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

All Tied Up – Breaking Silence

Entwining the energy and urgency of pop punk with the rousing guile of alternative rock, UK outfit All Tied Up have provided one enterprising vehicle for it to shine in the shape of their new EP. Breaking Silence features five tracks which pretty easily has the body bouncing and the imagination held, each also ripe with a potential which whets the appetite for the evolution of the  band’s already intriguing sound.

From Milton Keynes, All Tied Up have persistently nurtured a broadening eagerly loyal fan base as well as increasing praise across a debut album and a pair of EPs as well as with their live presence which has seen the quartet shares stages across the country with bands such as The Ataris, [SPUNGE], Kenneths, Big D and the Kids Table, Whitmore, and Sonic Boom Six. Recently they linked up with new indie label, Stack-in-a-box Records, for the Andy Davies produced and Joe LaPorta (David Bowie, Foo Fighters, Mallory Knox) and Katie Tavini (Sonic Boom Six) mastered Breaking Silence, a union which should see potent fruits from their joint endeavour.

The EP opens up with So Enthusiastic, a song which from a gentle thoughtful melody gathers its rhythmic tenacity and eager energy to burst into a boisterous stroll. In its lively canter there is a steely edge to the bass of Leebo, a darker hue which equally clads the swings of drummer Nick Freeman. The guitars of vocalist Dave Palfreyman and Billy Norman though flirt with melody around a hook which just teases the passions as the former’s vocals, with their engaging twang, cap the captivation. The band’s new single, the song simply hits the spot and soon commands a deeper look at the EP.

Whether the remaining tracks live up to the first is debateable such its impressive proposition but certainly the following Better Day swings along with ear pleasing endeavour and a melodic spicing which only satisfies. Its rhythmic shuffle is similarly adventurous working away on feet as too the ruggedly dancing beats and bass grumble coring the increasingly addictive and next up Asbestos Box. Though leaving no sense of dissatisfaction in its first play, the track simply grows listen by listen; its unpredictable character and infectious heart relentlessly getting under the skin and if there is one song which rivals the first, this is it.

The EP’s title track romps along with its own eagerness and dexterity, ebbing and flowing in the energy of its attack but always a flood of catchiness which also blossoms over time if still lacking the bolder creative sparks of its predecessor. In saying that, enjoyment is a given as emotive hues entangle pop punk; a mixture just as assertive and magnetic in closing track Master Of Disguise. It too is a great mix of reflective calm and spirited dynamics which again, and this applies to the whole EP too, just becomes more persuasive and alluring with every encounter.

There is deep potential to the All Tied Up sound which demands further attention and a readymade attraction which makes Breaking Silence a thoroughly enjoyable encounter which anyone with a taste for pop punk and infection loaded rock should find quite flavoursome.

Breaking Silence is out now via Stack-in-a-box Records on all major online stores.

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

Pete RingMaster 01/10/2017

Copyright RingMaster: MyFreeCopyright

 

High Down – Moving On

Suggesting they might be the ones to give the British pop punk scene an invigorating new breath, Portsmouth hailing High Down have just released their first EP. Moving On offers five slices of ear pleasing infection carrying punk rock, each bearing a sound with a spikiness which alone commands attention and further investigation.

Emerging last year, High Down made a potent mark with debut single Family & Fiends, the track recorded with producer Matt O’Grady (You Me At Six/Deaf Havana). Its impact was followed by the band playing slots at the likes of Seasick Fest, Butserfest, and Teddy Rocks Festival as well as share stages with bands such as WSTR, Roam, and Like Pacific. It is fair to say that things are beginning to stir for the quartet, a motion sure to gain momentum through Moving On.

The EP opens up with new single Life Lessons, guitars instantly luring ears with their catchy invitation. It is an infectiousness which is as instinctive in the vocal prowess of Luke Smithson and the rhythmic stroll of bassist Tim Hoolahan and drummer James Grinter who it appears has since left the band. The energy of the song is bold but with an enterprising restraint, it constantly pulling on the reins throughout but blossoming from that same reflective control. Feet and ears are soon lost to its temptation, appetite to its mix of harmonic warmth and again reserved but open irritability.

Making History backs up the fine start with its own line in melodic suggestion and rhythmic persuasion, it too keeping a hold on its boisterousness but giving enough of a rein to stir the spirit especially within another rousing chorus. The guitars of Darrell Ellis and Joe Soar weave a captivating web of sonic adventure with the former’s vocals potently backing the lead tones and expression of Luke Smithson. There are no big surprises yet each moment of accomplished endeavour increases the song’s draw, a quality just as inescapable in next up All On You. High Down has been given comparisons to artists such as Blink 182 and New Found Glory, the third track with its high kicking beats and nagging riffs a contagious example of why. There is a greater fire in its belly than in its predecessors and similarly an even more imposing catchiness that commands attention and response as smart hooks and harmonic dexterity relentlessly tempt.

The acoustic seduction of Rescue Me follows with vocals and guitar crooning knowingly with thought and emotion. The song features the guest tones of Nottinghamshire singer Christina Rotondo, her vocal beauty a striking essence in the union with the similarly impressing presence of Smithson. With a rawer edge to its gritty finale, the track grows in intensity and emotion to truly hit the spot before making way for the pinnacle of the release. The best track on offer for these ears, Against The Tide instantly winds wiry tendrils of guitar around ears, their steely touch alone a keen lure but only tightening their invitation with their niggling prowess, one matched in dexterity and persuasive trespass by the muscular swings of Grinter and the growling bass of Hoolahan. It is a dynamic and imposing yet again seriously infectious proposal to bring the highly enjoyable encounter to a fierce close.

In many ways there is nothing overly remarkable about Moving On yet every moment it shares is rich in enterprise and energy whilst being backed by a potential which suggests High Down can have a big presence on the UK if not European pop punk theatre.

Moving On is out now and available @ http://highdownuk.bigcartel.com/

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

Pete RingMaster 05/09/2017

Copyright RingMaster: MyFreeCopyright

Bad Mary – Glitter Bomb

These past three years has seen a greedily enjoyable annual expulsion of attitude and fun in the shape of a new EP from US rockers Bad Mary. This year’s riot comes in the shape of Glitter Bomb, an upcoming six track stomp of punk ‘n’ roll which knows all the right spots to tease, seduce, and turn into feverish submission.

Straightaway we can announce Glitter Bomb to be the Long Island, New York based quartet’s most infectious and belligerent offering yet embracing an array of styles and creative devilry which just sets the imagination and appetite aflame. Equally it is their most accomplished outing yet basking in another fresh step in maturity in writing and its realisation as well as even bolder adventure. Like the illegitimate offspring of an illicit affair between The Ramones and No Doubt as The Objex share their riotous juices, to simplify the bold confrontation, Bad Mary and Glitter Bomb explode on the senses with unbridled and fiercely enjoyable mischief.

The beginnings of Bad Mary came in 2009 with Hofstra University professor and guitarist David Henderson linking up with students for a covers band; something he regularly did. That year’s line-up included vocalist Amanda Mac and bassist/vocalist Mike Staub. As personnel changed the three remained with the current line-up eventually completed with the addition of Amanda’s father Bill Mac on drums. The quartet then began writing their own songs from 2012 with debut release Better Days drawing swift praise the following year.  The band has simply gone from strength to strength in all ways ever since, an ascent potently marked by their previous two EPs in the 2015 Killing Dinosaurs and last year’s We Could Have Saved the World. Both established the foursome as one of the truly exciting propositions on the pop/punk ‘n’ roll scene, a declaration confirmed and pushed forcibly on by Glitter Bomb.

Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.

The EP’s title track brings a riveting surge of raw rock ‘n’ roll which is something akin to Penetration meets Sharkmuffin before Hybrid Moments delves into Misfits like territory with its devious antics. Both tracks leave a grin on the face and lustful energy in the body and passions, the second of the pair especially appealing with the vocal union of Mike and Amanda. Their triumphs are soon more than matched by the hungry punk ‘n’ roll call of Soul Mate, a song oozing with the band’s organic creative attitude and an infectious virulence most bands can only dream of.

The EP concludes with Japan, an irresistible collusion of Ramones inspired riffs and Plastic Letters era Blondie pop contagion twisted with Bad Mary’s own individual devilry for a storming end to the band’s finest moment to date. Glitter Bomb is insatiable pop, irritable punk rock, and ferocious rock ‘n’ roll rolled into a proposal which quite simply is the business.

Glitter Bomb is out September 29th with pre-ordering available now @ https://badmary.com/shop/

https://badmary.com    https://www.facebook.com/badmaryband   https://twitter.com/BadMaryBand

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright