Who Killed Nancy Johnson? – Flat Earth Theory

Having recently checked out their latest single, Dark Horse, and been definitely taken by it, it was a really welcomed treat to be sent over by the band itself the release the song came from. Its creators are UK outfit Who Killed Nancy Johnson?, a​ ​​​Reading-based quartet creating an eventful fusion of punk and rock with post punk imagination. It is a tenacious sound fuelling a new EP in the shape of Flat Earth Theory, four tracks of raw and devilish rock ‘n’ roll which just got under our skin.

Formed in 2015, Who Killed Nancy Johnson? has grown into one increasingly praised and devoured live presence across the south of England. Their debut EP, Cops and Robbers, released early last year only added to their rising reputation, one sure to be energised again by Flat Earth Theory. Musically the band embraces inspirations from the likes of The Stooges, The Ruts, Wire, Magazine, Black Flag, Buzzcocks, The Rezillos, Fugazi, Ash, Killing Joke, Lit, Rival Schools, The Drills, and 3 Colours Red; an array of flavours which if not openly echoed in the band’s individual enterprise certainly adds to its substance.

Flat Earth Theory is an eventful encounter, an affair coincidently echoed in its making with former bassist Paul Anthony leaving the band just before the EP’s mixing stage and preventing the basslines already laid down being used. A mystery bassist saved the day though, Who Killed Nancy Johnson? leaving the studio with four slices of ear grabbing rock ‘n’ roll.

The EP opens with Strip, a song which opens the band’s live show and to rousing success one imagines such its potent impact on Flat Earth Theory. From a dulled clang of guitar, spirit sparking beats launch their bait, Mark Wren whipping up song and appetite alike as Pete Moulton’s guitar continues to linger casting raw strokes. Quickly though the song surges through ears, its rapacious energy and disruptive intent manna to the imagination and capped by the distinctive tones of vocalist Stefan Ball. Old school punk meets post punk devilry, kind of like The Adicts in league with a Fugazi fuelled Gang Of Four, the track is irresistible and for us a must single. It is easy to see why their shows get off to a flyer with the song, its two minutes instinctive punk ‘n’ roll incitement.

The following Alien has a broader rock landscape, alternative and punk merging for a tenacious stroll which teases and lures the listener to one irresistible call of a chorus demanding eager participation. As in the first song, the band casts wicked hooks and anthemic persuasions which manipulate by the second, a great throbbing bassline accentuating their dexterity as the track matches its predecessor in hitting the spot dead centre.

Mouth and Trousers is next up, a more controlled song which almost prowls ears initially even as a rush of riffs crowd them. It calms down further as vocals join the shuffle, rhythms keeping their restraint in place too. There is a whiff of pub rock to the song, a Dr Feelgood breath to its punk ‘n’ roll which brings another potent shade to the EP’s sound and though the track did not ignite the passions as richly as its companions, it had the body bouncing and vocal chords indulging especially through another potent chorus.

The EP is completed by that latest single, Dark Horse. The song is a muscular affair of alternative rock which straight away springs a lure of firm beats and juicy hooks, building on their prowess with appetising grooves and a brooding bassline aligned to almost predacious beats. Recalling bands such as The Motors and Mind Museum, the track dances in the imagination whilst arousing the spirit.

With new recruit Julien Bruinaud completing their line-up on bass, Who Killed Nancy Johnson? are ready to build on their previous success with a real nudge on national attention, the thoroughly enjoyable Flat Earth Theory irrepressibly leading the persuasion so watch this space.

Flat Earth Theory is out now @ https://wknancyj.bandcamp.com/releases

 

https://www.wknancyj.com/     https://www.facebook.com/WhoKilledNancyJohnson/     https://twitter.com/WKNancyJ

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

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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Spark The Sail – Sapphire Deep

Spark The Sail Promo Shot_RingMaster Review

There has generally always been a strong underground scene spreading out in Bristol but right now the British city seems to be at a new high in excitement and potency. There is a vast horde of artists catching ears and attention with, for us, bands like The St. Pierre Snake Invasion, who just released their exceptional debut album, Jesuits, Left Side Brain, and the currently quiet Mind Museum leading the way. To that list we can now add rock popsters Spark The Sail, a quintet releasing a debut EP that simply leaves ears and pleasure aflame.

The Sapphire Deep EP is a rousing romp of pop ‘n’ roll, a feel good contagion built on open craft and fresh imagination. Every one of its five songs has the body and emotions leaping, the appetite for its boisterous beauty greedier by the second, with the psyche lost in its web of virulent catchiness. To local fans this is no surprise and now the UK and further afield can wake up to magnetic rock music as virulent as it comes.

Spark The Sail initially began as the duo of vocalist Jodie Davies and vocalist/acoustic guitarist Ryan Moore. Then as 2013 called it a day, the band had grown to a quintet with the addition of electric guitarist Robbie Rowe, bassist James Killackey, and drummer Mitchel Lucas. Honing their unity and sound, the band subsequently hit the live scene and were soon adding the sharing of stages with the likes of The Hoosiers, Dub Pistols, and Tinie Tempah to their quickly expanding CV. Successful appearances at The Isle Of Wight Festival this year and a host of other shows across the south of England has only added to their reputation and fan base; both now set to explode as Sapphire Deep unveils its rich revelry.

Spark The Sail Cover Artwork_RingMaster Review     The band’s inspirations include bands such as Panic! At The Disco, The Skints, and Paramore; fair to say open influences in varying degrees from the first track onwards though equally there is an energy in the songwriting and melodies which has a feel of Irish bands The Radioactive Grandma/ K.N.O.T.S. As opener Sapphire reveals, it is potent flavouring to something, if not unique to Spark The Sail quite yet, easily allowing them to standout as something highly promising and special. The song opens on a melancholic piano cast melody, around it the atmosphere hazy and slightly distorted. Energy brews simultaneously, erupting in a stroll of punchy rhythms and coaxing riffs led by the excellent dual vocal persuasion of Davies and Moore. Alone their voices entice but together enthral and ignite ears as easily as the weave of acoustic and electrified enterprise aligning to their creative theatre. Like a gem, the song has a host of faces to its adventure, each having a moment to shine and tempt before the song concludes on another boisterous roar of pop devilry.

The following Never The Moment keeps ears and enjoyment flying, the opening bait of rhythms from Lucas setting the template of the song with its anthemic shuffle soon joined by smiling melodies and hooks. Again the vocals transfix and bewitch, side by side or hand in hand a thrilling colour to a track again twisting and turning with perpetual imagination. The glorious encounter leaves rich hooks in ears and memory, its character a lingering friend but as Outlook shows next, that also applies to each song. Like its predecessor, the swinging slice of fun has meaty rock ‘n’ roll at its core and spicy pop melody in its heart, both wrapped in a swirling folk pop scent for a riveting and lively drama with a good whiff of Fall out Boy to it.

   Trust Me is next and with elegant melodies as its first caress, swiftly has the imagination floating away with its atmospheric and emotive air. A relatively more restrained and intensive affair than the first trio of tracks, it still weaves a rosy hug of vocals, harmonies, and expressive melodies around a firmer lure of rhythmic bait.

The release is brought to an energetic and tenacious end by Pieces, another easy to get physically and mentally involved in proposal bouncing round with creative enthusiasm and melodic flirtation. The track sums up the whole of the EP in its closing dance of passion and sound to light up any day and shadow.

Spark The Sail is now firmly installed as not only one or our favourite Bristol exports but of our pop /rock joys. Mark our words; this band is going places if Sapphire Deep is the sign of things to come.

The Sapphire Deep EP is released November 6th through all stores.

https://www.facebook.com/sparkthesail   http://www.sparkthesail.com   https://twitter.com/sparkthesail

Pete RingMaster 06/11/2015

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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Panic Island – Cabin Fever EP

Panic_Island_Cabin_Fever_EP

First track catches ears and imagination by excited surprise, the second has both locked in a blaze of pungent rock ‘n’ roll, and by its third, Cabin Fever the debut EP from Panic Island has made a clear statement that UK rock has another potential ridden and magnetic proposition emerging from its midst. The three track release is a magnetic roar of alternative and melodic rock, a weave of pungent riffs and sinew swung rhythms entwined with creative and anthemic dexterity. Maybe not yet the release to suggest that Panic Island will be amongst those to the fore driving the ever changing face of British rock ‘n’ roll, the EP is definitely an impressive introduction for the band to spring on from and tempt those kind of heights.

image003     Panic Island is centred round the North London songwriting duo Arron Sans and Vinnie Shimia, two musicians which first met at a gig by The Cult in Spain in 2012. Sans had already “dabbled in acting and film production” before exploring music and songwriting whilst Brazilian born Shimia had developed a romance with the guitar since the age of 13, and moved to the capital from his homeland to pursue his aspirations in music. Their individual abilities and strengths going by Cabin Fever have certainly gelled and openly flourished musically and lyrically since the pair creatively united, openly evidenced by their first release. Produced by Paul Tipler (Idlewild, The Horrors, Eighties Matchbox B-Line Disaster), the EP is a storming adventure of sound and dark emotional exploration, a release which has you sonically gripped within a few choice moments and persistently thought provoked across each infectious proposal.

The EP starts with the outstanding We Start Fires, a thick lure of bass the first enticing quickly joined by jabbing beats and in another breath, an electronic teasing. Coming cold into the band and letting the music be the first indication of their sound, the latter element immediately sends expectations down the wrong avenue, with punchy beats the almost techno like tempting sparking thoughts of a dance-floor escapade to come. The great vocals of the pair soon begins dispelling that, their attention grabbing presence the trigger to a more volatile lure of rhythms and a stroll of pungent riffs and striking heavy rock hooks. There is a slight punk edge to things too, whilst grooves and vocals increasingly cast a more aggressive and flavoursome web of hard rock and melodic tenacity. The early electro devilment also continues to flirt with the imagination, from time to time coming to the fore but never for long as the unpredictable and thrilling anthemic stomp of a track continues to bound through and ignite ears.

The excellent start is followed by new single Temples, a song providing a more settled landscape of melodic rock but one equally as fiery and alluring from the off. Because of its more uniform canvas of sound, the emotive potency of word and voice has a stronger and clearer sounding board to spring its passion and angst from. This aligns perfectly with the just as magnetically imposing drama of melodies and craft of guitars. It is a combination offering a feel of Bristol band Mind Museum to the provocative nature of the song which excels again within closing song City Screams.

As the previous encounter, it too is a swiftly catchy and enticing proposition with raw feeling in the vocals and raucous enterprise in the heart of the music. It also shows that any of the three songs upon Cabin Fever can be a potent single for the band, each in their individual ways intense and incendiary slices of drama with the emotional climate expected in the consuming premise of the EP title.

Panic Island do everything right with Cabin Fever, and though their sound is not yet holding a truly unique character it is not an issue, just part of the evolution of the band’s creativity to that expected success. Anyway the release is a gripping slice of exciting rock ‘n’ roll and that more than works for us.

The Cabin Fever EP is available from May 18th via Flat 4 Records at http://amzn.to/1QTpAQH and http://panicisland.bandcamp.com/releases

http://www.panicisland.com     http://panicisland.bandcamp.com/releases

RingMaster 17/05/2015

Copyright RingMaster: MyFreeCopyright

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Mind Museum – One Blood

MM_SHOOT-1

The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already OneBlood-EP_ScreenResemotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

   Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

The One Blood EP is available via Secret Chord Records now!

http://www.mindmuseum.co.uk/

9/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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