Crimson Star – Bay View

There is something very clever about the Bay View EP and the sounds it eagerly shares. Certainly the new outing from UK rockers Crimson Star sounds rather good from the off with a blaze of rock ‘n’ roll which may not dramatically impress but leaves a definite appetite for more. But like all relentless fires, it leaves little cinders in the shape of persuasive hooks and grooves which continue to catch in the imagination even in its absence. You could say the five track encounter is a slow burner in many ways despite its sizeable impact first time around and that is a success as potent as anything in our eyes.

Hailing from Birmingham, the threesome emerged in 2012 and since then has earned a rich reputation for their live presence and weighty alternative/melodic rock sound. 2016 saw the release of the Driven EP with the line-up of vocalist/guitarist James Shaw, bassist Roger Ash, and drummer Ross Edgington together. That well-received offering was recorded with producer Romesh Dodangoda (Lower Than Atlantis, Bring Me The Horizon, Funeral For A Friend), a successful union repeated with Bay View.

The EP opens with recent single The Pragmatist and straight away riffs and vocals lure attention, the increasingly grooved invitation of the guitar aligning with the equally potent scowling tones of Edgington. As it establishes its eager stroll, the song ebbs and flows in intensity without losing its instinctively infectious nature whilst always looking to evolve as melodies and the ever captivating grooves share their imagination. More addictive than it seemingly appears at the time, the song is a masterful slice of rock ‘n’ roll setting the release off to a great heavy and rousing start.

The following La Prom carries the same intent, instantly pushing through ears with a bold touch but soon revealing an atmospheric breath around crystalline melodies. Its calm has an underlying volatility which subsequently erupts as fiery grooves and raw riffs join an already laid bait of coaxing rhythms. With great fuzz to its tone and an edge to its energy, they aligning to further melodic enterprise, the song simply hits the spot.

Desert rock grooves fire up within next up Once, their spice leading to a grunge/alternative rock scowl which again is always looking to spring an unpredictable and imaginative adventure. Like its predecessor, the track does not have the immediate sparks of the opener yet grips from start to finish sowing that earlier mentioned niggle in its own way to return at will in the memory; a trait just as successful within Euthanise Me. The muscle of its grooves and rhythmic incitement courts a fine blues rock hue, a flavouring which blossoms within the following dark lit stroll the voice and bass take the imagination on. Like a blend of Foo Fighters and Pearl Jam with a slight touch of Kyuss, the song is unbridled captivation rivalling the first for best song honours.

The release is concluded by Gimme Some, another slice of intriguing rock ‘n’ roll which like the EP just grows and impresses with every listen. Grooves need little time to wrap their persuasion around ears though, melodic shadows and radiance working away on the imagination, as it brings Bay View to a magnetic close.

With double figure listens under our belt, it is fair to say that Bay View has become a keenly devoured and praised proposal. It took its time with us despite its potent start and we can only say share some of your time with Crimson Star to discover some prime heavy rock; it is hard to imagine you will be disappointed.

Bay View is released January 19th

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Pete RingMaster 17/01/2018

Copyright RingMaster: MyFreeCopyright

Scout Killers – Deception

Being a band we have had a close ear on for a handful of years now, we can suggest that the Scout Killers sound has now all grown up as it fuels one sizeable treat in the shape of their new EP. Deception offers four tracks of infectious alternative rock with a snarl in their heart and imagination in their nature. It is easily the UK quintet’s most striking and accomplished proposal yet and the moment far bigger spotlights could wake up to their presence.

Previous single Rip Me Apart hinted at a coming of age of their sound last year but now is shown to have been just another step in the growth bursting out within Deception. Since emerging in 2009, Scout Killers has become an established and eagerly supported presence within the British underground scene. Nudging attention with their debut EP We Cage The Storm and making a stronger impact with their self-titled first album, the Bath based outfit has increasingly blossomed in creativity and reputation as a live proposition, sharing stages with the likes of Fearless Vampire Killers, The Computers, F.O.E.S, and No Devotion among many, and through further releases like the Stand Your Ground EP of 2014 and the previously mentioned impressive single.

Deception takes things to a whole new ball park on all levels, the release quickly gripping ears and stirring the imagination with opener Freak Show. A lone guitar melody winds itself around ears first, soon being joined by the rousing tones of vocalist Scott Cox and the imposing yet inviting beats of Chris Phillips. There is instant muscle in the rising sound of the song, tension in its vocal and sonic drama, all bound in an infectiousness which fuels the attack of the forceful web of sound. The dark hues of Tom Graham-Hibbs’ bass are a throbbing grounding to the fiery textures cast by guitarists Beau Stevens and Julien Morrez, the union of the five a theatre of craft and imagination.

The seriously impressing start is followed by the mellower air of Keep Telling Me Lies though it too has a tempestuous edge with gives bite to its riffs and emotion. Bouncy rhythms temper the melancholic hue of melodies, bass and vocals bringing their individual shadows to the plaintive voice of the song. A Pearl Jam meets Alter Bridge washes over ears though as its predecessor, the track emerges as something distinct to Scout Killers, an individuality which has also come alive more dramatically with the EP.

Let It All Go hits the plateau of the opener, melodies and rhythms coming together for a suggestive start which soon becomes a more imposing proposal as Cox’s vocals once more grip attention with some superb backing from others within the band. A slice of meaty rock ‘n’ roll with a controlled attack which adds to its weight, the song truly hits the spot before You Have It All brings things to an equally heady conclusion. The final track flirts with ears initially, a guitar teasing and coaxing before being quickly joined by the rapier swings of Phillips and the growling bait of Graham-Hibbs’ bass. As catchy as it is an intensive roar, the song twists and turns with a resourceful fluidity and craft, leaving on a senses scorching stomp of a finale which demands a swift dive back into the EP’s depths.

Like many others, we have has a soft spot for Scout Killers though after Deception it has just become a touch lustier, the EP a wake-up call for national attention and beyond.

The Deception EP is out across most online stores July 7th

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Pete RingMaster 05/07/2017

Copyright RingMaster: MyFreeCopyright

Introducing The Duffaloes

Allow us to introduce you to The Duffaloes, a band we suspect you will be hearing a lot more of once their debut EP is released this coming August. Only formed a handful of weeks ago, the British outfit is the creation and union of vocalist/guitarist Lee Duffy and guitarist/bassist Lee Williams, two musicians no strangers to the Liverpool music scene through playing in other bands and in other guises over the years. Recently the pair sent over to us a couple of songs from that forthcoming EP and we have to say you are going to like what they have to offer.

The band’s sound going by these tracks is a feisty mix of alternative and melodic rock with numerous other flavours involved and bred in the inspiration to the pair of bands like Led Zeppelin, Pink Floyd, Black Sabbath, U2, Metallica, Nirvana, and Pearl Jam. Inviting musicians friends to “jump in” and help out live and in the studio, The Duffaloes have a persistent freshness to their music which colludes with their obvious experience and creative maturity and quickly makes a strong impression across the songs Scars and Outside.

Scars is a fiery encounter with a raw grunge tone to its melodic and emotive heart. Straight away it coaxes and teases attention with an opening riff and inviting bassline speared by lively beats. Duffy’s vocals are just as swiftly alluring ears and attention, his great tones a dusky mix of earnest growl and plaintive expression against the web of melodic enterprise cast by the guitars. Like a mix of Jacksons Warehouse and Stone Temple Pilots, the track tenaciously dances in ears, enticing and challenging with its roar and emotive intensity. At times ridiculously catchy and constantly commanding attention, Scars has lead single written all over it, especially once its emerging Pete Wylie like hooks captivate.

There is similar instinctive angst and imagination of sound within Outside but also an individuality which adds even more intrigue and depth to the band’s sound and songwriting. With more of a pop rock air than the rawer texture of its companion, the track still has an edge of attitude and texture which quickly gets its claws into the imagination, the body as swiftly hooked on its lively gait and infectious Echo and The Bunnymen scented chorus.

There is a familiarity to both tracks but nothing especially definable or diluting the strength and pleasure gained with each. Of course two songs is early days to truly assess a band but it is hard not to breed real anticipation for their future and expectations that a great many of you like us will develop a real appetite for their imagination woven rock ‘n’ roll.

Check out The Duffaloes further @ https://www.facebook.com/TheDuffaloes/  and watch out for their debut EP released August 1st.

Pete RingMaster 14/06/2017

Copyright RingMaster: MyFreeCopyright

Forty Feet Tall – Red Dressed

You know you are on to a good thing when songs continue to repeat themselves in thoughts long after enjoying a close and personal encounter. Such is the way with the Red Dressed EP from US rockers Forty Feet Tall. Offering four slices of blues fuelled rock ‘n’ roll, the release is a wholly magnetic affair loaded with grooves which just do not know when to stay away; not that there is any wish for them to do so.

Formed in 2011 when four fifths of the band were in high school, Los Angeles based Forty Feet Tall has earned potent support and reputation across Southern California, leading to the band playing a host of prestigious venues such as The Troubadour, Club Nokia, The Roxy, and the Grammy Museum as well as the main stage at Topanga Days. Their first EP, 4AM released at the beginning of 2014, was swiftly eclipsed in success and attention by the band’s self-titled debut album later that same year. It revelled in inspiration taken from the likes of Pearl Jam, Jimi Hendrix, The Black Keys, The Strokes, Led Zeppelin, Dawes, and Howlin’ Wolf whilst offering its own breath of imagination, an essence blossoming to greater heights within Red Dressed.

Its title track sets things in motion, a resonating bassline the first beckon soon joined by percussion with a sense of hunger to it as to the eager strokes of guitar soon joining in. The lively simmer becomes an energetic dance, the keys of Charlie Sehres a captivating bloom alongside the enterprise of his brother Jack and vocalist Cole Gann’s guitars. With rhythms just as boisterous in the stop start bounce and subsequent fiery waltz, the track simply infects ears and appetite for spicy rock ‘n’ roll.

It is a superb start to the Chris Garcia produced EP, a moment just revelling in the band’s blues rock instincts with magnetic energy and craft as equally Gann’s vocal prowess, just as lively in the following Make It Hum. At first holding its self-back in a flirtatious prowl lined by tempting riffs as a melodic breeze wraps Gann’s just as subtle croon, the song’s simmer continually builds, igniting in a ballsy crescendo which still barely breaks the track’s relaxed gait. With a touch of bands like Black Tusk to its increasingly heavyweight eruptions, Guy Moore’s bass a great throaty growl through it all, and fire in the veins of the grooves wrapping the senses, the song is a sonic seduction aligned to an earthy rumble and thorough pleasure.

 Two Shots is next with its bouncy gait and bass grumble, both entwined by more flirtation soaked grooves as Steven Driscoll’s laid back swinging beats punctuate the brewing blaze, a fire in the belly intensifying with increasing dynamism and incitement across the song. Once more Gann adds expressive colour and passion to the mix, though it is the tangy grooves which spark the biggest lust.

A fine cover of the Creedence Clearwater Revival track Run Through The Jungle brings things to a magnetic close, its roots and psych rock scented swagger and overall character, a radiant endeavour in the hands of Forty Feet Tall. It completes a release as fresh as it is a bubble of recognisable flavours and influences, a celebration of a band drawing up their own personality with thoroughly enjoyable results.

The Red Dressed EP is available now @ https://fortyfeettall.bandcamp.com/album/red-dressed

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Pete RingMaster 29/03/2017

Copyright RingMaster: MyFreeCopyright

Fragile Things – Broken Sun

fragile-things-promo-shot_RingMasterReview

Formed last year, British rockers Fragile Things have already began luring close attention and are intent on making 2017 a big year with a full UK tour for starters. They kick it off before that though with a reboot of their debut EP Broken Sun; four tracks of heavy rock bred in the inspirations of bands such as Alice In Chains, Guns ‘N’ Roses, Black Stone Cherry, Velvet Revolver, Audioslave, and Pearl Jam.  It presents a sound as familiar as it is refreshing; a proposition proud in its influences but showing signs and potential of its own individual character.

fragile-things-cover-artwork_RingMasterReviewFeaturing former members of Heaven’s Basement and Endless Mile, Milton Keynes based Fragile Things have recently completed a host of dates alongside the excellent Slam Cartel and are now, as suggested, concentrating on breaking national exposure starting with Broken Sun, a proposal getting straight down to action with its opener Enemy Is I. With acidic riffs and robust rhythms, the song bounds in from a distance with vocalist Richie Hevanz leading the charge, his tones impressive and expressive. Once in full view, it settles into a feisty stroll with tangy grooves from Mark Hanlon lighting up crunchy beats and steely riffs, all subsequently entwined in fiery melodies. Group vocals are the rousing icing on the infectious enticement, the track not particularly surprising but richly satisfying to start things off.

Its striking traits are just as potent within the following Open Cage; its body heavier and darker though as the grumbling bass of Steve Lathwell colludes with the hefty swiping beats of Hugo Bowman. With a snarl in its heart and touch, the song swiftly has body and spirit involved; its anthemic prowess inescapable as it brings both to the boil ready for the EP’s title track. Showing another slight shift in the style and design of the band’s sound, the track is a web of hooks and mouth-watering grooves around less forceful but commanding rhythms; vocals again striking a chord in word and touch. As those around it, those earlier mentioned influences are easy to pick out but again flavouring adding to the potency of song and release.

Closing with So Cold, a track which takes longer to persuade as fully as its companions but only ever satisfies, the Broken Sun EP is a strong and highly enjoyable introduction to Fragile Things.  It is easy to hear why the foursome is persistently grabbing new fans and spotlights and if they can build on this strong start that broader recognition should be a given.

Broken Sun is out now.

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Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Dead Air Republic – With Extreme Prejudice

DAR_RingMasterReview

We all know how criminal it is when the most untalented of people get their fifteen minutes of fame and attention on TV shows and through money driven exploits of others whilst there are real and extremely talented people going majorly unrecognised or remain never known. Listening to With Extreme Prejudice, the new EP from Canadian rockers Dead Air Republic, it is really brought home. As adverts begin on UK TV announcing the next instalment of as many Britons as they can find with less talent than a blank piece of paper, something no doubt replicated on every continent, here is a tenaciously creative band breeding prime rock ‘n’ roll which is going unnoticed by most.

With Extreme Prejudice is the chance to buck the trend in some small way whilst treating ears to six tracks of multi-flavoured and impassioned rock and metal roars. Dead Air Republic was formed in 2008 by musicians returning from a long hiatus from making music with fire in their creative bellies and determined passion in their emotive energy. It is a fire and intent which inflamed their well-received self-titled debut album released in 2013 and now energises the Ottawa hailing quintet’s new encounter.

As individual as their sound is, it is also easy to pick out suggested inspirations as the EP involves ears and the imagination from its first breath. One band though does unexpectedly coming to the fore quite often and that is US band Resin, they another unrecognised talent sharing an ability to write and sculpt truly anthemic hooks and swinging grooves within emotionally tempestuous proposals. It is a pleasing hue emerging swiftly within opener Just Another Bullet. A great steely groove welcomes ears and entices an early appetite straight away, crisp rhythms and snarling riffs quickly adding their bait as the song evolves and creatively grumbles. Once the sandy tones of vocalist Marc Bourgon gets in on the act, the track is in full magnetic swing around the gripping collusion of Mike Derstroff’s beats and a highly infectious bassline from Ben Barnes. Grooves and melodic flames spring from the irresistible swagger in motion, guitarists David Maltais and Richard Bent adding their sonic enterprise and backing voices to an increasingly impressive incitement. The track is superb, rock ‘n’ roll to ignite the spirit, involve the body, and get the juices eagerly flowing.

DAR_Front_Art_RingMasterReviewExample 1 strides in next with its own web of grouchy riffs and sonic tempting, Bourgon again quickly impressing with his expressive delivery with the band backing him in potent vocal kind. As with its predecessor, there is something familiar to the song and sound yet mostly indefinable as it adds great spice to the fresh stomp lighting the senses. Certainly there is a touch of Tool to the track, but again a colour in the Dead Air Republic palette which becomes more dynamic and unpredictable with every inventive minute. Anthemic to the core, the song continues the already mighty presence of the release in ear and thought before making way for the darker drama of The Waves.

The third track emerges on an atmospheric air with portentous edges to its raw sonic lure before things settle into a melancholic stroll with that slightly unsettled electronic ambience still working away. Guitars and vocals proceed to share melodic and harmonic angst as rhythms add a firm but unassuming hand within the disturbed climate of a song. Becoming more buoyant and energetic over time, it is a another potent shade to the band’s invention which without quite making the same impact as the first pair on personal reactions still had ears and attention transfixed across its imaginative body.

The air is mightily stirred again as Good at Never rides in on a great nagging tide of riffs. Their immediate addictiveness only breeds greater persuasion as the song rises up into its own irritable and snarling grunge/punk contagion. Again hooks and grooves spew a virulent potency which alone has the listener fully involved with vocals and the raw anthemic heart of the song coaxing a physical involvement which carries on into the classic rock and metal blaze of Buzzkill. It is easy to hear the influences of bands like Maiden and Sabbath within the fiery and vigorous bellow of the song but again essences only employed with the distinct imagination and touch of the Canadians.

Giving the listener a great heavy metal fix and more, the EP turns to its heavier rock ‘n’ roll side for closing track Enough of This Mess. Still metallic strains are a spicy part but spinning a sound seemingly fostering a liking for bands such as Pearl Jam, Seether, and again Tool, the song creates its own unique and highly persuasive adventure.

The track is a fine end to an outstanding release which deserves the fullest of attention. Whether it sparks that success time will tell but rather than be numbed by something posing as entertainment whether on TV, Radio, or the like, we suggest taking a punt at turning off the switch and embracing real and exciting times going by the name of Dead Air Republic.

The With Extreme Prejudice EP is out now across most online stores.

http://www.deadairrepublic.com   https://www.facebook.com/Dead-Air-Republic-169929886356153

Pete RingMaster 30/03/3016

Copyright RingMaster: MyFreeCopyright

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Scout Killers – Rip Me Apart

scout killers art_RingMasterReview

Keen anticipation raised for a new Scout Killers offering has always been met with something bigger and bolder than the last rewarding adventure, and so it continues with new single Rip Me Apart. The track is a blaze of festering emotion and sonic intrigue, an impassioned alternative rock bred roar woven into a sound becoming decidedly unique to the UK band with every release. Ahead of a UK tour this April, the single is also a hint that 2016 is going to be a potent year for the Bath based quintet.

Formed in 2009, Scout Killers drew on the inspirations of bands such as Rage Against The Machine, Queens of the Stone Age, Pearl Jam, and Red Hot Chili Peppers as they honed their sound. Fair to say, those spices have been a diminishing flavour to the band’s music and within Rip Me Apart non-existent. From a successful self-titled EP in 2013, Scout Killers has only impressed and drawn greater acclaim as their sound has grown across subsequent singles and the impressive We Cage the Storm EP released late 2014. It has now found a new maturity within the band’s new single; found a depth and power which refuses to be ignored.

The song opens on an electronic shimmer, a low key but potent coaxing which brightens and thickens as the ever impressing voice of Scott Cox moves in on ears. The beats of Chris Phillips present a sturdier enticement whilst guitarists Julien Morrez and Beau Stevens weave a web of reserved but evocative melodies to link it all. In a little stretch of time, a crescendo of energy and emotion builds and erupts, catching passionately alight as Cox roars in kind before settling down again to breed a similar cycle. With the bass of Josh Ellis a roaming shadow in the tapestry adding more provocative texture, ears and imagination find themselves inescapably gripped by the song’s disturbed melancholic soul.

Even as the beguiling lure of vocals steer the bare emotion of the song, it becomes more volatile in sound and heart but still continues to ebb and flow with emotional waves aligned to varying bursts of intensity. The track is as fascinating as it is thickly pleasing, and though we would like to say the Scout Killer sound has come of age, it is easy to feel that there are still more exciting things and avenues to be explored by the band in their music and imagination.

Rip Me Apart will be released on March 28th to be followed by a UK Tour starting April 3rd.

Scout Killers Hi Res Tour 2016 _RingMaster Reviewpic to use

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Pete RingMaster 09/03/2016

Copyright RingMaster: MyFreeCopyright

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