Stolen Dead Music – Penny Drop

UK based ScreamLite Records is one of those labels which you just have to keep a close ear on. Their hunger for fresh and exciting new music is the match to that of a fan meaning attention for their releases is certainly a given here. This month sees the label release the new EP from Newcastle outfit Stolen Dead Music which ScreamLite announced was “the first band to really get our feet tapping in 2019” though what the rest of their bodies were up to we don’t know because the three tracks making up the Penny Drop EP just had us bouncing from head to toe.

Formed in 2017, Stolen Dead Music take the inspiration of bands such as Nirvana, Alice in Chains, Smashing Pumpkins, Weezer, Black Flag, Pixies, QOTSA, and NiN into a sound which stands distinctly aside of what expectations assume going by that list. It is a blend of alternative and noise rock with numerous other flavours involved sitting uniquely amongst the equally striking enterprise of bands like Japanese Fighting Fish, Houdini, Damn Vandals, and Max Raptor and providing so much to get excited over.

The EP opens up with its title track, Penny Drop initially stroking ears with fuzz loaded riffs before the same guitar begins deviously scything across the senses as the tones of vocalist/guitarist Jimi Trimmer break. Simultaneously the tenaciously strolling beats of drummer Aidan McGill erupt alongside the just as sturdy bassline of Lewis Patterson, guitarist Issak Patternson continuing to tease and tempt alongside the lures of Trimmer. Just as you think you have a handle on the song, it twists into a whole new channel of virulence to manipulate and seduce, never once taking its foot off its imagination and feverish enterprise.

It is an outstanding track and start to the release more than matched by next up Shunt. Rhythms straight away toy with ears and appetite, the guitars getting in on the act with their web of teasing melodic wires. Loaded with hooks and grooves, the band’s rock ‘n’ roll is a devious persuasion and in full lustfulness within the second song. There is a great Pere Ubu-esque whiff to the track at times too which only escalates its call on instincts and sure allegiance to its feral like energy and imagination.

Gallows Humour completes the release, the instrumental simply an irresistible shuffle of salacious melodic hooks and boisterous rhythms casting intimation and addiction with ease.

The Penny Drop EP is in many ways just a teaser to the Stolen Dead Music songbook, the three tracks picked out from their repertoire to mark their link up with ScreamLite Records but a wake up to all of us previously unaware of their potential and thrilling adventure. Anticipation for more is already drooling here.

The Penny Drop EP is out now on ScreamLite Records across numerous stores and @ https://screamliterecords.bandcamp.com/album/stolen-dead-music-penny-drop

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Pete RingMaster 13/06/2019

Copyright RingMaster: MyFreeCopyright

Oxygen Thief – Confusion Species

As a year rapidly draws towards its festive close and best of lists are being considered there is always a few gate crashers to make you think again. One sure to make the biggest noise demanding consideration is the new album from UK outfit Oxygen Thief. Unleashing eleven instinctive roars which simply command greedy attention, Confusion Species is the third album from the Bristol based band and one of the year’s most essential, voracious rock ‘n’ roll releases.

Imagining harnessing the core essence and ingenuity of Reuben, Therapy?, and Max Raptor, then mixing them with a catalyst which breeds and evolves a whole new and unique intoxication and you get a good idea of the rousing holler that is Confusion Species. It is that originality amidst openly imaginative writing and craft which ensures the album simply invites attention and we for one did not need asking twice; one listen enough to be hooked on one of 2018’s most exciting moments.

Lyrically bred and embroiled in the life entangling social and political issues of today, Confusion Species uncages its heart driven blast from its first breath, opener End Of The Pier Pressure instantly and forcibly strolling in with muscle and confrontational intent. Yet there is a devilish imagination to its purpose, ebbs and flows of intensity accentuating the drama which fuels every note let alone twist and turn. The vocals of guitarist and band founder Barry Dolan are pure magnetism, his words accentuating the lure which is echoed in the throaty trespass of Neil Elliott’s bass and the hefty swings of drummer Ben Whyntie.

The track is superb and quickly matched in strength and captivation by Atheist Dior, a song which challenges as it incites; its attack a nagging persistence built on a web of hooks and grooves and ridden by just as rousing vocals alongside a bassline as cantankerous as it is tempting.

The following Uncommon People looms on ears with a metal hued trespass, its prowl a heavy invasion easily devoured as too it’s blossoming visceral tango of wiry sounds and emotive intimation. Earlier mentioned Rueben comes to mind often across Confusion Species, this track especially prompting that reference before the punkier pop rock of Troublethink pounced and ingrained itself on senses and passions with defiance as raw energy fuels its creative animation.

The following pair of Suspension Bridge Of Disbelief and Rubbish Life Is Modern simply escalated the impressive start and lure of the album so far; the first a punchy slice of punk ’n’ roll swinging with uncompromising intent springing hooks which dig deep and riffs which worm under the skin with ease, especially the dirty lures escaping the bass. Its successor shows a more composed attack though the intensity and dynamics of its predecessors are just as eager to infest another compelling moment with post punk echoes adding to its masterful persuasion.

Both I Used To Be Elephants with its stalking riffs and irresistible vocal grooving and Lost In The Post, a track with more insatiable lures than a red light district, enthral, excite and examine body and energy with their individual manipulations. Each also highlights the great backing vocals and harmonies which collude with Dolan’s very fine lead as well as the melodic prowess behind the heavy roars of songs across the release; a tapestry exploited in great style once more within Graffiti; Irony; Lists. The bordering on carnivorous track teases with raw guitar caresses initially; lures soon joined by the earthy strains of a brooding bass and Whyntie’s ever dynamic swings as things gather to hungrily grab ears and imagination.

The album concludes with firstly You Snooze You Lose, a rebellion of sound, texture and word which left ears impatient for plenty more, and finally Practice Makes Perspex. The last track is a maze of enterprise; every way you turn ears confronted by a kinetic eddy of sonic and rhythmic dexterity slightly crazed and just a touch anxious and completely irresistible.

Those last two words sums up Confusion Species perfectly if without sharing all of the magnificence making up its whole. From start to finish it is musical alchemy, so much so that we could not choose a favourite track; all seizing the honour.  So if there is one release you simply must explore between now and any deadline you wish to choose, Oxygen Thief have it ready and waiting to devour you and for you to devour.

Confusion Species is out now via Xtra Mile Recordings; available @ https://oxygenthief.bandcamp.com/album/confusion-species-2

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Pete RingMaster 30/11/2018

Copyright RingMaster: MyFreeCopyright

Brightlight City – Our Future’s Not Dead

Having impressed with debut EP, Adventures in 2015, British rockers Brightlight City now reveal the blossoming invention and increasing maturity in their sound with successor Our Future’s Not Dead. Hinted at by a pair of singles last year, the new release is evidence of a band building on an impressive start and potential with stylish adventure whilst nurturing a whole new promise for continued growth.

Surrey bred, Brightlight City weave in inspirations from the likes of Hundred Reasons, Million Dead, Yourcodenameis:milo, At the Drive-In, Biffy Clyro, and Jimmy Eat World into their sound; indeed sparking comparisons to the former and others such as Thursday and Hell Is For Heroes with their melody rich and harmonically honed songs. Equally there is a fresh and potent catchiness and steel to Our Future’s Not Dead which as suggested was first glimpsed within last year’s singles Gravity and Thieves. It is a growth in sound which has come with an increasing reputation and praise for their live shows through the quintet sharing stages with Max Raptor, Fizzy Blood, Bad Sign, and Blood Youth and playing alongside Rise Against and Millencolin at Envol et Macadam Festival in Canada in 2015as well as their own shows.

Recorded with Matt Hyde (Funeral For A Friend, Bullet For My Valentine, Slipknot), Our Future’s Not Dead is likely to spark another bout of attention and hunger for Brightlight City, setting out its persuasive strength with opener It Depends On You. Skittish beats alongside vocal and guitar offered temptation bring the song into focus; their low key yet agitated attitude soon a full roar as vocalist Jamie Giarraputo heads a web of melodic enterprise from guitarists Jonathan Staunton and Justin Giarraputo, the latter adding his own potent vocal expression to the mix. Anthemic in heart, imposing in rhythm as the hefty jabs of drummer Ben Bell court the brooding lines of bassist Tom Stock, the track roars with energy and passion.

With a mellower air Leave A Light On follows, wiry melodies swimming round a throaty bassline as emotive vocals entice with distinctive expression. Once again there is an instinctive catchiness at work, never wavering as fiery textures evolve and unite in a livelier blaze of sound and emotion. In some ways it is a less intricate proposition than its predecessor but only to its strength as each element is a flame of craft and drama before making way for Heart Stops. The third track comes coated in the infectiousness of the opener, its swinging body almost pop punk like and relentlessly coaxing listener involvement with its vocal harmonies and controlled but boisterous swing; a tenacious essence just as open in the calmer moments of a song taking best track honours.

The EP is brought to an end by Past/Future, a track epitomising the evolution in the Brightlight City sound with its rounded fusion of melody and energy amidst a new depth of contagiousness and invention. As all the songs within Our Future’s Not Dead it is a memorable and lingering encounter going to make a thoroughly enjoyable and impressing release. The Brightlight City sound has yet to become something truly unique but as the EP shows, it is well on the way and providing some rather tasty encounters along the way.

Our Future’s Not Dead is out now through Undead Collective Records.

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Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Syren City – Paradise In The Dirt

Syren City Promo Shot_RingMasterReview

Almost two years ago, UK rockers Syren City laid a hefty punch on attention with the Escape EP, five tracks of multi-flavoured rock ‘n’ roll which was as compelling as it was thrilling. Now the Bristol quintet returns with its successor Paradise In The Dirt and three more encounters which leave ears ringing with pleasure and an appetite for more simply greedier.

Formed in 2011, Syren City swiftly bred a sound from essences drawn across the likes of post hardcore, punk, metal and alternative rock. The 2014 Escape EP quickly showed it was a formidable and striking mix, echoing the band’s live reputation earned through festival appearances and shows with the likes of Turbowolf, The Alarm, Mallory Knox, Max Raptor, The Hell, Roam, Black Foxxes, Futures, Young Legionnaire, Attack Attack, and Blitz Kids. The release of their new proposition shows that the band’s sound has continued to expand and indulge in greater adventurous traits, increasing in magnetism with equal measure. The first in a series of EPs which have a conceptual thread and link, Paradise In The Dirt captures ears and imagination with swift deftness of enterprise and a rousing boisterousness, never relenting upon or releasing the listener until its final note has shared its mighty bait.

Syren City Cover Artwork_RingMasterReviewIt opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.

It is quickly backed up by its companions though, Danielle coming next and opening on a melodic caress which inspires the following vocals and flirtatious gait of the song. Little time passes before again a volcanic quality and energy erupts, its theatre creating a My Chemical Romance like attraction before things slip back into the captivating calm and the repeat of the galvanic cycle. As within its predecessor, there is a kind of tempestuousness to ideas and intensity which only adds to the riveting drama provided before 10,000 Knives steps forward to grab its share of the plaudits. Initial riffs and lures have a slight Therapy? feel before the punk heart of band and song grips and adds a Reuben meets Taking Back Sunday hue to the outstanding encounter.

All three tracks are uniquely distinct to each other but fuelled by a sound with a character all Syren City’s. The band impressed with their last release and have only made a bigger impact with Paradise In The Dirt, a release sure to be the favourite EP of 2016 for a great many.

The Paradise In The Dirt EP is out now through all stores-

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Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Making Monsters – Bad Blood

2015 promo_RingMasterReview

We heard the buzz and now we know it is pretty much on the mark, UK band Making Monsters is one striking and seriously exciting proposition. Our evidence comes with the band’s new EP, Bad Blood. It is six tracks of highly irritable and even more contagious rock ‘n’ roll equipped with the snarl of punk and bold diversity of alternative rock; a proposal which stirs the instincts and spirit from start to finish; oh the fact that the band’s sound has a touch of Animal Alpha to it does it no harm either.

Emerging in 2011, the Derry based Making Monsters soon poked at keen attention with their self-titled debut EP the following year, that potently back by successor, Attention, two years later. Alongside that success, the quartet has developed and honed their sound and live presence, impressing and luring new flocks of fans while sharing stages with the likes of Young Guns, Silverstein, We Came As Romans, Max Raptor, and Skindred amongst many. A clutch of singles have increasingly stirred the blood and ears these past couple of years while a full UK tour with Fightstar and Arcane Roots last October cemented the band’s growing reputation. With Bad Blood though, it is easy to expect the band stepping into new spotlights and strength of acclaim, the EP holding all the creative cards to be a game changer in the ascent of the band as it is in their sound.

Straight away the EP suggests there is a new maturity and even bolder adventure to the Making Monsters sound, a thought confirmed song by song across Bad Blood. It opens up with its mighty title track, a slab of punk ‘n’ roll straight away teasing with spicy hooks as the instantly impressing roar of Emma Gallagher takes on all challengers in attitude and quality. Guitars and boisterous rhythms continue to entice and intimidate across the excellent encounter, Gallagher’s emotive fire backed by male scowls as Brian Doherty’s drum sticks beat out an addictive pattern.

MM - Better _RingMasterReviewIt is a glorious start with, as suggested at the start, a great Animal Alpha hue to its tempest; an imagination and appetite inciting beginning to the release quickly and potently backed up by Call Me Out. A kinder affair on the senses for the main but with an imposing volatility, the dark stroll of Gary Todd’s throaty bass at first holds court with the provocative tones of Gallagher, who is already showing much more of her versatility; the pair soon colluding with the fiery enterprise of guitarist Paul Monk and heftily swung beats to stir up an already keen appetite.

Latest single Better comes in next; its entrance also less intrusive but taking a quickly unshakeable firm grip on ears as shimmering melodies and senses piercing hooks lay their bait into the rhythmically virulent swing of the song. There are moments throughout it where thoughts wonder if Distillers were fused with Stolen Babies, would they sound like and as riveting as this. They are essences which continue to flavour a song which has the energies breathless and hunger greedier by its end, so luckily We Aren’t Living is next to eagerly share its melodic pop ‘n’ roll with a growl and a tenacious will. Like those around it, the track offers plenty of unpredictable twists and moments of fascinating imagination, neither ever disrupting the flow and impact.

Rose seduces next, Gallagher caressing ears with her warm yet snarly tones as sultry tendrils of guitar sway. It is a mesmeric coaxing soon over run by a torrent of spiky riffs and busy rhythms providing a just as enticing invitation. As now expected things are soon turning down new avenues and offering a variety of twists woven into a blaze of a song as raucous as it is emotively inflamed and intimate.

Bad Blood ends on our favourite track, a rampaging beast of attitude and invention going by the name of Noodle Sync. Noise and garage rock meets punk metal infused rock ‘n’ roll, the track is a blistering assault and trespass on ears and the senses. It is a cauldron of raw riffs and invasive hooks driven by the diverse drama and emotion of Gallagher’s explosive voice and presence, her ability and invention more than matched in sound and imagination by the rest of the band.

It is a stunning end to a quite exhilarating release; an EP which just might be the making of Making Monsters and certainly another step towards major things for the band one suspects.

The Bad Blood EP is out now digitally @ http://makingmonsters.bandcamp.com/ with physical copies available @ http://makingmonsters.bigcartel.com/product/bad-blood-ep

http://www.makingmonsters.co.uk/   https://www.facebook.com/makingmonsters   https://twitter.com/makingmonsters1

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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Massacres – Brutus

Massacres Promo Shot_RingMaster Review

With a sound that does a fair job on the senses replicating the suggestiveness of their name, UK hardcore quartet Massacres have announced their introduction in ferocious and heftily enjoyable style with debut EP Brutus. The four-track fury is a merciless tempest of hardcore antagonism and belligerence loaded with punk rock hooks and a rock ‘n’ roll breeding which just compels ears and incites the body. Bolder things may be heard this year but for thoroughly exhilarating and fresh imaginative hostility, Massacres hits the floor running with Brutus.

Formed in the Spring of 2015, Massacres swiftly set about creating a collection of ravenous tracks before unleashing them on the live scene to increasingly fevered and acclaiming responses. Soon references were understandably offered to the likes of Every Time I Die, John Coffey, Pissed Jeans, and Cancer Bats; spices easy to bring up whilst listening to Brutus which the band began working on last summer. Uniting in Stakeout Studio with producer Jason Wilson (Reuben, Fightstar, The Ghost Of A Thousand), the London quartet emerged with an EP that barges into ears, bullies the senses, and ignites a keen appetite for more.

Massacres Cover Artwork_RingMaster ReviewOne Of The Boys launches at ears first, a nagging sonic scything from the strings of guitarist Kris Mayzee colluding with the similarly stabbing vocal spikes of Dave Rogers as the track gets a foothold in the psyche straight away. Soon venomously prowling the senses with urgency and grouchy invention, bruising intensity and burrowing hooks aligning for a potent lure, the song irritably stomps like a mix of Every Time I Die and Reuben with the additional animosity of Cancer Bats yet equally Norwegian band Shevils and British noise fiends The St Pierre Snake Invasion are nudged into thoughts to describe the predominantly individual flavour of the song and indeed subsequent release.

It is a rousing and increasingly addictive offering powerfully backed by the rawer viciousness of Death Knell. Again hooks and grooves are a persistent tonic in the volatile climate and character of the track; grooves especially spicy and insatiably alluring as they wind around the pleasing vocal variety shown by Rogers. The bass of Martin Walker is a bestial incitement, though it too develops an irresistible swing at times as it bridges the scorching temptation of guitars and the insistent brutality of Andy Sartori’s rhythmic swings.

New single Everything I Want To Do Is Illegal rages next; exploding off of a singular tendril of guitar bait with robust rhythms, fiery grooves, and the uncompromising emotive squalls of Rogers. As Max Raptor like infectious as it is The Ghost of A Thousand like choleric, the track is a dynamo of energy, hook loaded enticement, and unbridled emotion with the band giving their virulent all in craft and arousing intensity.

To The Victor, The Spoils brings the release to a close by crowding in on ears with a controlled barrage of predatory rhythms and vocal crabbiness amidst intrusive sonic enterprise. Within the stormy confrontation though, kinder melodies hang in the shadows where equally a catchy gait lurks, both waiting to escape the combative swell of sound and discontent. It is a intent that never occurs as such but all the time they add inescapable imagination to the unforgiving animus of the song.

Brutus is a strong and, more importantly, thoroughly riveting entrance by Massacres on the UK hardcore scene, an area of ferocious rock ‘n’ roll easy to see the band growing to be a driving force of if they fulfil their potential.

The Brutus EP is available through all platforms on from February 5th.

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Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

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Eva Plays Dead – Sounds of the Written Word

EPD Light-7468_RingMaster Review

UK rockers Eva Plays Dead have been stirring up plenty of attention and praise loaded support over the past couple of years through a potent live presence and a host of songs and debut album fuelled by with impressing adventure and the potential of even greater things to come. The Sounds of the Written Word EP continues the band’s potent emergence and evolution of sound with five rousing slices of undiluted rock ‘n’ roll. It is an encounter which confirms the Nottingham/Derby bred quartet as ones to watch and to find plenty of flavoursome enjoyment with, but also suggests that they are still only at the beginnings of exploring their creative depths.

Formed in the January of 2013, Eva Plays Dead weave inspirations from the likes of The Dirty Youth, LostAlone, Marmozets, Joan Jett, and QOTSA into their diversely spiced sound. Thick strains of metal, hard and alternative rock, and even punk are entangled and fused together as proven by the band’s new encounter, which relentlessly entices and holds attention. Live the band has frequently drawn acclaim too whilst supporting the likes of We Are The Ocean, LostAlone, Max Raptor, Canterbury, and also across their own country wide tours. The band’s 2013 album Guilt Trips & Sins equally drew its plaudits though it took the single of earlier this year, Wonderland to spark and lure in the increasing focus of the likes of Team Rock and Kerrang. The song was a rich taster of Sounds of the Written Word which itself is already creating a bit of a feisty stir since its release via SoundHub Records.

EP Artwork_RingMaster Review     The EP opens with Live Again and a rich torrent of fiery riffs, pungent rhythms, and a sonic enticing impossible to ignore. In fact the whole song is a wall of persuasion, especially once the rich voice and expressive delivery of Tiggy Dee joins the muscular party. Her tones wrap syllable and ears with tenacious seduction yet carries a raw edge which only adds to the aggressively creative enterprise of sound around her. The guitar of Matt Gascoyne is just as lively in its imagination and craft, its melodies and Dee’s siren-esque roar in turn trapped by the masterful and fiercely magnetic rhythmic cage cast by bassist Zach Shannon and drummer Seb Boyse.

The tracks’ bluesy air and hard rock enticing continues in the more predatory Bad Girl, the song with the sinister persuasive lure of a temptress prowling the listener musically and vocally. It is dark, dirty, and a weave of sonic resourcefulness seeded in classic and alternative rock. As its predecessor, the song is firmly infectious whether roaring with full passion or delving into more concentrated tapestries of thick texture and invasive spicing. It easily continues the strong start to the release, though both songs get outshone by Wonderland. From its first dark rumble, the track is sheer addictiveness, riffs and grooves a flirtatious confrontation over the anthemic twist of rhythms and subsequently stalking beats. Dee again sits astride the magnetic drama at play, her voice attitude fuelled yet with a raw regal air as the equally riveting sounds dance around her with bright invention and raucous energy. It is no surprise that the song stirred up ears and appetites as a single as here it pretty much steals the show, though it is quickly rivalled by the closing pair of songs on the EP.

We Ain’t A Family uncages its own virulent hooks and tangy grooves in short time, rhythms showing more restraint amidst the melody rich proposal though again the bass finds an intimidating snarl to drool over. Like the last track, it shows an eagerness to explore an undulating landscape of ideas and evolving sound, crescendos of energy and skilful ebbing and flowing of intensity and passion alone an enthralling tempting.

Final track 1950’s Woman has a similar template to the previous pair but finds its own individual character within a familiar bellow of rigorous sound and bewitching vocal theatre. The song maybe does not define its distinctiveness as much as others on the EP, but when it leaves ears basking, imagination smiling, and emotions hungry for more, there is little more you can ask of it.

There is definitely the sense that Eva Plays Dead has more in the locker than shown on Sounds of the Written Word which only makes their future something to keenly anticipate. This is a band to keep close attention on with an EP to thoroughly enjoy.

Sounds of the Written Word is available now via SoundHub Records through most online stores

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RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

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