A Few Too Many – Solid Ground EP

Last year British pop punks A Few Too Many drew keen attention and praise with their debut album Lessons Learned. It was a collection of songs which had the body bouncing whilst giving modern pop punk a fresh lure to get close with. Admittedly for personal tastes, the album was as much magnetic for its potential as its eager roar. Now the quintet has returned with a new EP and a set of tracks which eclipse the previous release left, right and centre.

Hailing from Saffron Walden on the outskirts of Cambridge, A Few Too Many emerged in 2009. It is fair to say they have earned a rich reputation for their live presence ever since and as mentioned plenty of plaudits and support through their tracks and Lessons Learned and they can expect plenty more through Solid Ground. Offering six tracks which are as individual to each other in enterprise as they are united in creative exuberance, the EP sees the band toying with an array of flavours around their pop punk instincts.

It opens up with Stay The Night, a lone strain of guitar lure and spark to the incoming boisterous stroll of the track. The first hook grabbing ears incites a rolling charge of rhythmic and sonic zeal, continuing to core the lively blossoming of the song. Vocalist Michael Achilles soon leaps into the mix, his delivery carrying a rousing swing matched in the riffs and grooves of guitarists Jez Giles and Danny Freeman. The latter adds his vocals tones to the mix alongside those of bassist Luke D’Alton, taking central stage from time to time to add another rich hue to the excellent encounter.

The excellent start to the EP continues through Ultimate Glory, an instantly more clamorous proposal but just as swift to tempt with hooks and melodic wiring as the animated beats of Mitchell Holleyman bite. It calms down in many ways thereon in but not in providing an infectious incitement as shades of alternative rock collude with its punk catchiness before Ghosts tenaciously saunters in with the swings of Holleyman to the fore. As all tracks, it seals an immediate friendship with ears and imagination as its energy and contagiousness infests body and spirit; its twists and turns escalating the seduction.

Next up, Stuck On Repeat had no problem breeding pleasure and involvement if not quite finding the heights of its predecessor’s success. Nevertheless its zeal and catchy antics only thickly satisfied before being swiftly eclipsed by the early Green Day spiced swagger of The Pity Parade. With its Celtic blood and viral canter of hooks and vocal enticement, the track grabbed favourite track honours though it is quickly more than challenged by the EP’s closing title track.

Solid Ground springs its inescapable bait from its first breath, rhythmic hips swinging as the guitars cast their sonic web around Achilles’ and the band’s ever enticing vocal prowess. Every subsequent second and surge of enterprise is pure manipulation of body and throat; anthemic rowdiness at full virulence.

Short and snappy but as full of fun and adventure as you could wish for, Solid Ground is a set of tracks easily sparking  refreshed appetite for pop punk. It is also A Few Too Many turning a new chapter in their sound, one sure to insist attention is fully and hungrily set upon them.

The Solid Ground EP is out now on all digital platforms.

http://www.afewtoomany.co.uk/   https://www.facebook.com/afewtoomany/   https://twitter.com/afewtoomanyuk

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Millie Manders And The Shut Up – Shutup EP

It rapaciously rattles as it tenaciously rolls, aggressively snarls as it leaps around with viral infectiousness. No this is not a riddle but the sound of Millie Manders And The Shut Up on their new EP, Shutup; a proposition which had us instinctively drooling even before the first track of the inescapably mouth-watering release reached its finale.

London based, Millie Manders And The Shut Up stepped out in 2015, the band emerging from Millie’s solo career sharing ear grabbing acoustic enterprise which itself sprung from varied previous projects including Second Sense. With The Shutup around her vocal dexterity and prowess on the ukulele and alto saxophone, the band creates a punk rock bred incitement eagerly embracing varied flavours from pop punk to ska to aggression loaded alternative rock.  Similarly though, there are moments certainly within the Shutup EP, our introduction to the band, when essences of styles such as swing, new wave and R&B more than tease. It is truly an appetite rousing crossover flavour which with hindsight shows just why the first two EPs from the band, The Free-P and Obsession Transgression, were so warmly welcomed and praised by fans and media alike and now why, finding its fullest most adventurous character yet, it is a sound which seeds one of the year’s most exciting offerings.

The EP opens up with Right To Life, a shimmer of guitar caressing the immediately striking presence and voice of Millie as the song rises slowly but purposively to its feet. Its sepia jazz kissed sound is alluring enough, Lewis Slater’s guitar winding up the temptation, but it is just a smouldering kiss before the boisterous carnival of its stomp to come. A flick of its hips and the spontaneous burst of dancing flames from the trumpet of George Alan and the tenor sax of Dom Walker spring the track into contagious urgency; ska punk instincts entangling its more spiky rock endeavour as the track bounds along like a mix of Sonic Boom Six, No Doubt, and The Selector. Yet even with those easy to offer references, song and sound swiftly proves its own uniqueness with Millie herself vocally as individual as they come but with a  great whiff of Brody Dalle in league with Imelda May and Pauline Black.

The track is superb but instantly rivalled by its successors for favourite track honours here starting with Brave. The imposing ticking of a clock incites the muscular swings of drummer Alessandro Vitiello and as quickly the magnetic tones of Millie. Slipping into a slightly more restrained canter compared to its predecessor initially, the song carries a portentous air; an inviting threat which erupts with fiery blasts of brass searing its chorus placed expulsion. As with all tracks, the body was quickly manipulated by the captivating antics of the song, the imagination and appetite as quickly seduced and enslaved before the equally irresistible Lollipops launched its own compelling escapade. Again Vitiello’s beats thump away with relish and poise as the even grumpier bass of Matt Munford twangs with tenacity, the guitar adding its attitude lined riffery to the virulent slice of punk rock.

New single, One That Got Away, completes the creative scheming and magnificence. The coaxing of the fuzz lined guitar alone offers intoxicating hooks but every aspect of the song from rhythms, brass, and vocals breed their own distinctive barbs to be hooked and aroused by. It might be punk in its heart but as all tracks, it is pure rock ‘n’ roll; manna to the ear and instincts.

Millie Manders has been sharing the goodness for many years now but the Shutup EP is surely the moment attention explodes around the band; so just do what it says and get down to some serious inhibition free rocking.

The Shutup EP is out now @ https://milliemanders.bandcamp.com/album/shutup

Upcoming live shows:

October

25th – The Waterloo, Blackpool

November

9th – Pie Race, Warf Chambers, Leeds

10th – Breaking Barriers, Leuven, Belgium

December

1st – Fighting Cocks, Kingston

7th – The Harp Restrung, Folkestone

8th – Blueberry, Norwich

13th – Portland Arms, Cambridge

14th – Smokehouse, Ipswich

15th – Voodoo Lounge, Stanford

21st – Alma Inn, Bolton

22nd – The Bobbin, Lancaster

23rd – The Ainsty, York

https://www.facebook.com/milliemandersmusic/   https://twitter.com/milliemanders   https://www.instagram.com/milliemanders/

Pete RingMaster 03/10/2018

Copyright RingMaster: MyFreeCopyright

TV Coma – Body Negativity

If you can imagine the results of Weezer and Swound! musically cavorting with Jan and Dean alongside Blur with a punk nurtured revelry you can get a whiff of the sound of TV Coma though not necessarily the individual mischief and enterprise rampaging through their debut EP, Body Negativity. It offers six tracks of unbridled fun and boisterous deeds amongst cleverly manipulative creative antics and is simply one of the most enjoyable exploits we have greedily indulged in this year.

Emerging from the songwriting revelry of brothers Leo and Max Troy, St Albans hailing TV Coma is a foursome by bassist Jamie Rider and drummer Robert Clark. They also seemingly embrace the punk DIY ethics of yesterday with their first release recorded in Max’s bedroom who then mixed the tracks himself before passing them over to Alan Douches (Ben Folds Five, Converge, Sufjan Stephens, Mastodon) to add his professional gleam to things. The result is an encounter which has an organic roar and an instinctive devilry and one which eagerly gets under the skin with unbridled fun in close quarter.

Have A Party kicks things off and rises up from an encroaching sonic lure with big scythes of guitar and matching rhythms. Everything is an intriguing tease leading to the first vocal rally cry before things settle again into a calm stroll and reflection. It in turn invites ears and listeners to its subsequent chant loaded bellow and a finale which the body, if not already bouncing, can no longer escape. Seriously contagious with a great rock muscularity and edge to it, the track is a glorious invitation into the waiting fiendish clutches of EP and band.

There is no escaping thrusting a Weezer likeness to the following Digital Girl, the LA band one of the major inspirations for the brothers. Even so, the track is ablaze with raw pop punk zeal as it is pop rock catchiness and swiftly inciting physical and vocal participation with its rousing holler before Trudy latches on to its infectious antics for its own particular weave of viral contagion. Something akin to Weezer meets We Are the Physics with Asylums in close attendance, the track just saunters along spilling grooves and hooks like confetti as rhythms cast their own manipulative incitement. Surf pop harmonies escalate the fun and listener’s involvement with a track which never leaves a moment void of creative rascality.

A sonic clamour announces next up Unemployable; a short but attention stalking roar of angst and noise around more of the hooks and enterprising taunts the band seem to instinctively breed. The track instantly and effortlessly leads into inhibition losing shenanigans, reactions even more escalated with Football Song, a Blur meets Television Personalities howl which could easily be adopted by the sport’s fans or haters.

Grow Up completes the line-up of plaintive ejaculations. From its initial vocal wail to the punk rock soaked blaze of sound, the track is a zealously waving finger at immaturity and irresponsible fun whilst creatively providing both.

With each track sparked by traits within modern life, Body Negativity is one spirit rousing adventure. It might not be the best thing you come across in 2018, though it very well could be too, but there will be few as memorable and even fewer as relentlessly enjoyable.

Body Negativity is out now and available @ https://tvcomamusic.bandcamp.com/releases

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

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Slimboy – Sail On Sailor

Returning from a seven year or so long hiatus n 2017 re-energised and with an even keener touch in writing and sound, Swiss punks rockers Slimboy quickly released their album Sail On Sailor. Now their fifth full-length gets a deserved re-release through Niro Music; a new push sure to draw host of new eager attention the way of the Basel-based trio.

Formed at the start of the millennium, Slimboy has released four praise luring albums, been signed to a major label, toured the world, and strongly hit the charts in their homeland. The band’s break between 2009 and 2016 saw its members busy with other projects but at the same time it seemed to fully refresh and give new energy to their Slimboy heart. Off of a recent tour with The Ataris, the threesome of vocalist/bassist Joel Bader, guitarist Sven Wallwork, and drummer Silvio Spadino has now re-thrust their latest album at ears and the Mike Herrera (MXPX) recorded offering more than warrants the new impetus with its eclectic body and intimately emotive heart; its new outing coinciding with the outfit’s European tour with US pop-punkers, MEST.

Album opener Falling Apart instantly and firmly coaxes ears with the solo lure of Bader’s vocals. In no time though the whole band jumps in with scything rhythms and boisterously enticing hooks and riffs. A cutting response to being wronged, the song continues to attack and roar, every passing half minute bringing new twists and imagination. It is a great start with an air of familiarity which does it no harm and is swiftly backed up and matched by the just as potent Heart’s All Gone. With something of US outfit The Cooters about it, the track immediately hits its prime roar, adrenaline and affirmation of feelings fuelling its thick and bold enterprise.

Inspired by a fan at their first show after returning, Let It Go is an infectious stroll with a web of hooks which just relentlessly hit the spot. Bass and drums create a tasty nagging as persistent as it is mercurial in its attack whilst guitar and vocals colour the heart of the emotion bred encounter. Embracing a weave of rock bred flavours the song makes it easy for ears and personal thoughts to be involved with its presence before the melancholic but uplifting Sorrows fully grabbed attention and fresh plaudits.

With pop nurtured virulence to its lively bounce Whatever had keen reactions animated next while Believe In You shares its own individual pop and rock collage as its acoustic beginnings evolve into a rich holler. The first of the two is a re-recorded track from one of their earlier albums and relishes the new creative colour given to its pop punk. Its successor was inspired by the Beach Boys song Sail On Sailor which also influenced the album’s title and just hooks ears and appetite with its imaginative body and mix of flavours.

Downfall is another simply contagious track which got under the skin to take favourite track status, it too holding a shade of familiarity to its inescapable and memorable persuasion. It was an album highlight easily matched by the more feral blaze of Freak; the song involving metal and hard rock hues in its riveting punk drama.

Concluded by the ferocious Hagfish-esque stomp of So-Called Unity and the personal emotion fuelled Life/Death (Ghost Of You), the album ends on a lofty high. For us it is at its very best across the last quartet of songs but from start to finish the album thoroughly engages and pleasures. If an album was deserving of a second chance at enticing a far bigger audience, this is it.    

Sail on Sailor is available now via Niro Music.

Upcoming Tour Dates with MEST:

August 14 – UK, London, Underworld; 15 – UK, Glasgow, Broadcast; 16 – UK, Scunthorpe, The Lincoln Imp; 17 – UK, Bridgewater, Cobblestones; 18 – UK, Bolton, Alma Inn, 19 – UK Stafford, Redrum; 20 – UK, Sheffield, Corporation.

http://slimboy.ch/   https://www.facebook.com/slimboyband/

Pete RingMaster 13/08/2018

Copyright RingMaster: MyFreeCopyright

Between The Lines – To The Wind

We can debate whether two tracks constitutes an EP or a single as in the ‘old days’ but what was easy to agree on at The RR is that To The Wind, the debut release from UK outfit Between The Lines, is one very enjoyable and blatantly contagious affair. Creating a mix of pop punk and alternative rock, the Bedfordshire based quintet has introduced themselves in fine energetic style.

Formed in 2017, Between The Lines soon inspired potent local and further afield support before earning shows alongside the likes of Better Than Never, The Young & Restless, SEASONS, and Reckless Intentions. There has been real energy to the emergence of the melodic punks which has been as infectious as the spirit in the two tracks which have attention locked, pleasure loaded, and the body bouncing within their debut.

To The Wind starts with its title track, a distant rhythmic heartbeat swiftly looming in with that seemingly instinctive spunkiness quickly being joined by an animated hook amidst lively riffs. Settling into its snappy stroll, the enticing vocals of Alex Lewis step forward with a delivery which reveals potent variety as the song continues. Driving the track, the beats of Tom Hogan nag and harry ears, inviting eager physical response as the guitars of Adam Brewster and Sam Burnage spin their web of melodic and spiky goodness. Perpetually cored by that flirtatious hook, the track leaves ears wanting little; certainly there is something strongly familiar about the track but it only adds to its vivacity as the band’s more individual potential hints.

Second song is Anywhere But Here and it too needs a mere breath to manipulate feet and attention as riffs and tenacious rhythms get to work. Whereas the bass of Lewis Wolton was sunk a touch too much into the mix of its predecessor for personal tastes, it is a throbbing lure at the forefront of the final song with his lines as inescapably virile as the rousing vocal roar and the urgency of the guitars. Punk rock unapologetically catchy and punchy with great zeal in its heart the song hit the spot with ease.

Being suggested for those with an appetite of bands such as Four Year Strong, Chunk! No Captain Chunk, and State Champs, Between The Lines is a band worthy of keeping a close ear upon especially if they can realise the promise of their excellent debut and fuel it with the uniqueness they are already giving glimpses of.

To The Wind is released July 6th digitally and on CD.

https://www.facebook.com/BTLUK   https://twitter.com/betweenTLband

Pete RingMaster 05/07/2018

Copyright RingMaster: MyFreeCopyright

Lucy And The Rats – Self Titled

There are some things which are simply bred for temptation, propositions instinctively natured to lure like sirens. Among their numbers is the debut album from Lucy And The Rats. Deceptively unassuming but one virulent contagion, the release is an irresistible slice of pop punk with a snarl in its heart and the most disarming melodies and harmonies on its breath like a winning blend of The Shirelles, Honey Bane, and Spinnerette.

Lucy And The Rats is the new band from now UK based singer/guitarist Lucy Spazzy, formerly one third of Australian punksters The Spazzys. Once settled in London in 2015, she set about assembling a new band being “bored of playing at home by herself”, subsequently linking up with guitarist Joe To Lose (Los Perros, Johnny Throttle), bassist Mike Cannibal (Animal Cannibal), and drummer Manu (Thee Tumbitas). A pair of ear grabbing singles followed as the band made a stir on the live scene in the Capitol, in turn nationally and all over the world sharing stages with the likes of Buzzcocks and Paul Collins along the way. Produced by Johnny Casino and Jim Diamond (White Stripes, Dirtbombs), their first album is an inescapable tap on the shoulder of the broadest attention and recognition, a sweet sounding proposition so so easy to run off with.

Opening up with Pills, the album instantly had ears attentive and the body rocking. Soon the song strolls along with a summery glaze over eager catchiness as hooks collude with flirtatious riffs and rhythms. There is a whiff of The Shirts to the track as its heart embraces the instincts of pop and rock ‘n’ roll around the magnetic presence and tone of Spazzy.

The following Make You Mine wears a similar hue of sound but quickly reveals its own personality and The Waitresses meets The Crystals like temptation. Again feet were keenly shuffling and hips swinging as melodies seduced hand in hand with golden harmonies but all the while a punk edge stirs accentuated by the wiry enterprise of the guitars, they repeating that taunting prowess in next up Lose My Mind. Imposingly infectious, the song suggested involvement within seconds, manipulating it a few breaths later much to the lusty pleasure returned.

The likes of the surf kissed seduction that is So Simple, a mellow kiss on ears with the melodic smooch of The Dollyrots and rapacious touch of Valentiine, and the pop bouncing Melody just devour attention while the viral shadows of the bass grumbling Night simply danced with the imagination as the song took hold of the waist. It is truly hard to pick a favourite song within the album, all three among the options but the third makes an especially compelling statement.

Through Fall our passions pretty much echo their ardour as it swings with flirtatious grace and mischief, next up Hold On Me emphasising similar manipulation with rolling rhythms and deceptively controlled yet rousing energy with Spazzy tempting like a pop punk conjuring Pauline Murray. All three just leave a greed for much more, the latter laying on the temptation with some great hooks out of the Only Ones songbook, before Girl saunters along without a care in the world sharing the kind of creative snare addiction was invented for.

The album closes with Can’t Surf; a fifties inspired pop ’n’ roll romp which may have lost the heart for hitting the waves but had us riding its enterprising currents with zeal. The track is a thrilling end to one glorious encounter. Lately we have found pop punk to be a touch vacant on real uniqueness and though Lucy And The Rats have a sound which is much more flavoursome than that tagging, their album is the  fresh and inspiring breath within both pop and punk, indeed rock ’n’ roll we have been yearning for.

The Lucy And The Rats debut album is out May 25th digitally with Dirty Water Records and on vinyl through Surfin’ Ki Records, Monster Zero Records, and Stardumb Records.

https://lucyandtherats.bandcamp.com/  https://www.facebook.com/Lucy-and-the-Rats-817424101645809/

Pete RingMaster 23/05/2018

Copyright RingMaster: MyFreeCopyright

The Emergency Please – Remember You

Having recently chatted to The Emergency Please founder and vocalist/guitarist Karan Master (ex A Gentleman’s Film) about his band and debut release, it was only right we also leapt into the Remember You EP from the UK outfit. Released a handful of days ago, the four track encounter is a spirited stroll of pop punk and funk infused alternative rock which needs little effort to have the body and imagination swinging.

Inspired by a varied host of artists headed by Jimi Hendrix, John Mayer, and The Smashing Pumpkins, Master has linked up with bassist Michael Hartley and drummer Sam Garnett to complete The Emergency Please line-up though Remember You was recorded with the aid of Sam West (drums) and Adam Porter (bass). Southampton based, the band has a sound which is maybe still in the brewing stages but as their first EP shows, it is already a flavoursome proposition with rich stock for future adventurous recipes.

Remember You opens with its title track, a magnetic affair bursting from an initial guitar jangle with energy and spirit in sound and vocals. Boisterous beats punctuate the melodic web cast by the guitar, the bass more moody but no less keen an ingredient in a song which second by second gets under the skin. A little folk pop, plenty indie rock with a pop punk lining, it captivates from start to finish, alluring ears and hips with equal dexterity.

The following I Can’t Stop is just as energetic and eager to tempt with funk infused hooks and a rhythmic shuffle which just swings along. Speeding up its lures at certain times, it is a great nag on the appetite with more controlled moments providing a tapestry of creative suggestion. Put all together it provides a shuffle which is as bold as it is accomplished, matching the heights of its predecessor to keep the release holding rich attention before Lost casts its calmer, melodically intimate caress on the senses. Melancholic but with heart felt light to its touch, the track provides its own captivation to complement its previous companions.

The EP closes with Clark Kent Syndrome, a song which begins with a mouth-watering temptation of guitar string picking and proceeds to seduce with rhythmic bait led by the pulsating yearning of the bass. With vocals as potent as ever, it continues to dance on the ear though it does not quite live up to its early promise for personal tastes. Nevertheless it is a thickly pleasing end to a release which grows and persuades with increasing prowess, its closing expulsions of vocal angst against the funk woven shuffle of the guitar epitomising its appeal.

Remember You is an introduction which makes you take notice; a strong first step from a band with plenty to discover in their imagination and on the evidence of the EP, plenty of tenacity and craft to bring it to our anticipating ears.

Remember You is available now @ https://theemergencyplease.bandcamp.com/album/remember-you

Read our interview with Karan Master @ https://ringmasterreviewintroduces.wordpress.com/2017/05/10/leaping-to-the-front-exploring-the-emergency-please-with-founder-karan-master/

https://www.facebook.com/theemergencyplease

Pete RingMaster 16/11/2017

Copyright RingMaster: MyFreeCopyright