first EP scheduled for release March 2016, anticipation of which is now inflamed thanks to Kalashnikov as well as its previous fellow protagonist.

Kalashnikov is out now and available as a free download @ https://soundcloud.com/eujenics

Upcoming live show: Trillians, Newcastle December 15th 2015

https://www.facebook.com/Eujenics     http://www.eujenics.com/   https://twitter.com/Eujenics

Pete RingMaster 01/12/2015

Copyright RingMaster: MyFreeCopyright

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Slow Riot – Cathedral

 

artwork_RingMaster Review

Eighties inspired post punk is seemingly on a surge right now, its seeds being blossomed into varied but distinctive incitements of sound and imagination echoing the genre’s origins. One such band making one of the most compelling persuasions is Irish band Slow Riot, a trio from Limerick who recently released an irresistible dark beauty in the shape of the Cathedral EP. The four track release is an evocation of shadows and solemn emotions cast in a creative calling on the imagination, but one equally bred with epic overtones and an emotive intimacy reflective of something found within its title’s landscape.

Formed in 2013, the threesome of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff recorded Cathedral with producer Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at the Manic Street Preachers’ Faster studio in Cardiff; additional assistance coming from in-house engineer Loz Williams and the Manics’ James Dean Bradfield through the offering of use of equipment and instruments. From the off the release stirs the senses and imagination but equally the physical body is also gripped by the forcibly rousing prowess and thick insistence of sound.

SR_RingMaster Review   The EP opens with the band’s new single Demons, the lone beats of Cosgrave luring in attention and appetite with an anthemic coaxing. The melancholic charm of Duff’s guitar is soon involving an emotive melody too, it laying evocatively over the persistent arousal of rhythms now also equipped with the solemn resonance of Clancy’s bass. His dour yet alluring vocals are close behind as the song brews more of a Joy Division meets Interpol like croon for a formidable captivation only enhanced by a more fiery nature emerging in the guitar and a flowing crystalline elegance spread by keys. Each element evolves new hues to the slim but varied layers as the track continues, it all building up into a strongly potent beginning to Cathedral.

It is a start for personal tastes quickly eclipsed by the next pair of songs though, City Of Culture the first up. A great scuzzy mix of guitar and bass aligned to boisterous beats sets song and ears off in eager union, a sparkling melody soon adding to the enticement as Clancy’s vocals’ twist around on the riveting web spun by all the already contagious elements. There is a touch of The Sound to the song but more so bands like Scars and Crispy Ambulance with the discordant clang of The Fire Engines in there for good measure. Ultimately though, these are spices only bolstering a virulent tempting unique to Slow Riot.

Just as stunning is the following Adele, a transfixing slice of dark balladry becoming increasingly infectious and addictive as sonic seduction merges with repetitious mastery around the thick potency of the vocals. A revolving incitement set somewhere between My Bloody Valentine, The Slow Readers Club, and Artery, the glorious track reveals not only more of the craft in songwriting and delivery of the band but also the depth of their sound’s imagination and diversity.

Cooper’s Dream brews a character more similar to the Joy Division-esque embrace of Demons, but again outshines the excellent start to the EP with its individual weave of sonic expression, haunting lingering hooks, and a just as enjoyably galvanic rhythmic recruitment of eager involvement. As the EP, the track worms under the skin, infects the psych leaving ingrained lures and rapture in its wake to ensure a perpetual return to its nest of climatic builds and roaring crescendos bound in melancholy entwined restraints is always a lively intent.

The track provides a superb end to a superb release, a full introduction to Slow Riot sowing the seeds to thick anticipation of their next move and lusty enjoyment in their first.

The Cathedral EP is out now via Straight Lines Are Fine @ https://itunes.apple.com/gb/album/cathedral-ep/id1007359990

https://www.facebook.com/slowriot.theband/       https://twitter.com/slow_riot_band

Pete RingMaster 25/11/2015

Copyright RingMaster: MyFreeCopyright

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Eujenics – Meniscus

David Gunton Photography

David Gunton Photography

Making their introduction with a roaring bang, UK alternative rock band Eujenics have just released their debut single Meniscus, a track potent enough to alone suggest there is something rather tasty emerging from within the musical heart of Sunderland.

There is not a great deal we can reveal about Eujenics this time around but it is hard to imagine that they will not be offering more heavily flavoursome propositions ahead through which we can eagerly explore them more. Right now we know they are a quintet which formed this past March and made their live debut at The Academy in Newcastle to, by all accounts, a rapturous crowd. Fair to say they have stirred up a strong and loyal following already and now, with their first EP scheduled for February next year alongside a full UK tour, Eujenics is setting about laying the seeds for national awareness of their thickly enticing sound with Meniscus.

A great opening snarl of guitar with spicy grooving attached is quickly met by a just as tasty and gnarly bass proposal. It is magnetic stuff which continues as the song settle into its controlled but fiery stroll led by the swiftly enticing vocals of Nic Wood. Guitarists Chris Hanna and David Oswin continue to offer antagonistic riffs against heavily alluring grooves, the latter seeming to inspire a swagger in the confrontational attitude of the rhythms uncaged by bassist David Scott and drummer Chris Hall.

Every turn seems to bring a new line of imagination with each more fascinating and gripping than the last, culminating in a passage which is dominated by the predatory bass and the dark spoken tones of Wood. It is a moment which just puts the icing on the thrilling cake. Across the track this kind of invention and impassioned energy does spark thoughts of bands like Manic Street Preachers and Mind Museum but they are whispers in something already emerging as distinct to an attention grabbing band and song.

We reckon checking out Eujenics is a done deal for you all, though when you get a first bite this good the wait for the next nibble can seem a lifetime so be warned.

Meniscus is out now as a free download.

Pete RingMaster 24/09/2105

Copyright RingMaster: MyFreeCopyright

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