Enamel Animal – Anymore

The last couple of years have seen UK hailing alternative rock band, Enamel Animal, on a kind of hiatus as members took a break for family and other commitments but now the quartet has returned with a magnet of a song in the shape of Anymore.

Emerging in 2012, the Liverpool based outfit has gone on to earn a potent reputation for their live presence, taking in shows with the likes of Bad Sign, Crazy Town, FOES, Exit_International, The Hyena Kill, and Rival Bones along the way, and earn rich increasing praise for their releases. 2017 debut album Unfaith especially drew eager attention and plaudits with subsequent singles, Damocles and Reviler, matching its success.

Anymore is the first of a new collection of tracks written by the band and its new line-up which sees Jon Lawton who produced Unfaith a full-time member alongside band founders, Philip Collier, Glen Ashworth, and Ryan Mallows. Quickly the new single reveals a new maturity in songwriting and sound, its calm yet volatile breath and touch seduction with a feral lining. As rhythms slowly but keenly stroll through ears guitar wires wind and sonic flames spark, each a flirtation across the song’s rising drama with the band’s emotively scented rock enterprise rich in intrigue and intimation.

Previously it was not easy to pin down the Enamel Animal sound and Anymore if anything ensures it is even more difficult as the band embraces hints of noise and punk rock to their predacious instincts and melodic prowess.

Anymore is a fascinating and richly enjoyable return by the band and easily incites real anticipation for want comes next.

Anymore is out now via Psycho Boy Recordings.

https://www.facebook.com/EnamelAnimal/    https://twitter.com/anenamelanimal

https://enamelanimal.bandcamp.com/album/unfaith

Pete RingMaster 22/10/2019

Copyright RingMaster: MyFreeCopyright

Magnapop – The Circle Is Round

Magnapop records have always been a sizzling sunspot in the pop rock galaxy and with the band’s first release in nearly a decade nothing has changed. The Circle Is Round is an unapologetically charming proposition but one with a punk growl in its lining and instinctive volatility giving it even greater drama in sound and imagination.

Released via the ever magnetic label, HHBTM Records, The Circle Is Round is the 1989 formed Atlanta-based quartet’s sixth album and the successor to 2009’s Chase Park. Majorly fertile in sound, releases, and acclaim in the mid-90s, Magnapop have embraced a lower profile over the past years since ‘reuniting’ in order to play a benefit gig for local record store, Criminal Records. That laid the seeds for the desire to write and record new material now resulting in the captivation that is The Circle Is Round.

It is fair to say that attention and appetite was immediately gripped by the album’s opening breath, the hook carrying lure of Dog on the Door instant persuasion to ears and body. Vocalist Linda Hopper’s tones prove just as swiftly enticing as crisp rhythms match the tempting of the guitar’s punk jangle; Ruthie Morris’ bait effortlessly verging on the addictive. Keys and the latter’s backing tones only added to the eager temptation with the darker grumble of Shannon Mulvaney’s bass and the senses clipping swings of drummer David McNair a matching incitement.

With a slightly calmer but no less infectious bounce Change Your Hair follows and equally had little trouble getting under the skin especially with its Buzzcocks-esque hook and warm melodic smile while A Simple Plan straight after, explores an even mellower gait whilst accentuating its inherent catchiness across a fuzz borne landscape graced with the magnetism of keys. There is a great nagging quality to it with the vocals of Hopper and Morris, as in its predecessor, contagious caresses on ears.

Super Size Me bowls in throwing its creative weight around next, its punk nurtured vitality and pop woven tenacity another moment breeding addiction before Need to Change has hips swaying and pleasure boiling with a contagion something akin to B-52’s meets Weekend meets Throwing Muses. Both tracks simply had the spirit and passions bouncing and alongside the album’s opener shared favourite track moment between them.

The raunchier rock ‘n’ roll of What Can I Do gave further food for thought on that choice, echoing the strength and undiluted temptation on offer across The Circle Is Round. As with most tracks, the coarser growl and punk irritability of rhythms and chords align perfectly, almost seductively with the melodic adventure of voice and Bruce King’s keys not forgetting the weave of melodic temptation also escaping Morris’ guitar enterprise.

Through the enchanting balladry of Rain Rain, a song with another animated gait as manipulative as the song’s emotive croon is bewitching, and the similarly buoyant and reassuring Disabled, band and album piled on more temptation to be captivated by with Rip the Wreck capping indeed eclipsing their vibrant success with its own frisky escapade cast with feral riffs and aggressively agile rhythms. The track is a riveting slice of uproarious rock ‘n’ roll but again an incitement skilfully and imaginatively tempered by the melodic and harmonic instincts within Magnapop.

The Circle Is Round is completed by a pair of previously unheard demos recorded in 1992; Leo and Pretty Awful two glorious untamed punk fuelled treats of Magnapop in its heyday. As the new album proves though, that zenith is still lingering in the creativity of the band, its songs and character deviously addictive and deliciously individual.

 The Circle Is Round is out now digitally, on CD, and on vinyl via HHBTM Records with a white vinyl deluxe addition also available@ https://www.hhbtm.com/product/magnapop-the-circle-is-round/

http://www.magnapop.com   https://www.facebook.com/magnapopband/

Pete RingMaster 15/10/2019

Copyright RingMaster: MyFreeCopyright

Matt Finucane – The Seizure EP

This November sees UK singer songwriter Matt Finucane release another moment of wholly individual temptation in the shape of The Seizure EP. Offering four tracks which spark on the senses as they provoke thought and emotions, the Brighton-based troubadour of disharmony again proves himself one of the most unique and honest artists around.

The Seizure EP follows his album Vanishing Island which earned deserved acclaim earlier this year. It was a collection of tracks even in their array of individual sound and discord which throughout embraced a pop rock bred contagion. The new encounter is of the same intent and in many ways is an even more rounded set of songs but each of the foursome stands boldly unique to each other and all ignited the imagination as they got under the skin in emotional and physical dissonance.

Evil Realm is first up, announcing itself with an immediate clang of guitar, a persistent clash of enticement honed into suggestive strumming as dark but just as inviting rhythms stroll. Finucane’s inimitable tones quickly join the infectious pop ‘n’ roll swung, punk infested clamour, his Mark E. Smith-esque delivery as potent as the words and incitement escaping his thoughts and throat. The track is superb, its inherent contagion of hooks amidst a post punk nurtured droning swiftly irresistible and the almost kaleidoscopic nature of its sound compelling with the almost freakish moments of relative calm carrying a Bill Nelson like suggestiveness simply icing on the skilfully instinctive pandemonium.

The following Honest Song is just as magnetic, it too coming in on an ear enticing lure of guitar. The bass of Stephen Parker again proves a dark invitation to get hooked up on; it’s tempting as brooding as it is catchy against the rhythmic swing of drummer Barney Guy. Again there is a post punk breath to the contagion loaded track, the perfect embrace and provocation to the equally invasive and insightful words of Finucane and side by side with its predecessor is our favourite time with the artist yet.

The disquiet croon of Raw Material is next up, the song a call of melodic enticement and vocal implication swaying in the swarthy embrace of cosmopolitan hues yet unsurprisingly there is a clamorous lining to it all and a volatility which leads to a doorway of psyche rock entanglement. It is typical Matt Finucane in its canvas and imagination but unique in his landscape of fascination and enterprise.

The Seizure concludes with the shadow wrapped acoustic balladry of Slaughter Ink. Featuring the 12-string guitar of Mik Hanscomb, the song is as haunting as it is bewitching, the tones of Finucane matching the enthralling draw of the often sepia hued sounds with his thought entangling lyrics.

In our experience every outing with Matt Finucane has proven an absorbing and rousing adventure in some rich level of degree but The Seizure might just be his finest proposition yet; in fact no question, it is.

The Seizure EP is released November 8th through Light Crude Records.

 

https://mattfinucane.net/   https://www.facebook.com/Matt.x.Finucane/

Pete RingMaster 09/10/2019

Copyright RingMaster: MyFreeCopyright

Jack & Sally – Who We Become

Formed in the winter of 2018, British alt rockers, Jack & Sally, are poised to badger eager attention with their debut EP, Who We Become. With a sound embracing the snarl of punk and contagion of pop to its rousing rock roar, the London based trio have already teased ears with a pair of well-received singles and it is easy to suspect they will find escalating praise with the unveiling of their next offering.

Who We Become is a concept record based around a character named Macy, an undefined figure who could be “anyone in this world” who becomes a major protagonist in “Nevernia”; a land that reflects the worst aspects of modern society.  The release opens up with Superstar, a song instantly drawing ears with its singular but potent guitar melody. Vocalist Ben Felix enriches that initial coaxing with his brooding bassline before adding his equally alluring vocals to the mix. Subsequently the gentle beginning ignites; guitarist Joshua Jacobs’s riffs and hooks casting an enticing fiery web within which the punchy beats of Pravir Ramasundaram pounce. By now metal and classic rock threads are colluding with punk and pop rock dynamics, the track merging the familiar with the adventurous and unpredictable.

It is a strong and stirring start soon eclipsed by Nevernia, a track baring its pop punk instincts and heart from its first spirited breath. Swinging rhythms and riffs burst from the speakers, the earthier tones of Felix as animated as the sounds providing the galvanic incitement around them. Again imagination and great twists add to the character and temptation of the song, moments of almost new wave like enterprise only adding to its stature and persuasion before Tomorrow’s Revolution steps forth with a more classic metal lined proposal but still with a pop infused punk ‘n’ roll breath to its rock holler.

Both tracks revel in the multi-flavoured breeding of the band’s sound, the fresh and familiar once more making a highly appealing proposition and riven by a strong vein of imagination as proven again by Long Way Home. The band’s new single, it is a more even paced encounter lit by keys and a melodic sway in music and voice, emotive flames lighting its invigorated balladry.

The EP closes with Macy, a song also coloured by emotion seeded keys, a piano bringing it into intriguing view before the song breaks into another lively slice of pop rock drama. There is something familiar about the track but an essence we have yet to define and one which only added to its contagious presence.

Who We Become easily gripped ears and attention from its first lungful of sound and endeavour; providing a great full introduction to a band which could be looking at rather rewarding horizons as they build on and evolve the release’s thoroughly enjoyable adventure.

The Who We Become EP is released November 8th through Engineer Records with new single, Long Way Home out October 11th.

https://www.jackandsally.co.uk/   https://www.facebook.com/jackandsallyuk   https://twitter.com/jackandsallyuk

Pete RingMaster 08/10/2019

Copyright RingMaster: MyFreeCopyright

Union Jack – Violence

Two years and a handful of months on from igniting the senses and passions with their previous album, Supersonic, French punks Union Jack have unleashed a just as voracious and compelling assault in the shape of Violence. With ten tracks which sonically live up to its title, the band’s new full-length ravages as it snarls, bounces as it unleashes ravening contagion. After the release of its predecessor we suggested that the Paris hailing trio could infringe on the world beyond their homeland, the UK and parts of Europe; with its successor we expect it.

In many ways Violence is a somewhat harsher and fractious trespass than that offered by Supersonic but still ripe with the instinctive catchiness and contagious character which marked out that previous outing. From vocals to sound, textures to aggression, it is an openly feral affair but one swiftly proving addictively contagious to ears and an ever hungry punk appetite.

Since emerging in 1997, Union Jacks’ fusion of punk, ska, hardcore and raw rock ‘n’ roll has bred its own individuality, one which has grown and evolved as a host of other flavours has been embraced and Violence only stretches that adventure. With its untamed air and trespass, the album in some ways looks back on the band’s early releases but with its noise fuelled twists, lyrical world attacking irritability, and rapacious almost cacophonous breath it is a whole fresh incitement for Union Jack and punk itself.

The album opens up with So Cold, the beat bouncing invitation of drummer Antoine Sirven Gabiache leading the way before the guitar of Tom Marchal and bass of Rude Ben spin their equally ear summoning threads of sound around the song’s initial lure. Quickly it is a volatile stroll of sound and infection, mouth-watering discord uniting with punk belligerence in music and voice, the mesh of vocal voracity from all three band members as tenacious as it is mischievously dissonant. With an At The Drive In-esque sonic tension and unpredictability, the track makes for a striking start to Violence with devilish keys adding to the temptation.

Venom ensures it continues as its swinging gait and savagery is immediately infectious, guitar and bass driving a boisterously truculent and catchy attack with the latter laying down a wicked groove as again vocals collude in a magnetic squall. Three minutes of noisy punk manipulation leads to two minutes of noise twisting ferity as Dance In The Fire springs its own cauldron of vocal and sonic dispute around manipulative hooks and grooves which invade and incite body and instinctive pleasure. The track is pure rock ‘n’ roll at its most wild yet deviously sculpted.

Poison Me instantly infests ears with a dancing melody if one with a certain acerbic edge which is inflamed across the instantly following hooks and an enterprise exposed by craft and imagination. Nimble keys flirt and tease from within the web of contagion unleashed by guitar and bass, the song a rousing and refreshing slice of animated ingenuity proving a definite favourite though matched throughout the album as proven by the calmer but as hungrily catchy Legacy. Like Joe Jackson meets Stiff Little Fingers, the song is pure temptation, if far too short at barely a minute length, and only more irresistible through the addition of Philippe Cattafesta’s piano organ.

Through the primal raging of Vasectomy, the song a fury of contagiousness and Frustration with its fertile noise bred roar, Violence only tightened its grip on attention and appetite; the lively hooks and spirited antics of both an inevitable and inescapable persuasion and each challenging that favourite moment choice, while Sugar is a collision of old school punk and rabid hardcore which ears and body had no defence to.

The final pair of Thieves & Liars and Nocturne take the album out as impressively as it came in, the first a multi-flavoured lure of punk and rock. It’s less intensive and ferocious presence compared to predecessors unveils a landscape of melodic and sonic dexterity but with an inherent cynicism and severity of word and emotion which makes you take stock while the final track is another inferno of the bands highly flavoursome and inventive sound with hooks and melodies that take hold of the senses like the strings of a puppeteer.

There is a definite uncompromising breath to the Union Jack sound which aligns a challenge with the temptation sprung but one which punk and noise fans will only relish along with the devilish enterprise which effortlessly escapes the band.

Violence is out now; available @ https://unionjack.bandcamp.com/album/violence

https://www.facebook.com/badska/   http://unionjack.free.fr

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Exploding Head Syndrome – Aristocratical Tendencies

If the recent release of the new Cockroach Clan album was not enough proof there is now the new EP from Exploding Head Syndrome to prove that the Norwegian punk scene is in fine fettle. Aristocratical Tendencies unleashes five slices of punk/hardcore incitement which raucously roar with voracious contagiousness.

Aristocratical Tendencies follows the Oslo based band’s acclaimed 2016 album World Crashes Down and comes just after the quintet have returned from a mini-tour covering Norway, Sweden, Austria, Slovenia, Czech Republic and Hungary and included playing Europe’s Number One punk festival Punk Rock Holiday in Slovenia, sharing stage with NOFX, Pennywise, Frank Turner, Propagandhi, Descendents, Anti-Lam Front and many more. With their live reputation already highly praised and established through their own headlining shows and gigs alongside bands such as Satyricon, Sham69, Honningbarna, The Good Bad and The Zugly and Blood Command, Exploding Head Syndrome only reinforce and push on a similar stature gained through their records with their latest offering.

Shades is first up on the EP, a stroke of guitar igniting a hungry lurch of rhythms and vocal incitement before it all comes together in a virulently voracious trespass of sound. Vocalist Eirik Ekholdt bellows from within the punk eruption, the guitars of Morten Rørvig and Jonas Andreassen casting ferocious yet greedily infectious encouragement around him as all the while rhythms bite and trespass. It is a glorious assault, ripe hooks sprung with keen devilment and sonic threads spun with imposing drama but a song unafraid to go for the jugular.

The following Hardcore Jesus makes a more considered approach, melodic wiring enticing attention as around them a brewing tempest of sound grows. In quick time, the track breaks into a rapacious stroll, the swinging beats of drummer Lars Kirkerud steering its feisty gait as Håvard Jacobsen’s bassline broods. Again it is a feral invitation impossible to ignore and soon resist with its contagion loaded chorus, a hardcore meets hard rock landscape doing nothing to diminish its insistently catchy punk instincts.

I Got Feelings provides two minutes of equally rousing punk confrontation where open irritability colludes with anthemic prowess in a climate of discontent, the result another infectious incursion upon welcoming senses before You Have Your Dreams (I Have My Nightmares) sinks its similarly belligerent and fractious claws into ears and appetite. Once more there is bassline to devour and a creative squall of guitar to swing with, vocals and rhythms only adding to the manipulation as it all heads towards a robust holler.

The EP is closed up by All Change Is Bad, the track springing from the sonic departure of its predecessor with heftily swung beats and an entanglement of wiry guitar enterprise. That alone proves enough to infest body and attitude but with the raw incitement of vocals and the swinging groove of the bass, things only become more insatiable and gripping.

It is a great end to a superb release from a band we only find ourselves becoming more addicted to by the listen.

Aristocratical Tendencies is out now via Big Day Records; available @ https://ehspunx.bandcamp.com/

Upcoming Live Dates:

18.10.19 Oslo Bloodbath X, Oslo

09.11.19 Checkpoint Charlie, Stavanger w/Kåte Klør

15.11.19 Verkstedet Bar, Oslo w/The Nika Riots

http://www.explodingheadsyndrome.net/   https://www.facebook.com/explodingheadsyndrome

https://www.instagram.com/exploding_head_syndrome/

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Tezura – Voices

Formed less than a year ago, Tezura is a German band which recently made a rather potent introduction to themselves with the release of their debut EP. Their demo holds four tracks of thrash bred multi-flavoured metal, songs rich in potential and strong in ear grabbing enjoyment.

Hailing from Schongau, Tezura emerged in the winter of 2018 and soon set about working on their first release. Their sound draws on its thrash instincts throughout the quartet of tracks making up Voices but is just as open in its punk and metalcore, amongst other flavours, inspirations.

Behind The Glow sets things off, a lure of guitar central to its potent invitation before the song sets off on its thrash nurtured canter. The guitars of Phil Elste and Timo Kammerer only continue to entice as the latter’s gruff tones enter the creative affray. It is an attack though with melodic dexterity strapped to its rhythmic punch, riffs and grooves casting a subtle yet bold web to the aggressive but controlled nature of drummer Lukas Mayr’s strikes and the heavy dark bassline of Max Wopinsk. There is an imagination and craft to band and song though which ultimately holds attention keenest and caps the satisfaction naturally bred by the EP’s great start.

Its title track is next, riffs immediately gnawing on the senses as the track urgently bursts through ears with punk rapacity. Anthrax spiced fuel equips its driving thrash surge, the guitars again bringing melodic and sonic enterprise to bear on familiar hues with relish as rhythms trespass the senses. Progressive essences add to the song’s infectious character and persuasion before Apotheosis uncages its rawer but no less tempting punk infused metal holler. Untamed and irritable, the song challenges as it baits but equally only gets under the skin with that aggression as well as the harmonic endeavour of vocals and the melodic twine spun by the guitars.

Completed by the predatory exploits of Sun, the track sharing another aspect to the band’s sound with more progressive metal/metalcore essences at large within its creative drama, Voices easily lured eager anticipation for the next outing with Tezura. It is early days but the signs are already there that the band has the instincts and craft to make a real mark.

Voices is available now as a name your price download @ https://tezura.bandcamp.com/releases

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

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright