My Son The Bum – Mad Man (Playing in a Mad World’s Game)

 

my-son-the-bum-mad-man-artwork_RingMasterReviewWe are all partial to a treat or two, especially if it comes with little cost. So we offer up Mad Man (Playing in a Mad World’s Game), the new free to download single from US band My Son The Bum. The track is a tasty slice of infectious rock ‘n’ roll as poppy as it is instinctively grouchy and one of those devilish things which never seems to leave you alone even after its physical parting.

My Son The Bum is the creation of Oceanside, New York hailing songwriter/guitarist Brian Kroll. Bringing it to life in 2007, the band has proceeded to explore and weave into its music almost every style of music under the sun, persistently keeping fans guessing and so far keenly satisfied. It is something not likely to change in the near future either going by the latest single.

Alongside Kroll has been a host of like-minded musical friends including John O.Reilly of Trans-Siberian Orchestra West who has been the exclusive My Son The Bum drummer to date, vocalist Mike Wuerth, bassist Mike Frost, and Matt Graff.

From metal to rock, punk to pop, My Son The Bum has uncaged a host of strikingly individual albums, to each other and to the crowd around them. Mad Man (Playing in a Mad World’s Game) itself is a rousing adventure into pop punk ‘n’ roll but with a fine strain in heavier rock essences making one meaty and compelling proposition.

From the wonderful earthy groans of bass and the equally heavy wiry signs of what seems like something cello related to the alluring spicy grooves and melodies around the song’s rapacious stroll, it has ears and appetite hooked. Add the keen lure of the vocals and beats which with relish flick out their bait, and you have a song which only leaves a hunger for more.

It is impossible to predict what will come next from My Son The Bum but taking Mad Man (Playing in a Mad World’s Game) alone, it is going to be well worth waiting for.

Mad Man (Playing in a Mad World’s Game) is free to download now @ https://mysonthebum.com/home

https://www.facebook.com/mysonthebum/    https://twitter.com/mysonthebum

Pete RingMaster 09/02/2017

Copyright RingMaster: MyFreeCopyright

As The Sun Sleeps – As Good As Gold

as-the-sun-sleeps-promo-shot_RingMasterReview

The As Good As Gold EP from British pop punksters As The Sun Sleeps might be lacking a couple of ingredients or so to evade being truly spectacular but there is no escaping that the five-track offering is highly enjoyable. The band’s sound is warm and decidedly catchy, in many ways living up to the EP title in its general niceness. It could benefit with real attitude and belligerence to its character for personal tastes but with rousing choruses and bouncy energy there is little to stop an appetite blossoming for the band’s sound and open potential.

Based in Swindon, the seeds to As The Sun Sleeps were sown in 2013 with the creative union of vocalist/bassist Joe Beck and drummer Tom Shrimpton. By the end of the following year the band found its stability with the addition of guitarists James Broadbank and subsequently Tom Rees. The single Nostalgia sparked fresh interest in the quartet which the Never Stars EP at the start of 2016 pushed to greater heights alongside a growing reputation for their energetic live shows which included a tour with Junior. As Good As Gold is the band’s most accomplished and striking release yet, the growth in the band’s sound and writing swiftly evident.

as-the-sun-sleeps-cover-artwork_RingMasterReviewOpener and the band’s new single Beering quickly grabs ears with its cheerful air, guitar and the melodic tones of Beck its initial coaxing quickly joined by the singer’s meaty basslines and Shrimpton’s swinging beats. As the track hits its bouncy stride, riffs and hooks flirt with the imagination as Broadbank’s backing vocals offer strong support to Beck. As most tracks there is something familiar to the encounter, a New Found Glory meets [Spunge] spicing teasing away in this case, but it adds to rather than defuses the inviting and captivating potency of the song.

Florida follows with Shrimpton’s arms a blur as beats eagerly lay down potent bait as riffs and Rees’ melodic leads entangle ears. Again there is no evading the infectiousness of the feel good proposal and particularly its rhythmic tenacity as it takes best song honours before Forever Sick uncages its own lively and firmly catchy enticement. Again Beck’s bassline grabs attention but so too the spidery web of melodic enterprise from Rees amidst enjoyably punchy beats and the strong if growl lacking vocals.

The only thing stopping What Matters Most from making a matching impact is its similarity in melody and air to its predecessors yet still it has feet shuffling and pleasure awake with its emotively honed poppy endeavour while closer Nothing But Net simmers and bubbles as fiery melodies and energy light its croon. The final pair provides the weakest songs on the release but leave satisfaction full with that earlier mentioned potential again boldly apparent.

The As The Sun Sleeps is missing a snarl or two and the band has yet to find its uniqueness but with songs like As Good As Gold offers, it is going to be a fun ride as the band targets that destination.

As Good As Gold is released January 20th.

https://www.facebook.com/asthesunsleeps   https://twitter.com/asthesunsleepss   https://asthesunsleeps.bandcamp.com/

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright

Storm Harbour – Self Titled EP

storm-harbour-promo-shot_RingMasterReview

Offering their, if not unique, very agreeable creative boisterousness to the British pop punk scene, Storm Harbour release their self-titled debut EP to back up a quickly growing reputation for their energetic live presence. Consisting of six raw edged, tenaciously enterprising melody bound punk proposals, the EP is an accomplished and enjoyable introduction to the Stockport quintet.

Formed in the summer of 2015, Storm Harbour has made a potent impression on the North West live scene, one they are hoping to spark and emulate across the UK through their first EP; and it gets off to a bang with opener Backbone. From the first wiry groove eagerly winding itself around ears and appetite, the song just grabs attention, cementing its instant lure with robust rhythms and prowling riffs. The swinging beats of Charlie Armstrong resonate and entice with their anthemic prowess; bait courted and matched by the earthy growl of Dan Slann’s bass. In no timer the song is sauntering along with a familiar character to its body but a refreshing attitude in its creative weave of those recognisable influences sparking thoughts of bands such as All Time Low and Neck Deep. With vocalist Ally Bowie equally a potent draw within the stylish web cast by guitarists Adam Johnson and Matt Watson, the track makes for a highly enjoyable start.

Its strong temptation is backed firmly by that of next up Alchemy, a song strolling along with reflective lyrics and fiery melodies but also and only adding to its enterprising presence greater restraint in its energy compared to its predecessor. It is a laid back essence which is translated in the textures making up the encounter, their keen embrace of varied melodic and pop shaping another highly enjoyable offering within the release and arguably it’s most unpredictable moment.

storm-harbour-cover-artwork_RingMasterReviewPersistent At Best returns to the robust gait the EP opened with though it too has variable energy which keeps expectations on their toes as the guitars spin an imagination tapestry of riffs and melody nurtured hooks. Though surprises are few yet again the song carries freshness and potential which commands attention before Sink Or Swim saunters in on a collusion of nagging riffs and a gnarly bassline as Armstrong’s beats bite. Engaging from the off and only blossoming with the great harmonic vocal union across the band, the song is another potent temptation adding to the impressive nature of the Storm Harbour sound and craft.

The acoustic vocal/guitar start to Breaking Point adds another strong ingredient to the release with Slann unloading yet one more memorable throaty bass lure as the song quickly gets into its wilful stride. Ultimately though, the song does not quite connect with personal tastes as its companions but still has plenty to happily devour whilst confirming the promise already found in the EP.

Strolling in on contagious beats, closing track Calm Down similarly lacks all the sparks of the earlier songs within the release but only satisfies and backs up the imagination found throughout with its suggestive keys and emotive passion.

Storm Harbour is a band on the rise, one yet to find its own character of sound but already showing the instincts and imagination to uncover it sooner rather than later while for a first impression their debut encounter is more than satisfying.

The Storm Harbour EP is out now through iTunes and other stores.

https://www.facebook.com/Stormharbourofficial   https://www.instagram.com/storm_harbour/

Pete RingMaster 13/12/2016

Copyright RingMaster: MyFreeCopyright

Tirade – Self-Titled EP

tirade_RingMasterReview

With its virulent pop swing, it is hard to say that the Tirade sound lives up to the fierce tone of the band’s name, but certainly it makes a sizeable, attention grabbing impact going by their richly enjoyable debut EP.  Consisting of seven eventful and resourceful tracks, the self-titled release is a feisty and bubbling fusion of alternative rock and pop punk which employs familiar strains and textures in something potently fresh and increasingly enjoyable.

Hailing from Manchester, the quartet of lead vocalist/bassist Jake Tilley, vocalists/guitarists Josh Pearl and Alex Young, and drummer Stevo Somerset draw on inspirations ranging from Lower Than Atlantis, Press To Meco, and Don Broco to We Are Carnivores and Reuben for their praise luring sound and songs. Formed last year, Tirade are becoming the eager whisper on an ever growing wave of lips, a secret we expect soon becoming an open and loud shout as their EP nudges national awareness.

With moments of really striking moments, the EP is a consistently enjoyable encounter opening up with a band. Snakes and Social Ladders quickly has ears and appetite engaged as jabbing beats and nagging riffs collude. Soon the song is boldly romping, springing sonic intrigue and tasty hooks all the while across its body. It does hold its full energy in relative restraint, turning it into a gripping infectiousness as the guitars create a repertoire of sinewy, melodically endowed enterprise further coloured by Tilley’s impressive vocals and equally strong harmonies.

tirade-tirade-front-cover_RingMasterReviewThe great start is soon eclipsed by the following theatre of Punch?, a song which is as unpredictable as it is catchy. From its first breath sing-a-long vocals unite with sonic espionage as the guitars twist and turn with technical revelry and math rock spiced invention. The rhythms of Tilly and Somerset drive the song relentlessly, adding to its infection as the imagination of the band, not always as forceful elsewhere, has a field day.

Knives In Your Eyes entangles ears in another flavoursome hook within seconds, its spice surrounded by fiery suggestiveness before the song settles into a calmer stroll expelling that initial heated drama throughout. As with the last song, there are essences which spark thoughts of Swound!, a spiky invention aligned to the melodic prowess of Jimmy Eat World/ Lower Than Atlantis. From start to finish, the track hits the spot with ease as too its successor We’re Having Fun. As rhythms punch, harmonies shine with a trio of voices that blend perfectly across another slice of real catchiness. Even with its contagious instincts though, there is a bite to the Tirade sound, a creative snarl as bold as anything within this tenaciously captivating stomp of a song.

For personal tastes, the sparks which help its previous songs spark a lusty appetite for the release are less prominent from hereon in upon the EP though there is no doubting the appeal and enjoyment found in Travel Agent for Guilt Trips and the following, increasingly compelling Optimism. Again both tracks are a marriage of thumping rhythms and harmonic warmth bound in ear pleasing dynamics but lacking the stronger inventiveness and snap of their predecessors.

The EP concludes with The World Isn’t On Your Side, another highlight closing the release as impressively and raucously as Snakes and Social Ladders opened it. Cantankerously bold, the outstanding track is the heaviest moment of the release, almost predacious as Tirade reveals another string to their creative bow.

It is hard not to think Tirade as a band on a certain rise after this fine release, and once the potential shown here is realised as something truly distinct and unique in sound and songwriting, that loud whisper just might become a raging roar.

The Tirade EP is out now @ https://tiradeuk.bandcamp.com/album/tirade

https://www.facebook.com/TIRADEbanduk    https://twitter.com/tiradeband?lang=en-gb

Check out the video for We’re Having Fun @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

The Bottom Line – Pull Me Out

the-bottom-line _RingMasterReview

Ahead of their new EP, I Still Hate You due for release at the beginning of 2017, British pop punksters The Bottom Line have released a rousing teaser in the shape of their new single. Pull Me Out is a seriously catchy and boisterous affair which tops off a rather eventful and successful year for the London band.

Formed in 2011, The Bottom Line has increasingly made their presence known within the UK pop punk scene with the past year seeing the outfit release two well received singles in Insecure and the-bottom-line-i-still-hate-you-art _RingMasterReviewPlaylist, open for Bowling For Soup in Ireland, play Facedown, be part of sold shows as main support to Room 94, and venture through fourteen countries alongside Simple Plan. Now to end the year on a high, we have Pull Me Out, a track which takes no time in accosting ears with spirit raising enterprise.

From its first breath, melody bound riffs and rampant rhythms enjoyably impose, their instant catchiness just the prelude to the song’s broader body of feisty textures and inescapable infectiousness. With strong vocals egging on and potently sharing the eager heart of the song, it is soon a tenacious union of sinewy basslines, swinging beats, and a host of tempting hooks and biting riffs.

It is probably fair to say that the song weaves its body with familiar spices and textures, their recent French-Canadian tour mates springing to mind with ease, but there is a freshness and distinctive zeal to the encounter which reeks of more distinctive promise and simply sparks an inquisitively hungry appetite for the band’s sound and future propositions, starting with the upcoming I Still Hate You EP.

A foot to the floor rocker of a track, the single is the sign that 2017 may very well exceed this in the band’s rise.

Pull Me Out is available now.

https://www.facebook.com/thebottomlineuk    http://thebottomlineuk.com/

https://twitter.com/thebottomlineuk

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright

Hello Bear – I Don’t Know… It’s Fun Though, Isn’t It?

hello-bear-promo-shot_RingMasterReview

A trap waiting to grab your imagination and energy, I Don’t Know… It’s Fun Though, Isn’t It? more than lives up to its title with its bouncy persona and rousing spirit. The new EP from British quartet Hello Bear, the four-track stomp is a sparkling burst of power/punk pop which may not carry major surprises but is as fresh and vibrant as anything escaping the year so far.

Formed in 2010, the Norwich bred band take inspiration found in the likes of Weezer, Pavement, Los Campesinos!, Refused, The Bronx, Presidents of the USA, McFly, Johnny Foreigner, and Dananananaykroyd into their own highly flavoursome exploits. Invigorating as a live presence which has seen Hello Bear play with bands such as Los Campesinos, Coasts, Darwin Deez, The Futureheads, and The King Blues, their sound is an ear grabber which now refuses to be ignored within the band’s new offering. The press release accompanying the EP suggests it carries “their most exciting material to date.” Being our introduction to Hello Bear it is hard to confirm or argue, but exciting the Lee Batiuk (Deaf Havana, Trash Boat, Hopeless Records) produced release is and relentlessly enjoyable.

I Don’t Know… It’s Fun Though, Isn’t It? opens up with new single We Held Hands Once, But Then She Got Embarrassed, the collective energy and enterprise of Luke Bear (vocals, guitar, keyboards), Mary Bear (guitar), Tom Bear (bass), and Daryl Bear (drums) hitting the floor running. A lone strum entices first being quickly joined by the potent tones of Luke before the song jumps on ears with eager riffs and canny rhythms. In no time it is into an infectious stroll with hooks and melodies uniting to charm attention before brewing and finally expelling a virulent contagion through its irresistible chorus. There is no escaping joining those offering Blink 182 meets Weezer as a reference for the tenaciously lively sound of song and band; add a touch of Super Happy Fun Club and The All-American Rejects though and the mix is even closer to the rousing incitement.

hello-bear-cover-artwork_RingMasterReviewThe following Mmm Cheque Please! makes a just as striking entrance, another single strain of guitar bait making the first lure, rampant beats and Luke’s inviting vocals the next  before it all blooms into another infectious canter. Daryl’s beats resonate as they land and Tom’s basslines grumble as much as they seduce while Mary and Luke share a tapestry of hooks and melodic endeavour which only leads to a greater appetite for song and release. Admittedly the track lacks the final spark which ignites its predecessor but leaves pleasure bubbling eagerly as does Dirty Weekend with its more restrained but wholly magnetic presence. Repeating a prowess which confirms Hello Bear masterful at creating big choruses and ripe hooks which simply infest the psyche, the song lays lustfully upon the senses.

The EP ends as its starts with a track which just whips up the passions. Attack Hug Influences is addiction for the ears, a slice of rock pop which seizes hold of body and spirit in a breathless romp complete with spicy hooks, tenacious rhythms, and a vocal coaxing which virtually forces listener involvement.

It is a boisterous end to a release which demands a party is woven around its presence each and every time. No moments of major uniqueness, all irresistible fun fuelled ingenuity; that is I Don’t Know… It’s Fun Though, Isn’t It?, one of the most enjoyable adventures this year.

I Don’t Know… It’s Fun Though, Isn’t It? is released November 11th

http://www.hellobear.co.uk/   https://www.facebook.com/hellobear/    https://twitter.com/hellobearband

Pete RingMaster 08/11/2016

Copyright RingMaster: MyFreeCopyright

Asylums – Killer Brain Waves

Photo by the Cool Thing Records sparkplug Kana Waiwaiku

Photo by the Cool Thing Records sparkplug Kana Waiwaiku

Amongst the most highly anticipated releases this year here in the office, maybe the most eagerly awaited was the debut album from UK sonic punksters Asylums. Having been hooked on the Southend-on-Sea hailing quartet’s frenetic and devilish jangle since being infested by Wet Dream Fanzine EP within the first throes of 2015, a more than keen and impatient appetite has been brewing and now we can say it has been well worth the hours pacing the floor waiting for Killer Brain Waves.

Taking a snap at any and everything with a mischievous smile on their creative faces, band and release is the kind of sonic devilment ears and music were evolved for. Offering twelve tracks which flirt and bite, tease and seduce, with an imagination and eccentricity found in Bedlam, Killer Brain Waves announces Asylums as one of music’s most essential and even more so irresistibly thrilling propositions. It is a collection of songs within which sarcasm and discontent are frequent visitors as too a virulent dose of humour and fun driven imagination. Musically, Asylums recall in heart and enterprise the likes of Swell Maps, The Dickies, and Supergrass. At times essences also remind of bands such as Weezer and We Are The Physics but as shown a dozen times over, all are hues in a devilry uniquely Asylums.

art_RingMasterReviewMixing a handful of treats from their previous EPs/singles with new slices of angular revelry, the foursome of vocalist/guitarist Luke Branch, guitarist Jazz Miell, drummer Henry Tyler, and bassist Michael Webster open up Killer Brain Waves with the mighty Second Class Sex. Its first breath brings a senses swamping tide of meaty rhythms and nagging riffs engaged in a toxicity of sound which simply infests the psyche. Though its spreads its body into a more expansive tempting, that energy never diminishes. Webster’s bass groans and growls in ears; a great lure matched by the swinging intent of Tyler as the swirling sonic seduction of the guitars lay their trap. With vocals just as potent and a touch of White Noise era XTC to the mix, it is a stunning start to the release, and one not losing a beat as I’ve Seen Your Face In a Music Magazine steps up next.

The second track is just as eager to invade body and thoughts, using a lower gear energy wise as a spicy wiry groove entangles ears and rhythms cast in another rousing and pulsating enticement. Melody and discord court the outstanding tone and delivery of Branch, each adding to the glorious trespass with a tangy hook just icing on the cake. New wave meets pop punk to give some clue to its ingenuity, the song departs so Joy In a Small Wage can share its ‘mellower’ charms. The track almost floats over the listener, keys washing its path though equally there is a darker edge in tone and another beguiling bassline to keep song and ears on their toes. That Weezer reference is arguably at its most potent here but again the result is, within a near perfect pop song, something belonging only to one band.

Bad Influence rumbles as it croons next, plaintive vocals and dirty riffs aligning with a heavy bass enticing to create another epidemic of swinging enterprise before the even more magnificent Wet Dream Fanzine leaps in. It is impossible not to join in with every Asylums song, and especially with this gem. Hips and instincts are grabbed straight away by the opening hook and swinging rhythms, vocal chords soon after as Branch leads a jangle of rhythmic agitation and funk infested bouncing clad in another fiercely tantalising weave of Miell’s sonic invention. A favourite since its appearance on that same named EP last year, the song continues to ignite tingles; as too the following The Death of Television. A nest of sonic vipers and stabbing beats, all with rebellious intent in their hearts, the song is one minute and twenty six seconds of creative agitation demanding similarly off kilter movement and involvement in return for its rare incitement.

The heavy punk ‘n’ roll of Monosyllabic Saliva comes next, its body a prowling beast tempered perfectly by the harmonic quality of Branch’s voice. Fuzzy with a thick feel to its atmosphere, the track is a brooding slice of pop rock veined by the ever insistent grooves and sonic tendrils escaping the guitars. Its dark tone is contrasted by the pop punk saunter of Born To Not Belong, a song which feels like it’s an already known friend as it makes its first proposal but simultaneously adds another string to the albums creative harp.

Necessary Appliances soon has ears greedy, the song twisting and turning with a more conservative sound compared to its companions but still unveiling a tapestry of imagination fuelled endeavour before Sunday Commuters and Missing Persons keep the thrills going. The first of the pair is another more controlled slice of pop rock with great sixties inspired harmonies taking the listener on a stroll of excitable rhythms and fuzz lined tempting while the second seduces with its Weezer/Supergrass hued canter around another commanding bassline and crisply landed beats.

The album closes with the outstanding punk raw challenge of Slacker Shopper, a grouchy and thickly aired proposal which as so many just hits the spot. The band’s most aggressive and irritable offering yet, it is a brilliant end to Killer Brain Waves providing a final new shade to their sound and invention, one we hope to hear more of. There is also a hidden track which we will call Butterfly just because the word is repeated most often. It too shows a fresh side to the Asylums sound; imagine the Beach Boys or Walker Brothers doing shoegaze and you get a hint of the great extra gift within the album.

We expected good things from Asylums with Killer Brain Waves but the album simply out does any expectations with ease. For fans and newcomers, Asylums and their first full-length are simply a must.

Killer Brain Waves is our now via Cool Thing Records @ https://itunes.apple.com/gb/album/killer-brain-waves/id1105949093 and other stores.

http://www.asylumsband.com   https://www.facebook.com/asylumsuk   https://twitter.com/Asylumsband

Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright