Elizabeth The Second – Two Margaritas at the Fifty Five

photo by Filippo Galvanelli

A handful or so weeks back Italy based outfit, Elizabeth The Second, unveiled their debut single ahead of their first EP. It was a rousing introduction to the trio and a flirty teaser for Two Margaritas at the Fifty Five, which now here equally suggests this is a band to keep a close eye and eager ear upon.

Consisting of Ben Moro (guitar and vocals), Michele Venturini (bass guitar) and Luca Gallato (drums), Padova hailing Elizabeth The Second spring a sound upon ears which is part garage rock, part punk, and an infectious amount of dirtily edged pop rock. Inspirations come through the likes of by The Clash, Blur, The Libertines, Artic Monkeys, Nirvana, and The Stone Roses; all hues which certainly flavour the band’s sound as too the breath of seventies nurtured power pop and nineties Brit pop.  For all that though, the band’s music escapes speakers with open individuality casting a great mix of familiarity and undisguised freshness.

Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.

Its persuasive traits are keenly embraced and built upon across the following tracks too, Mickey weaving its own infectious blend of pop and rock in a boisterous proposition blessed with lively rhythms and a spicy hook. With its body woven from an array of flavours and Moro’s vocals further great persuasion the song effortlessly hit the spot before Yesterday I Was 20 stepped forward with matching prowess. A sixties hue teases from its melodic grace as that power pop essence fuels its shuffle, the song in some ways reminding of bands such as Purple Hearts and The Chords and though it did not quite raise the passions as those around it, there was only pleasure and an appetite to indulge again in its infection.

As its companions the following Soho revels in its catchiness and playful enterprise, melodies and enticing hooks as manipulative as the roar in Moro’s voice and the dexterity of the rhythms driving the song, let alone the imagination gluing it all together. Again an array of styles make up its character and voice before it leaves the just as potent Gimme One Euro to bring the EP to a spirited close with its own recipe of just as varied ingredients and flavours. As with every song on the EP, pop, punk, and rock essences meld perfectly with the classic rock wiring which escapes Moro’s guitar especially in his spice rich solos and in all tracks there is nothing which allows attention to be cast elsewhere.

One superb single and one addictive EP, there could be a rather rosy reign for Elizabeth The Second ahead.

Two Margaritas at the Fifty Five is available now digitally and on CD @ https://elizabeththesecond.bandcamp.com/album/two-margaritas-at-the-fifty-five

https://www.facebook.com/elizabeth.the.second.band   https://twitter.com/Elizabethe2nd

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

NoYz? – Tinnitus

Ever since being introduced to Noyz? years back through their ear grabbing track Happy Hour In A Junkyard, a song persistently played upon the internet shows we were involved with, The RR has been patiently waiting for the first album from the Serbian band. Finally it is here and there is no let down for hopes and anticipation by Tinnitus and its collection of multi-flavoured rock bred tracks.

Formed in 2004, the Belgrade outfit lacked a truly stable period line-up wise and went on a hiatus in 2012. Three years later founder and vocalist/guitarist/songwriter Stevan ‘Sharkey’ Radoičić brought the band back and set about creating that long promised first album. Their sound is a fusion of grunge, hard rock, metal, and punk; a mix embracing unpredictability and prone to ear grabbing hooks and bold enterprise. Inspirations to the band include the likes of Nirvana, Alice In Chains, Soundgarden, Metallica, Megadeth, System Of A Down, The Offspring, and Bad Religion; a list giving a good hint to that blend in their music.

Tinnitus opens with Introbytes, a slice of metal infused punk nurtured rock immediately presenting the type of ear catching hooks the band specialises in. Despite its title it is far more than an intro, the predominately instrumental encounter a stomping invitation into the weave of sound, design, and textures shaping the album ahead with the following Pure Fucking Metal Pwnage skilfully exploiting all. The second track’s first breath is thrash like, its second a thicker mix of metallic flavouring before the band’s rock ‘n’ roll instincts emerge in the blossoming song. Sharkey’s vocals are as keen as the sounds around them, the rhythms of drummer Milan Jejina Yeqy a swinging and rousing trespass while the bass of Anja Tvrtković is a heavy throaty lure with the song itself not holding back on the imaginative twists which again provide persistent temptation across the release.

Blow Joe is next up and straight away drums tease and tempt, their beats an infectious coaxing matched by the glorious lure of the bass. Swiftly the guitar casts melodic strokes across their irresistible dark bait before the track opens up a web of hooks and grooves, a hard rock infusion erupting upon the compelling landscape.

Similarly Cold Turkey enters on appetite pleasing bait, bass and guitar entangling around vocals before the track exposes its dirtier grunge nurtured side. Grooves soon expose greater lures in the track as vocals reflect with irritability and angst. Magnetic from start to finish, the track easily hit the spot before Ein Neues Leid steps forward with its classic punk breeding. That in turn gives birth to a broader punk ‘n’’ roll roar lined with grunge and melodic rock enterprise.

The senses became entwined by guitar wires as What You May Call It rises up straight after, infectious dexterity a rich wash in its imaginative tapestry of sound and invention. Again manipulative hooks are freely sprung and greedily devoured, Noyz? sharing their dextrous conjuring of such tempting with ears grabbing unpredictability and keenly echoed in Diarrhea and in turn Dream. The first of the pair is a catchy and swiftly satisfying offering if not quite matching up to those before it for personal tastes whilst its bolder successor bears its Nirvana inspirations proudly before immersing them in Noyz? individuality, one drawing on a palette of rock.

The melodic caresses of Cherished Leader easily seduced, the relatively calm yet fiery song casting its own uncomplicated but potent hooks within melodic metal scenery, while Happy Hour In A Junkyard once more simply hit the spot with greedy accuracy. Once its familiar opening hook leaps forward there was no denying its command, bass and guitar making a potent force within the lively swings of Milan, and once that effortlessly persuasive chorus erupted , old instincts flared. Every band has a moment or a few which is their calling card and this is still easily the one for the Serbian outfit.

With the final trio of the feral punk ‘n’ roll driven, diversely flavoured and sculpted Boy/Girl, the equally untamed hard rock reared Pissoff and another host of an inimitable Noyz? hook in The Gootch leaving ears bursting with satisfaction, Tinnitus is easy to fully recommend.

There are moments which simply stole the passions and others which had us boisterously bouncing so fair to say that from start to finish the long awaited Tinnitus hit the spot.

Wrapped in the great artwork of Anja Tvrtković, Tinnitus is out now and available @ https://noyzband.bandcamp.com/album/tinnitus

https://www.facebook.com/noyzgrunge

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Rat Face Lewey – The Fall Of Man

Their new album might just declare The Fall Of Man but with eight slices of inventively rousing rock ‘n’ roll it also announces the rise of Rat Face Lewey.

The London based alt-rockers have certainly felt praise and support since emerging nine years back but with their latest offering it is easy to suggest that the British trio could now spark major attention. East Midlands hailing, Rat Face Lewey was formed by brothers, vocalist/guitarist Jonny and bassist Mav with Gregg on drums. Their sound rose on the inspirations of bands such as Nirvana, Red Hot Chilli Peppers, and The Manic Street Preachers and in 2013 formed a well-received debut album in the shape of Wonder Before Mess, a number of its tracks finding a place and longevity on playlists throughout the globe. A couple of Matthew Hyde produced singles in Dead in the Ground and Digital Prison two years later only enhanced the band’s reputation and rise up the ranks of the British rock scene, a position under the threat of far loftier heights through the ear gripping holler of The Fall Of Man.

The album opens up with Tell Your Friends About Me and a combined vocal introduction which had ears on keen alert before earthy riffs and punchy rhythms took a firm hold. Swiftly a hard rock scented amble breaks free as vocals continue to impress, eager catchiness soaking every wire from the guitar and each controlled yet boisterous rhythm. Imagination equally is at potent play as the song twists and turns with magnetic enterprise revealing that the band’s sound has moved far away from those early influences to find its own predominate identity though at times there is a great Terrorvision like whiff to it.

As strong and stirring as it is, the first track is quickly eclipsed by its successor. Comfortable entices with an engaging guitar beckoning which soon sparks a bouncing punk ‘n’ roll stroll with a Green Day-esque hue to its infection. Contagious in every essence, the track incited mutual spirit and bounce before The Pirate Song washed up on the shores of temptation, a guitar shimmer springing a shapely melody which in turn ignites a rapacious hook equipped rock canter. Continued animation in that hookery combined with anthemic vocal calls singular and united shape our favourite moment within the album, its shanty like swing the froth to its creative ale.

Replaced is next up, another calm but resourceful thread of guitar ensuring close attention confirmed by Jonny’s voice before being surrounded by a larger web of stirring sound. Mav’s bass again provides a delicious gnarly tone to its throaty lines whilst all the while the song shares unpredictable twists and tenacious turns to prove a rival for that best moment choice as too does its successor, Fight My Noose, thanks to the best opening to a track on the album. Straight away it nagged at the senses, guitar and bass stirring instincts with their united persistence. As the song continued to expand there is no lessening of its potency and manipulation, a punk breeding firing up song and passions alike.

The album’s title track follows, prowling with feral breath even as harmonies and melodies wrap its untamed heart. Defiance and angst soak its every note and syllable, its enraged roars as gripping as its melodic and sonic adventure.

The final pair of This Turtle and Belong to Yourself equally reveals additional shades to the band’s sound. The first is a contagious slab of punk ‘n’ roll bordering on pop virulent but hungrily muscular with the second a fire of melodic and infectious energy as composed as it is impassioned and imaginatively crafted. While maybe not as commanding as those before it, it makes for a fine end to a richly enjoyable and accomplished release which should put Rat Face Lewey firmly on the map.

The Fall of Man is released Sept 6th.

http://www.ratfacelewey.co.uk/   https://www.facebook.com/Ratfacelewey/

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright

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

https://www.facebook.com/StolenDeadMusic/   https://twitter.com/StolenDeadMusic   https://stolendeadmusic.bandcamp.com

Pete RingMaster 13/06/2019

Copyright RingMaster: MyFreeCopyright

Neverlanded – F.u.U

Voracious in breath, bold in imagination, and a touch irritable in character the sound fuelling the debut EP from UK trio Neverlanded makes no concessions to expectations as they provide one of the more exciting and intriguing introductions heard over recent months. A feisty and uncompromising mix of grunge, alternative rock, and punk rock with an appetite for stoner hues, it is within the F.u.U EP, a striking confrontation as belligerent as it is brazenly adventurous.

Roaring out of North London, Neverlanded consists of vocalist/guitarist Pete Bloom, bassist/guitarist Niki Jester, and drummer Jaca Freer. Initially formed as an online project in 2017, the band has since released a trio of singles to stir up some attention which F.u.U, its full title being the Fluffy Unicorns United EP, can only forcibly escalate. Inspirations to the EP’s sound include the likes of Placebo, L7, Silverchair, Garbage, Nirvana, Cranberries, Pixies and Refused; a selection which gives you a good inkling of its breeding and heart if not its open individuality to those influences.

Neverlanded are giving the Margo Broom (Arrows of Love, Yassassin, Calva Louise) recorded EP available free to anyone who donates money to Mermaids UK, a charity the band eagerly and effortlessly supports in its work supporting children, young people, and their families to achieve a happier life in the face of great adversity including raising awareness about gender nonconformity in children and young people amongst the general public.

F.u.U pounces from the speakers with Brainsane first up, an initial melodic lure enough of a coaxing to set the senses in the face of a swift wall of noise though that too is a quick trespass as sonic calm and vocal prowess bridges another raw surge. Within it all Jester’s bass immediately proven manna to personal tastes but was as resourcefully matched by the biting swings of Freer and the fuzzy exploits of Bloom’s guitar. There is a definite Nirvana meets Pixies spicing to the song but that only added to its imposing magnetism and tempting snarl.

The following MesS.O.S. bursts from the speakers with punk ferocity but soon bounced along with appetite gripping unpredictability and noise rock infused grunge bred self-appraisal. That initial punk causticity still persists though fuelling the track’s rousing antics and agitated frenzy; the result a brief and severely appetising slice of punk ‘n’ roll before This Friend of Mine soothed an inflamed spirit with its invitingly crawling melodic stroll. It is a track where you can see those Placebo and Pixies references seeded but again flavours embraced and mutated into Neverlanded’s own inimitable sonic concoction. A blend of the feral and seductive, the track simply added to the compelling persuasion of the EP.

Scream4icecream completes the quartet of incitements, a song from its first bass amidst crispy beats burrowing under the skin and increasing its slavery through vocal snares and sonic wiring. The track is superb as are all enticements within an EP which had us quickly hooked and greedy thereon in.

How Neverlanded evolve from this impressive moment we will see but anticipation of that adventure is as ripe as the enjoyment with F.u.U was rich; so go explore and remember you can support a great cause at the same time.

The F.u.U EP is released April 1st, for more info go to https://www.neverlanded.com/home  and https://www.facebook.com/neverlandedband/

Pete RingMaster 02/04/2019

Copyright RingMaster: MyFreeCopyright

The Primals – All Love Is True Love

The outcome of a collision between the raw essences of crust lined garage punk and pop infused grunge accosted by noise baiting metal, All Love Is True Love is the fierce new album from LA based rockers The Primals. Though it bears hungry ferocity it is equally as infectious and catchy as it is invasive; it all making for one of the year’s most irresistible debuts.

The Primals is a trio made up of Darkest Hour vocalist/guitarist John Henry, former Dead To Fall member in bassist Chad Fjerstad, and drummer Andrew Black who previously was part of The Explosion, and Title Tracks. Exploits within those outfits has meant anticipation once The Primals’ first release was announced has been keen among a great many and we can say that though there have been a fair few introductions this year which have simply ignited attention and excitement with plaudits in close quarter, All Love Is True Love is ahead of most of the field.

Produced by John Reis (Rocket From The Crypt, Drive Like Jehu, Hot Snakes), All Love Is True Love immediately descends on ears with Hello Cruel World. Instantly a guitar gnaws on the senses, in turn triggering a caustic wave of noise as contagious as it is a visceral trespass. Even in its carnal insurgence there is an instant catchiness of pop sensibility which surges through the confrontation, vocals riding that temptation with a melodic snarl. Similarly soliciting is the predacious quality the band’s sound carries, one which permeates the whole album to compelling effect.

It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.

Pity City saunters in on a rhythmic swing; flames of guitar crossing its lure as the melodic calm of vocals add infectious charm. The track simply becomes an insistent radiance spilling invitation where contrasting textures unite in imagination; a pop song in its rawest most accessible state before Fortune & Sons shares its punk ‘n’ roll animation with rapacious relish. It too has an inherent infectiousness which borders the viral and an equally belligerent breath which growls discontent as easily as it brews seduction.

Next up The Wayward Impaler is untamed pop rock which similarly melodically tempts as it shares sonic agitation while It’s Personal saunters in straight after with a heavy drawl and shadowed intentions before unveiling its own pop natured virulence within those persistent trespasses. Both tracks swiftly get under the skin, the latter especially laying a mighty hand on best track honours before Together Whatever has its say with its Sonics-esque, old school punk holler. Rhythms stomp and guitars abrase as the track incited body and the passion, another slice of quick addiction with a potent claim on the top dog title.

The album concludes with firstly the slow crawl of Save Me, Baby; a plaintively melancholic croon with rhythmic tempestuousness and lively pop rock animation, and through the rousing grunge punk ferocity of I’m Coming Home. The final track is pure threat and seduction, each in equal measure invading the senses in a “we are united, love you all and fuck the world” like declaration.

It is a stirring and tremendous finale to an album which has all the elements and deeds to re-invigorate already hungry or alternatively any stale appetites for rock music. It is a gem, simple as.

All Love Is True Love is out now via Southern Lord and available @ https://theprimalssl.bandcamp.com/releases

https://www.facebook.com/ThePrimalsLA

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Hypnosister – Self Titled EP

If the celestial angels took a night off from enchanting the skies with some spacey rock ‘n’ roll fuelled by earthbound fire and brimstone, the debut EP from Hypnosister would be the perfect centre piece of temptation. The six track offering craftily seduces as it boldly roars, enticingly caresses as it dramatically trespasses the senses. Simply put it is a real treat for ears and imagination

Hypnosister is the solo project of former Allusondrugs guitarist/songwriter Damian Hughes which the British artist unveiled mid-2017. Describing it as space pop, Hughes weaves an immediately individual and virulent sound inspired by the likes of My Bloody Valentine, Nirvana, and Neutral Milk Hotel. Early singles and live shows soon grabbed attention of fans and the likes of XFM’s John Kennedy, Punktastic and Upset Magazine; support and plaudits sure to be escalating through his first EP.

With no other hand but Hughes involved from writing and playing to recording and producing, the EP opens up with the truly irresistible Poorly Boy. The track rises up with drama and attractive tension in its tone, bringing its thick hues together to burst into an instantly rousing and infectious affair led by the potent voice of Hughes. Though under control, there is tempestuousness to the track which emerges in twists and an unpredictable enterprise that just gripped attention and a quickly forming appetite for the Hypnosister adventure. There is a touch of The Horrors to the song in certain moments too but merely one of the alluring hues in its individuality.

The following Bother emerges on cosmic currents, sauntering in on a slow but catchy swing as waves of infectiousness court its magnetic lures. Hughes’ guitar has something of Lester Square of The Monochrome Set to its character; hooks and melodies springing like tentacles upon the imagination within another gorgeous encounter before Breath injects an earthier presence to the EP’s spatial climate. A post punk lilt to the guitar is contrasted by Hughes’ harmonic but again slightly grainy vocals; the almost funereal gait of the song equally at complementary odds with the natural catchiness of the inescapable temptation.

Next up Ghost serenades ears with harmonic radiance but soon reveals its own wiry enterprise and muscular drama within the ethereal shimmer. Again creative tension just lifted track and the passions alike, giving an edge to its melodic seduction and spirit rousing roar while I’m Going To Die ventures into emotional shadows and dark hues without negating the organic contagiousness Hughes’ songs just seem to breed with ease. With a touch of sixties garage pop to its fuzzy glow and a bold brooding to its rhythmic enticement, the track brings yet another individual aspect to the EP and sound of Hypnosister.

The release concludes with new single Scribbles, a song with angst and psychosis to its emotions, words, and tone but unsurprisingly also has infectiousness which just gets under the skin with guile and a deceitful touch, manipulating and enslaving almost secretively by the second. Bookended with distorted carnival-esque intimation, the track is a mesmeric end to one ridiculously compelling encounter.

With distortion, almost discord infesting the craft of the guitars and fuzz coating its melodic and spatial beauty, the Hypnosister sound borders on creative alchemy, certainly offers undiluted temptation making the first EP an essential piece of space rock ‘n’ pop adventure.

The Hypnosister EP is out now via Sleep All Day Productions, available @ https://hypnosister.bigcartel.com/ and https://hypnosister.bandcamp.com/album/hypnosister-ep

https://www.hypnosister.co.uk/   https://www.facebook.com/hypn0sister/   https://twitter.com/hypn0sister

Pete RingMaster 09/08/2018

Copyright RingMaster: MyFreeCopyright