Kilkovec – Plunge

kilkovec-promo-shot_RingMasterReview

Following up their eagerly praised EP, Sick Of This, British trio Kilkovec make an even louder knock on real attention with its successor Plunge. Again built on the band’s feisty mix of alternative and punk rock, the new EP takes the band’s sound, imagination, and presence to a new level, one demanding that people take notice.

Consisting of vocalist/guitarist Daniel Wilson, bassist/vocalist Matt Stroud, and drummer Tom Longwater, Hampshire hailing Kilkovec emerged in 2012. Hitting the local live scene with relish, they released debut EP Name Your Place to good reactions in the underground scene though it was Sick Of This last year which sparked critical and broader fan acclaim the way of the threesome. As Plunge roars and twists around in ears it is easy to suggest and suspect even greater plaudits hitting the band’s creative shores, praise to match the rich reputation earned by their live prowess which over the years has seen the sharing of stages with the likes of Yearbook, Seething Akira, Flood of Red, Bad Sign, Press to Meco, Black Foxxes, and The Red Jumpsuit Apparatus.

The EP’s brief title track kicks things off, its atmospheric instrumental setting a schizophrenic scene from which the following Change whips out an initial provocative guitar groove swiftly joined by portentous beats and in turn predatory bassline. As much as it carries dark danger, the coaxing has spicy warmth drawing the imagination further into its depths and the potent waiting tones of Wilson. As it develops, raw infectiousness brews and blossoms within the track’s tempestuous punk ‘n’ roll making its irritable charms even more compelling and its unpredictable enterprise pure magnetism.

kilkovec-cover-artwork_RingMasterReviewIt is a great start to the release setting the agenda for the adventure and invention shaping Plunge and next up Just Get Better. Rolling in on great rhythmic agitation with just as alluring tides of riffery, the track quickly grips ears and appetite, throwing itself rhythmically around with muscle and attitude as vocals roar and grooves entangle the senses. Its fiery rock ‘n’ roll takes no prisoners though again its virulent catchiness perfectly tempers the raw aggression.

Somerset Cottage brings a mellower proposal straight after though it’s underlying steel and angst is soon flowing through the song’s creative veins as both sides of its character interact with imagination around the impassioned vocals of Wilson. Again there is nothing predictable about the song and its twists; even if the chorus has a familiar feel ensuring participation with it is easy. Littered with groaning grooves, the track is an increasingly captivating spectacle matched by the more straightforward punk infused rock of 40,000 Leagues and Counting. It may not have the boldness of its predecessors but the track only satisfies with its growling nature, anthemic heart, and melodic acidity.

Constructive Criticism is another short instrumental, creative doodling before the outstanding Go On (and on and on) brings its Fatima Mansions meets letlive. like creative drama to bear on ears and thoughts. At times it is a suggestive croon, in others a caustic brawl and increasingly an inescapable lure for the imagination leaving Here’s to You to close things off with its tenacious mix of engaging melodies, rousing vocals, and barbarous rhythms.

It is a thoroughly enjoyable end to a similarly agreeable release suggesting that Kilkovec are not too far away from getting their hooks into nationwide recognition, if not even bigger spotlights.

Plunge is released 27th January.

https://www.facebook.com/Kilkovec/    https://twitter.com/kilkovec

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Falls – Cream EP

falls-promo_RingMasterReview

As its fifth month swung and revelled in the noisy, raucous, and ridiculously addictive strains of eclectic rockers Falls, so the final throes of 2016 have been ignited in the best possible way with the Welsh band’s new EP. Cream is the creatively salacious sister to the earlier acclaimed One Hundred Percent Strong EP, itself a proposition as inimitably rousing and twisted as its breath-taking successor now proves to be.

Emerging in 2013, Falls had a great many of us intrigued and hooked by following year with their debut EP Dirtbox. Self-tagging their sound as gash pop/fuck rock, it romped and enticed ears and psyche into the Flintshire quartet’s devilish bedlam of imagination and sound. Its success and the band’s swiftly growing reputation was cemented and accelerated by a live presence which saw a constant wave of new fans won and stages shared with the likes of God Damn, Blacklisters, Press To MECO, and Black Peaks around tours with others such as Allusondrugs and Shikari Sound System. As their two track single Mastiff in 2015 saw a new essence of control and imagination blossom in the band’s sound so One Hundred Percent Strong took things to another level with its bold maturity and skilled quick fire twist and turns. Cream is more of the same but at times showing an even keener touch in anthemic aggression and headstrong invention.

As its predecessors, the heart of the new EP is an unruly party clad in the insatiable hunger of a myriad of styles and flavours. Maybe best described as Asylums meets Hawk Eyes under the psychotic guidance of Jane’s Addiction, it grips ears and hips straight away as opener Berries! prowls with surly riffs and firmly kissing beats. With a touch of groove metal to its heavy harmony basted rock ‘n’ roll, the track flirts and rumbles, soon embracing the warm vocal tones of guitarists Martin Gallagher and Philip Kelsall alongside those of bassist Ben Griffiths as it erupts and calms across its virulent canter. Driven by the heftily persuasive swings of drummer Steff Jones, it quickly recruits body and appetite, rewarding them with mischievous dips into stoner and glam pop temptation.

cream-artwork_RingMasterReviewThe irresistible start to the EP is only accentuated by Daytime N U, a sweet talking romancing of the senses with warm vocals entangling a funk infested groan of bass amid energy dictating beats. Once into its fiery stride with the guitars casting spicy flames around the mellow charm of the vocals and the metronomic infection of the rhythms, the song shows itself a master of body and spirit. System Of A Down is often used as a reference to Falls, maybe not so much in its sound but the unrelenting hunger and craft at turning on the spot through a kaleidoscope of textures and twists; the second track reveals exactly why.

The punk roar of Live Delicious is next, leaping at ears with brawling energy and vocal irritability. Underlining it as ever is a funk bred contagion, reserved right now but just waiting to grab those eager hips as riffs growl and grooves sear. As carnivorous as it is inescapably infectious, the track vociferously snarls and incessantly bounces like a pissed off raptor yet still finds room for a chorus which breeds only addiction.

Cream closes with the epidemic of pleasure that is Liberator. At times as grouchy as its predecessor and as dynamically catchy as anything offered yet by the band, the track bounds through ears with the instinctive aggressive pop of Baddies aligned to the sinewy weight and attitude of Reuben, Pulled Apart By Horses like melodic flames licking their collusion as the funk psychosis of a Halfling’s Leaf plays. The result as ever is something distinct and unique to Falls providing an exhilarating end to another attention stoking triumph from one of the UK’s most exciting bands.

The Cream EP is out now via Naughty Strawberry through http://fallsband.co.uk/

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

Pete RingMaster 06/12/2016
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

Falls – One Hundred Percent Strong

FALLS Promo_RingMasterReview

We all have bands, and no doubt many, which almost with their first creative breath spark an instinctive and lustful affair between their sound and ears. For us UK noise poppers Falls is one such union, a riotous quartet which spins webs of invention so contagious that they make the common cold seem lazy. Back in 2014, the band had us hooked with their self-tagged gash pop/fuck rock via the Dirtbox EP. Now they have unleashed its successor, One Hundred Percent Strong; a bigger, bolder, and even more devilish affair to rapture over.

Formed in 2013, Falls has been a hungry and irresistible live presence from day one, tours and shows with the likes of Allusondrugs, Shikari Sound System, God Damn, Blacklisters, Press To MECO, and Black Peaks among their own headlining conquests. The Dirtbox EP equally sparked attention upon its release, eclipsed the next year by the band’s two track single Mastiff which saw a host of radio play and support from the likes of Huw Stephens, Zane Lowe, Steve Lamacq, Alex Baker, and Sophie K. Ahead of a co-headlining tour with I Cried Wolf and an appearance at ArcTanGent in August, Falls is now uncaging One Hundred Percent Strong, a four-track stomp sure to outshine its predecessors in acclaim to match the leap in sound and invention.

There is a more mature and accomplished feel to the songs with the band’s latest offering, but without defusing the loco imagination and quick fire twist and turns which have already marked out their sound and imagination. In fact those elements have been honed with an even keener creative devilment to keep ears and the imagination as busy as the song’s instinctive rock ‘n’ roll does the body. With everything combined, Falls’ music is like a mix up in a noise infested pop factory blending early XTC with Hawk Eyes as seepage from Melvins adds a thrilling contamination.

front cover one hundred percent _RingMasterReviewIt all starts with the kinetic shuffle of Get Well Soon; a track instantly accosting ears with throbbing bass grooves and rolling beats as the guitars of Martin Gallagher and Philip Kelsall perpetually cast wiry hooks and teasing riffs. That alone is enough to infest the psyche and lift the spirit, but add the rousing vocals of the band, with one of the three string pickers leading though no idea which, and you have instant emotional arousal. The track continues to swing and thump, even as its pop fuelled chorus dances provocatively on the imagination. It is simply glorious; we all find manna for the ears in certain songs and this is ours.

Though it is quickly matched by the even more tenacious and slight psychotic Shady Nasty. Again grooves and hooks are swift bait around the lively inviting beats of Steff Jones with the band’s vocals further harmonic and mischief making fun. There is also a volatility to the encounter, at times it almost intimidating ears with the resonating snarl of Ben Griffiths’ bassline a prominent enticement though it is just as compelling in the warmly flirtatious moments too.

SWARM comes next and lives up to its name as riffs crawl incessantly through ears, though there is no particular urgency to their incitement. Instead the song writhes around with steely grooves and off-kilter exploits within a web of punk hooks and noise rock sensibility. Ultimately, it is as funky as it is ferocious, as poppy as it is cantankerously inventive and pure alchemy for the senses and at this point our very greedy appetite for the release.

There is no relaxing of the twisted tempting and addictive ingenuity with closing track Death In Disco Shoes either, the track leaping around like a hyperactive sugar fuelled teenager not knowing whether to party hard or be creatively responsible and doing both with unbridled zeal.

It is an exhilarating end to one of the year’s major propositions so far and no doubt will remain so. Falls and One Hundred Percent Strong are noisy, raucous, and prone to addictive habits; the very best kind of rock ‘n’ roll.

The One Hundred Percent Strong EP is out now via Venn Records digitally and on 7” vinyl @ https://www.vennrecords.com/shop/music/fallsvinyl/

https://www.facebook.com/fallsband   http://www.fallsband.co.uk

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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The Decoy – Parasites EP

The Decoy (7 of 20)

It seems like South Wales is truly ablaze with exciting emerging talent right now, not that the area has ever been slow in producing striking and very often impressive propositions. The past months, indeed couple of years though has seemingly seen a new flood of adventurous bands and sounds to wake-up and capture the imagination. Few bands and releases have whipped up ears and passions as potently and excitingly as The Decoy with the Parasites EP though. The Cwmbran trio’s new four-track incitement is a raucous fire of sound and flavouring, a fiery storm of alternative rock ‘n’ roll which fills in the gap still there since the demise of Reuben whilst creating its own agitated pop infused creative brawl. There are certain times it is impossible not to get a little excited and the release of Parasites is one of those moments.

Consisting of guitarist/vocalist Lewis “Biffy” Barber, bassist/vocalist Joel Williams, and drummer/vocalist Luke Blake, The Decoy since forming in 2009 has been steadily brewing up a loyal fan base and increasing attention. Shows with the likes of Attack! Attack! [UK] and Press To Meco confirmed the band as an aggressively alluring live presence whilst a self-titled EP and a second called Mirrors, established the band’s sound as one to watch and simultaneously get fully engaged with. Parasites is another level to what has come before though, a coming of age for the sound and songwriting of the band whilst still retaining the mischievous and volatile adventure to both aspects which has already helped the threesome stand out.

CoverArtThe swift jab to the ribs of opener Moustache Cash Dash reveals the new plateau breached. From the initial roar of vocals across the whole band, the song has ears and attention gripped, that first flame of voices the trigger to a rowdy stomp of unpredictable hooks and twists aligned to a flirtatious swagger and pop seeded contagion. With the two minute mark a distant glimpse, band and song are as lyrically and vocally bright as they are technically and inventively resourceful, creating a busy proposal which just captivates from start to finish.

The following Vultures is equally as magnetic, its rhythmic shuffle a highly persuasive introduction leading to a web of bass and guitar enticement as jagged as it is fluid. There is funkiness to the agitated stroll of the song too, especially in the bass swing, whilst its core sound comes over as agitated and irritable as the centre of the lyrical relationship explored. Again the creative magnetism cast is irresistible as the band shows the variety in their ingenuity as another already established essence finding new heights, and proven again by Parasite. The third track caresses ears and hugs thoughts with a great vocal and melody rich ambience initially; it’s almost haunted nature a gentle coaxing which suddenly expels a roar of angst and volatile energy. There is a certain creative theatre to the song, a dramatic ingenuity which makes every twist from a gentle vocal kiss to a fierce spilling of rage musically and lyrically, a breath-taking and unique endeavour. The track is superb, as all of the tracks, and quite outstanding in its very distinct and individual presence within the EP.

The release is concluded by ANDYOUISM, the rawest, fuzziest slice of voracious pop rock you will have the treat of coming across this year outside of Parasites. Rhythms pound from the off, the senses virtually shuddering at their potency, whilst effect clad vocals sizzle in ears as the guitar slips its own fierce simmer of sonic tenacity around it all. There is a touch of Engerica to the encounter; a dark intrigue like the now demised band used to express, a striking hue to the infectious furnace of imagination stoking drama. Simply it is an ingeniously imposing and scintillating end to an equally masterful release.

Parasites is from first note to last, an outstanding proposition, something to stir up the passions and bring a fresh and invigorating adventure to the British rock scene. A new signpost has been set down in the rise of The Decoy but there is still the feeling that we have not heard anything yet.

The Parasites EP is available now via Ghoulish Records @ https://itunes.apple.com/gb/album/parasites-ep/id991452997

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

RingMaster 28/05/2015

Copyright RingMaster: MyFreeCopyright

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Forever Can Wait – Beauty & Grace EP

FCW promo

Though their sound is not yet burning new grooves in the walls of melodic rock, UK band Forever Can Wait have something about them which suggests that there is a richly promising and even greater presence within the Southampton quintet which will only accelerate on from and build from their impressive debut EP. Beauty & Grace is an enthralling magnet of a release, six fascinating merges of melodic rock and post hardcore which seduces at every twist of its inventive encounter. It does not ignite raging fires in the passions it is fair to say but undoubtedly with a craft and melodic instinctiveness which only persuades strongly, the EP has emotions and satisfaction burning brightly and hungrily for the band and their future horizons.

Formed in 2009, Forever Can Wait has earned a strong reputation for their live performances which has seen them share stages with numerous higher profiled bands and over 2013 with the likes of Press To Meco, Out For Tomorrow, Bad Sign, and Villains. Equally the year has found the band drawing acclaim for their sets at the Butserfest, Takedown, and Download Festivals, the last coming about from the band winning this year’s Red Bull Studios Live At Download competition. With good airplay also following recent singles, it is not hard to imagine and suspect that the Beauty & Grace EP will register the band within a nationwide awareness and spark an even greater ascent for the creative band.

The title track sets things in riveting motion, guitars scoring the air with emotive tones over a firm rhythmic beckoning. It is not a Beauty&Grace Artworkdramatic entrance but one with a potency to light keen appetite for how things will evolve, which they do in fine style with the vocals of Tash Crump taking control. From within a reserved and teasing passage, the lady’s tones make a strong and pleasing caress which only impresses across the song as they more than hold their own as the guitars of Liam Baker and Will Wilson turn in a snarling enticement and heat to the song. As the EP, the track does not quite get the heart fluttering and gasping for breath but definitely awakens keen eager attention.

The following P&Q brings the intensity and contagion which is only simmering within its predecessor and takes little time in securing a rampant greed for its presence. The guitars initially churn up the air with expertise and temptation before stepping in restraint to allow the jabbing beats of drummer Toby Leonard to build a formidable frame which the rapacious growling basslines of Luke Gould deliciously prowl. With caustic hooks and clean grooves weaving within the scorched energy, the song is a feisty encounter if one which never fully ignites as it hints at or one hopes. As in the first, Crump makes for a richly appealing narrator and makes the perfect temper for when the track does unleash a sonic scourge which teases bedlam but pulls away before crossing the lip of tempting chaos.

Rest is a smouldering seduction from its first breath but one stalked wonderfully by the grouchy throat of the bass. With great backing vocals from the guitarists, something arguably there is not enough of on the release, and a brooding atmosphere to the reflection tackling track as well as the ever convincing expression of Crump, the song takes its time but emerges as one of the strongest highlights of the EP alongside its predecessor.

The brief and decent enough piano crafted instrumental Release makes an evocative interruption before leading into the equally emotive Excuses. With a female fronted band like Forever Can Wait, Paramore comparisons always seem second nature but over the length of Beauty & Grace, this track is the one which really only sparks that thought. The track does not match the heights of the previous songs but still holds the listener in a tender but firm grip which the closing Hopes & Dreams matches with an emotionally hued flame of melodic craft and intensive enterprise.

The first half of the EP is certainly the strongest but Forever Can Wait has a strength and potency which makes Beauty & Grace something to enjoy and hanker for from start to finish. There is massive potential within the five piece and using their debut as an impressive base you can only see them becoming a familiar and sought after name on the rock bred lips of the country.

https://www.facebook.com/forevercanwait

8/10

RingMaster 27/11/2013

Copyright RingMaster: MyFreeCopyright

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