Armstrong – Self Titled EP

Copyright of Jade Esson

Copyright of Jade Esson

Say hello to Armstrong, a quintet from Scotland who on the evidence of their new self-titled EP have the knack in writing some rousing slices of melody thick rock ‘n’ roll. The four track release is the back up to an eagerly received debut single unveiled this past August, a thicker confirmation of its success and broader bait to a national awareness of their rather flavoursome sound.

Hailing from Glasgow, Armstrong emerged in the December of 2014; the band taking time to hone their sound before uncaging their already renowned live presence from March this year. They have lured this description from someone somewhere, “Imagine Shirley Manson fronting We Are Scientists with exciting pop melodies“. You can see where those words come from as the EP’s four tracks incite ears and appetite, but it has to be said that more so Armstrong have already developed a unique nature and air to a sound which, yes has recognisable traits for sure but in a broad and undefined sense of other indie/alternative rock exploits.

coverThe release opens with that first single mentioned, Thursday Night Club. To a gentle but nagging tingle of guitar, the song is soon swinging jabbing beats before opening out into a fuller, richer stroll though it is still a relatively relaxed and calm on the senses proposition. Frustratingly not having names to give the individual prowess of the band’s members, the voice of the band’s front lady quickly captivates and impresses, her tones a balance of beauty and a deep rooted snarl which comes to the fore in the glorious chorus which subsequently erupts. Already the song was strong enticing but this fiery outburst turns the whole thing into a thrilling anthem, it in turn seeming to spark new enterprise in the steely dark tones of the bass and the melodic tenacity of the guitars. It is easy to see why the song made such a strong impact on its release, its instinctive power and wholesome energy alone ensuring the EP is off to a mighty start and indeed worth a strong look.

Just Cause steps up next, the second encounter with the EP immediate sonic smog with melodic tempting on ears which as the last song, continues to blossom and grow in creativity and infectious virulence. The native Glaswegian lilt of the vocals adds as much enjoyable colour and character to the song as the music, the impassioned tones cleverly wrapped in flowing sways of guitar and backed by the dark nature of the rhythms. Certain elements, as across all songs, hold familiar essences but as suggested previously, any comparisons are tinges of rather than thick similarities to another proposition and something you can expect to see evolved into more fresh originality as Armstrong evolve and mature as a band.

As the opener, Bend. Buckle. Break. also grows within ears from a slim and reserved breath, brewing up its own melodic seduction with every passing second led by the ever warm and alluring vocals. It too stirs up its own individual anthem of passion fuelled by a creative energy as ripe in rhythms as it is in the guitar tapestry and united vocal roars across the band. Generally more controlled and restrained even in its headier bellows compared to those songs around it, things still get evocatively and musically fiery before departing for the closing You Are Not Alone. The final track has a reserved tone which leads to another potent roar sizzling with melodic and vocal flames, it providing a highly pleasing end to a thoroughly enjoyable introduction to Armstrong.

As all female led melodic rock bands tend to be, Armstrong, will at times no doubt be compared to Paramore but Scotland’s new young guns already offer something very different and fresh in comparison which can only blossom with greater strengths of adventure. On this showing, they have a very rosy future ahead of them; it is just up to the five-piece to go grab it. They certainly seem to have all the potential and tools to achieve that.

The Armstrong EP is available from September 28th

Pete RingMaster 28/09/2015

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‘ELEMENTS reveal ‘Where We Once Begun’, on 17th August


New Brit alt-rock outfit ‘Elements’ nationally unveil their spanking new EP ‘Where We Once Begun’, on Monday 17th August, through all digital stores.

Hitting you with a groove likened to the early Biffy Clyro records, fused with the rock sensibilities of YouMeAtSix and Paramore, and the invention of Don Broco, Elements are primed to burst out to the nation, and these lively South Coast rocksters have the perfect bait in the shape of their new record, ‘Where We Once Begun’, out this Summer.

Formed in late 2013 and coming at you from Southampton, Elements are comprised of Graham Rogers (Lead Vocals), Ollie Butler (Guitar and Backing Vocals), Robin Small (Guitar), Max Bakker (Bass and Backing Vocals) and Ash Martin (Drums). Gathering steam, the dynamic five-some soon embarked on a series of compelling live shows supporting such artists as Bad Rabbits, The Afterparty, DEAD!, Ashes To Angels, The Hype Theory and Public Service Broadcasting, to name a few.

After a recent change in personnel, the five piece hit the studio and are now ready to strike out with their alluring sophomore EP ’Where We Once Begun’, produced by Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero). The record is a genuine scorcher and boasts five engrossing cuts, from the infectious bouncy vigour of ‘Shaman’ to the energetic craft of ‘High Time For Being Free’. The new lyric video for the track ‘Plotting Treason Or Saving The World’ ( is also sure to pull in any discerning listener with its weaving guitar lines and layered vocals. ‘Make It Out Alive’ displays the band’s ever-increasing maturity and further explores the use of dynamics to dazzling effect. The stabbing riffery assault and full frontal vocal attack of ‘Torchlight’ pulls the curtain down on a record that is as engaging as it is imaginative. With a UK tour set out for July and festival appearances waiting in the wings, you need to catch Elements before they explode.


EP TRACKLISTING: 1. Shaman; 2. High Time For Being Free; 3. Plotting Treason Or Saving The World; 4. Make It Out Alive; 5. Torchlight.

The exciting video for ‘Insomnia’ from Pryti gets its national release.

Pryti Online Promo Shot


‘One to watch for 2015’ Alex Baker / Kerrang! Radio & TV

“Pryti’s big on melody and as strong musically as vocally.” 8/10 Whisperin & Hollerin

‘…destined to be a name on the lips of and stirring up the British heavy rock scene.’ RingMaster Review

Taking the emotive heavy groove of the Deftones merged with the alluring appeal of Paramore, ‘Pryti’ continues her climb with her brand new single ‘Insomnia’, which is out now and taken from her stunning debut album ‘Tales Of A Melancholic’. The video for the thrilling single has already been exclusively premiered by Kerrang! magazine and you can now check out it out right here –


In complete contrast to today’s manufactured X Factor culture, Pryti is the real deal. A true independent artist, Pryti wrote, sang and played guitar and bass on all songs from her forthcoming debut album ‘Tales Of A Melancholic’. The Birmingham singer-songwriter has rock oozing from her core, and in keeping with her independent and DIY ethos, she has set up her own label ‘Welcome To Pariahville’, which is home to all of Pryti’s releases.

Pryti’s last EP ‘Welcome To Pariahville’ picked up widespread acclaim from the Rock/Metal community. Sam Carter (Architects) reviewed her EP in Kerrang! Magazine to high praise, while Rocksound Magazine covered Pryti with an online feature. Tracks from the EP also racked up radio airplay on Kerrang Radio’s Fresh Blood show and Total Rock Radio extensively played ‘Abyss’.

Pryti’s debut album ‘Tales of a Melancholic’ was produced by Justin Hill from Sikth (Yashin, Heart of a Coward, Bury Tomorrow) and the record is already picking up national press attention from Metal Hammer, Big Cheese Magazine and Rocksound. Alex Baker from Kerrang! Radio has also touted her as ‘One to watch for 2015’. With further coverage and support in the pipeline, 2015 is going to be massive for Pryti. Look out for ‘Insomnia’, which drops this February. The video is stunning and the track is a cunning slab of low-slung emotional rock at its very best.


Leopards – Future||Fate||Forever

Leopards Online Promo Shot

It seems like we have been enthusing over a torrent of impressive debuts from and introductions to truly promising bands this year already, and taking their place in that list is certainly UK alternative rock band Leopards who are about to unveil their new EP Future ||Fate ||Forever. A five track blaze of melodic rock infectiousness and alternative tenacity, the encounter is a highly appetising and imaginatively crafted adventure which maybe does not quite push the band head and shoulders above a flock of similarly flavoured propositions but definitely allows the band’s presence and potential to shine and grab attention.

The Manchester quintet emerged in 2010, weaving in inspirations from bands such as Mallory Knox, Don Broco, Natives, and Lower Than Atlantis into their own fresh ideation. Their live presence was soon putting the band on the map locally as did with broadening success early releases, though it was the release of the track Have Heart last year that a wider attention was nudged. It is a spotlight easy to see being properly awakened by the Romesh Dodangoda (Kids in Glass Houses, Funeral For A Friend and Twin Atlantic) produced Future||Fate||Forever hereon in though.

That notion is soon raising its suggestiveness with opening track Save Yourself. In a single breath the potent rhythms of drummer Rhys Gibson are framing a blaze of melodic enterprise cast by the guitars of Ben Corbett-Mills and Craig Henderson, through which a just as flavoursome bassline from Billy Fletcher adds its shadowed expression. The strong start relaxes in intensity as the swiftly impressing vocals of Jenna Clare begin unveiling the song’s narrative, a dip embracing her warm tones but keeping the already fascinating character of the song as potent as before. The PromoImage-2-600x599feisty hard rock weight and energy begins lapping over ears with tidal regularity as the whole song progresses, ebbing and flowing across its length and around the broadening enterprise of guitars and vocals. Speared by the rhythmic tenacity of Fletcher and Gibson, the track continues to grow, edging nearer to a climactic chorus which steals the song’s show ultimately as Clare roars with passion and a melodic tang which grips her delivery.

The impressive start continues to hold ears and attention tight as both Promise Me and Take Control dance with creative vivacity over the senses. The first of the two twists and flirts with a pop rock invention and unpredictable imagination next, occasionally stopping in its tracks for brief seconds to wrong-foot and spark new adventure to the superbly spun sound. Aligning itself to this is an anthemic bellow which again finds its focal point through a pungent chorus that easily recruits the listener’s own endeavours to its cause. Its successor bounds in with similar energy and creative hunger, and again is unafraid to shuffle up its attack and flavours. It is, as the EP, probably fair to say that the songs are not creating new templates for alternative and melodic rock, but equally they bring a fresh and invigorating proposition which leaves pleasure full and interest in Leopards eager.

The outstanding Broken Family steps up after, this a song which in some ways draws on the existing qualities and successes of the previous songs on the EP to shape its own infectious temptation. There is maybe a touch of similarity across the quintet of songs as well as an unmistakeable Paramore essence, but each and proven powerfully here, explores its own distinct and captivating identity whilst keeping ears and emotions firmly enthused. The catchiness of the song is irresistible pop rock at its most potent, firing up body and imagination ready for the closing charms of April. The final song emerges on an almost tribal spread of rhythms, Gibson instantly enslaving an instinctive like as Clare croons with siren-esque elegance within the melodic hug of guitars aligned to darker bass shadows. Once again Leopards hold attention and pleasure in the palm of their creative hands, something Future||Fate||Forever does from start to finish with ease.

The EP is a thoroughly enjoyable first major prod at national attention, and confirmation for those in the know that Leopards is a band with very healthy and impacting horizons just waiting for them if they want them.

The Future||Fate||Forever EP is available from February 23rd physically @ and digitally through all stores.

RingMaster 23/02/2015

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Symmetry – The Cure


Consisting of two anthems which simply lift ears and emotions in big, bold barrages of pop contagion, the new single from US progressive pop and rock band Symmetry is one of those rousing encounters which continually makes an invigorating impact. The Cure is a thumping bellow of melodic enterprise and impassioned energy which more than confirms why such the high praise wrapped around the band after the release of their debut album last year.

The Los Angeles band formed in early 2013, with the line-up of Michael Campbell (vocals), Jared Hara (guitar), Will Weiner (bass) and Max D’Anda (drums) described by the band itself as “the dream team.” Creatively everything clicked with their union it is fair to say and it was not long before the band was writing and working on their first album. Recorded with producer James Paul Wisner (Dashboard Confessional, Paramore, Underoath), Frozen in Time swiftly drew acclaim and potent attention at home and in the UK. Its success was followed by their song When Will It End winning Best Rock Song at the Hollywood Music and Media Awards. 2014 also saw the band touring the U.K. with Room 94 on the Live Nation No Strings Attached tour and towards its end working on a new release with producer James Paul Wisner.

The Cure kicks off 2015 in fine style for the band, and takes little time, after a rich coaxing of guitar swiftly joined by the potent tones of Campbell, to energise feet and appetite with jabbing 10805718_302954463234216_8072463695621893542_nbeats, stirring riffs, and lofty vocal harmonies. There is an instant familiarity to the song but nothing particularly definable as the track continues to ebb and flow in energy whilst increasingly seducing ears and imagination with its melodic flames and ripe rhythmic tempting.

As suggested the song is a thick anthem of a proposition but slightly reserved in that aspect in relation to the accompanying Hey. Vocals straight away are roaring with alluring harmonies as riffs niggle and electronic colours flirt with the listener. The song is not as rampant as its predecessor, having more of a rein on its energies yet manages to soar higher and with more climactic intensity to provide a different but just as dramatic and thrilling proposition.

Both songs show the accomplished skills and adventurous imagination of the band with the potential of even greater triumphs ahead of them an open suggestiveness. As much as the band name does not leap out, Symmetry’s sound certainly does and will surely find increasingly greedy attention ahead through The Cure and whatever follows.

The Cure is released on February 23rd via iTunes.

Symmetry are back touring the U.K., Ireland and Poland as support for Room 94 on their Dirty Dancing Tour, with dates…

28 Feb : 02 Academy, Oxford / 1 Mar : Thekla, Bristol

3 Mar : Old Fire Station, Bournemouth / 4 Mar : Rescue Rooms, Nottingham

5 Mar : ABC2, Glasgow / 6 Mar : 02 Academy, Newcastle

7 Mar : 02 Academy, Sheffield / 9 Mar : 02 Academy, Liverpool

10 Mar : Academy 3, Manchester / 12 Mar : 02 Academy, Birmingham

13 Mar : 02 Academy, Islington / 14 Mar : Academy 2, Dublin

15 Mar : Oh Yeah Centre, Belfast

RingMaster 22/02/2015

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Pryti – Tales Of A Melancholic


Tales Of A Melancholic is the debut album from Pryti, an emerging British solo artist already making a striking mark, with her seriously accomplished and captivating fusion of heavy rock and melodic metal, on the national scene. Consisting of ten tracks which roar with the emotional snarl of the Deftones, cast a Lacuna Coil like creative theatre, and smoulder with the melodic prowess of Paramore, all over dramatic landscapes sculpted by voracious riffs and predatory rhythms, her new release is startling in its potency and skilled in its expressive persuasion. Also embracing elements of alternative and varied rock flavours, the album grips the imagination and leaves a deep rooted want to hear more.

Bringing all the guitars and bass on the release to her captivating songwriting and vocal strength, the Birmingham singer songwriter is no stranger to garnering acclaim and attention. Her last EP Welcome To Pariahville, also the name of her own label, was a big spark to an increasing spotlight and acclaim from the Rock/Metal community. Magazines like Kerrang! and Rocksound were close on the heels with coverage and praise too whilst radio airplay was soon embracing Pryti’s sounds, especially for more recently released single Abyss. Produced by Justin Hill from Sikth, Tales Of A Melancholic casts a broader and greater lure to that awakening attention, one easy to anticipate being reciprocated in greater praise and focus.

A portentous ambience brings opening song Insomnia into view, a sonic haze wrapping ears as thick prowling beats and caustic riffs follow in close attention. They all relax as the instantly flavoursome vocals of Pryti open the song’s emotional narrative, only the rhythms holding the same shape of their initial pungent presence. Vocally Pryti soars with a substantial yet harmonic roarPromoImage.jpg which alternates with an elegant seduction. It is a blend across song and the album which can be best described as Dolores O’Riordan of The Cranberries sings Deftones but with a much feistier and fascinating presence then that suggests. The song itself continues to breach new climactic heights and strengths, guitars and keys a riveting proposal against the rousing voice of Pryti.

The Pessimist follows and straight away grips ears with its opening graze of dirty raw riffs swiftly aligning to evocative vocals. Melancholic yet warmly radiate within its increasing shadows, the song is a brooding tempest which eventually erupts with muscularly swung rhythms and a spicy sonic enterprise which has senses and imagination bound and bewitched. The track continues the impressive start to the album; the first two songs backed again, and eventfully surpassed by the previously mentioned single Abyss. Sculpting a web of intensive emotional and sonic turbulence, courted by a melodic radiance, the track is a moving tide of personal angst and melodic intimacy within a stormy atmosphere. It is an enthralling and anthemic incitement, and there is no surprise that it turned a great many heads on its first appearance.

As the second song, the next up Purge opens with a gritty edge to its opening chords, bait contrasted and complimented by the increasingly siren-esque tones of Pryti. Shadows wrap the balladry of the song whilst a creative bellow drives its heavier tempestuous turns of pace and intensity. The result is another intriguing and captivating exploration emulated right after in the solemn beauty of Bitter Pill and the haunting Amnesia. The first of the two is a flame of bracing vocals and melodies caught on a passionate sonic wind, but equally prone to reflective calms within its provocative dip into dark drama. Its successor merges a sinister ambience with emotional anxiety, both aspects cultured by an unpredictable musical landscape and vocal intimacy. Though the song does not quite live up to its predecessors, it increasingly engages and enthrals before making way for the fiery storm of Angst. Boldly carnivorous compared to other songs as riffs and spiky grooves are immediately predatory, the track soon shows wider enterprise and invention by luring in melodic and harmonic caresses to temper and unite with the imposing ferocity of one more major highlight on the album.

The potent energies and creative tenacity of Battle Wounds brings its volcanic endeavour and emotion forward next before the melancholic beauty of Ghost takes the listener on a harmonic cruise across a melodic sea carrying an increasingly compelling raw and aggressive edge to its lapping temptation. Both tracks bond ears and thoughts with ease though are overshadowed by the outstanding closing song Burden, a song which epitomises and sums up all the instinctive strengths and exciting inventiveness bringing Tales of a Melancholic to life.

Pryti most likely to most would have been an unknown name let alone quantity before Tales of a Melancholic, but from this moment she is surely destined to be a name on the lips of and stirring up the British heavy rock scene. This is one album all should take a close listen to.

Tales of a Melancholic is released digitally on Welcome To Pariahville on February 16th

RingMaster 16/02/2015

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MANUMIT goes ‘Digital & Hostile’, from 1st September‏

Manumit Online Promo Shot

Welsh solo artist Manumit is poised to unveil his explosive debut album, Digital & Hostile on 1st September, through Lost Generation Records, a release which be an anthem for anyone looking for originality.

In an increasingly over saturated market, every fan, record label, radio station, music channel and magazine are screaming for something new. Manumit is certainly that. Spawned in 2012 and coming at you from Bridgend, South Wales (home to the likes of Bullet For My Valentine and Funeral For A Friend), Manumit has strived to bond genres whilst sculpting  genuinely distinctive songs that pull you in from their first breath.  Taking from a plethora of influences, ranging from Alexisonfire and Paramore, to Nine Inch Nails, Pendulum and Nero, whilst drawing from the fundamentals of dubstep, drum n bass, and electro and fusing them with cutting edge rock, metal, and post-hardcore, Manumit has amassed a sound that packs pulsating rock riffs with thoughtful melodic vocal and synth vocal work, all broken up by brutal digital breakdowns. The end result is an original onslaught of contagious, anthemic tracks that are loaded throughout with intricate dynamics.

Mamumit hit the ground running with the release of both his debut EP ‘F**k Genres, Love Music’ and his first music video for the track ‘Walk Away’; people across the world couldn’t help but take note. Turning industry heads, ‘Walk Away’ made it to the Top 10 Fresh New Videos on Scuzz TV, coming in at No. 2 ahead of Bullet For My Valentine, Biffy Clyro and Limp Bizkit, among others. Following this, Manumit went on to release two other singles and videos for ‘Can You Hear Us?’ and ‘Afterglow’, all of which were extremely well-received and also featured on Scuzz TV.

On September 1st 2014, Manumit will nationally unveil his hugely anticipated debut album ‘Digital & Hostile’ through independent imprint ‘Lost Generation Records’. A DVD featuring all music videos, interviews and live performances is also available alongside the album, which consists of ten killer slabs stemming from past singles ‘Walk Away’, ‘Can You Hear Us?’ and Afterglow’, as well as seven new tracks. The album takes you on a breathtaking and formidable journey, and it’s destined to break Manumit into the national sphere.


Manumit Cover Artwork