Nine Dart Finish – The Misadventures of…

Nine Dart Finish is a British outfit drawing on the wide influences of the likes of Weezer, Supergrass, Queen, and Ian Dury for their pop fuelled rock ‘n’ roll; The Misadventures of… is their debut album which unapologetically has the body bouncing as fun floods every pour of its magnetic enterprise. The trio from Birmingham has already lured potent attention from fans and media alike with a handful of singles especially potent; appetites for their boisterous sound which their first album can only multiply.

Consisting of former Coffeeshop member in lead vocalist/bassist Daz Yardley, guitarist/vocalist Christopher Mobbs, and drummer Andy Proudman, Nine Dart Finish first drew ears with debut EP Fall To Pieces late 2015. Since then their hook loaded pop ‘n’ rock has grown and become more creatively mischievous by the song. The Misadventures of… brings all the enticing dynamics and lusty grooves of the band’s sound as well as those devilish hooks the threesome seems to instinctively conjure together in one rousing enjoyable place.

Bringing the lively antics of recent singles, highlights of that first EP and new tracks together in one captivating union, The Misadventures of… roars into view with the outstanding The Cut of Your Jib. The track is wild rock ‘n’ roll, almost feral in its energy as riffs and rhythms harry ears just as eager vocals blaze. As the album continues it is easy to see why certain tracks were chosen and potent as singles and teases for the full-length but for personal tastes it is tracks like the raucous rock bred opener which trapped the keenest attention and passions. With a touch of Queens of the Stone Age to its contagious tempest, the track is a garage rock lined clamour getting the album off to a magnificent start.

The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.

Recent single Kicking & Screaming is next, a song which blossomed by the listen as its organic rumble aligns to melodic enticement. The former gives the otherwise gentle seduction a volatility which imposes without truly erupting, a combination gripping ears within a grunge pop like proposal while Charlie Bonkers offers up a melody woven slice of Brit Pop nurtured enterprise. It is fair to say that the song did not impact as potently as those around it on our tastes yet as honest to admit it had the hips swinging and vocal chords playing without any trouble.

You Don’t Bother Me similarly did not quite grab as strongly as many of its companions with its sixties hued pop but again involvement in its enticement was unavoidable as with the blues kissed rock of Falling for You. Both tracks epitomises the band’s knack at weaving varied and seriously catchy adventures though each is swiftly overshadowed by the album’s finest moment consisting of its final three songs.

From its initial melodic caresses Fabio’s Overture blossoms into a truly mesmeric slice of pop rock, emotive strands in voice and sound entangling another lure of virulent catchiness as inescapable whether the song is ablaze or simply smouldering. Its thick enticement leads into the rousing devilry of You’re so Cool. As again pop floods its bold rock ‘n’ roll, the track nags and taunts attention with relish. With something of UK duo The Sea about it, the track is superb rivalling the opener for best song honours though they are equally matched by the tenacious stomp of album closer London. There is a certain mod like hue to the song which only adds to its outstanding character and roar.

Though as mentioned there are some tracks which undoubtedly eclipsed others for us, The Misadventures of… is one thoroughly enjoyable involvement from start to finish. Nine Dart Finish have a sound with open growth in every new song so expect many more lustily fun times ahead as well as right now with their new offering.

The Misadventures of… is out now through iTunes and other stores.

http://ninedartfinish.co.uk/   https://www.facebook.com/NDFmusic/   https://twitter.com/ndfmusic

Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

The Lightness Of Being – Diversions

Called Diversions, the new EP from UK rockers The Lightness Of Being is just that, a diversion from the bland and predictable in sound and life and one ear thoroughly compelling distraction it is too. Formed in 2010, the London hailing outfit has already uncaged a pair of attention stoking EPs to date but are surely poised to flare up on far bigger and broader radars with their new offering.

Inspirations are said to come from the likes of Queens Of The Stone Age, Mastodon, and Deftones but the three tracks within Diversions show they are influences immersed in the quartet’s own and still growing character of sound. Each song is individual to another and all cruising along the fine line between seduction and predation with relish and imagination.

The EP opens with Bottomfeeder and immediately nags ears with a line of controlled but lustful riffs punctured by just as eager beats. The vocals of guitarist/keyboardist Gabriel Lim rise up within the quickly delicious bait bringing with him menace and intimation which subsequently inspires a ferocious squall; it’s settling back down the spark to repeat the delicious cycle. Fresh drama blossoms by the minute though, new instinctive strains of rapacious enterprise as dark and threatening as it is captivating. There is also a touch of early Therapy? to the song which only adds to its striking presence and persuasion.

Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.

Closing song Refute took our favourite title, its blend of voracious punk ‘n’ roll and dark rock with grungier/alternative rock devilment quickly getting under the skin to incite and manipulate rock ‘n’ roll instincts. A host of flavours make up its swinging escapade, each a fiercely flavoursome spice aligning it’s almost garage punk instincts; just a shame it only lasts two minutes plus but a brief time which had us bouncing and growling.

There is plenty seemingly familiar about the sound of The Lightness Of Being but nothing less than fresh and individual to the band all the same. It is a great mix which makes Diversions a rich listen and the band ones to keep under close scrutiny.

Diversions is released 1st June.

http://thelightnessofbeing.co.uk/   https://www.facebook.com/TheLightnessOfBeing   https://twitter.com/TLOBmusic

Pete RingMaster 29/05/2018

Copyright RingMaster: MyFreeCopyright

Dark Stares – Darker Days Are Here To Stay

With a clutch of praise wearing EP’s already under their belt UK outfit Dark Stares have now raised the ante with their debut album. Continuing the open evolution of their sound across those previous encounters, Darker Days Are Here To Stay is a release which maybe smoulders more than roars but like the band’s previous releases, just captivates but with an even greater depth of adventure and seduction.

The St Albans band’s individual alternative rock tempts like a fusion of Muse and Queens Of The Stone Age but equally has drawn references to the likes of Wolfmother, Royal Blood, Led Zeppelin, and The Beatles. Formed in 2011, the quartet released their first EP, Tell Your Friends, the following year. Its well-received introduction to the band has been built upon in sound and success across the likes of Octopon and Soul Contract as well as a host an eagerly supported singles. Self-produced, Darker Days Are Here To Stay continues the band’s DIY intent with a raw magnetism and organic radiance which just commands attention.

The album opens up with Liquid Reign and a sonic limbo from which a swagger gaited groove, firm beats, and the tantalising voice of Miles Kristian Howell emerge. The track settles into an infectious swing entwined in heated sonic vines as that initial groove continues to wind around ears and appetite. Crystaline in its melody, crisp in its rhythms, the song is a warm yet invasive seduction as catchy as it is hauntingly provocative.

The following Sweet Rider 5 is also the band’s new single, a track similarly woven to the first but with a fiery lining to its golden glaze and a whiff of latter day Depeche Mode to its air. The guitar of Harry Collins casts another alluring web of sound and heat; tendrils of enterprise which tease rather than entangle the imagination but have it alive all the same as the dark tone of Brett Harland Howell’s bass and the urge of Taylor Howell’s beats tempt the body.  So absorbing it feels much shorter than it really is, the track still ends too quickly but Pedal Pusher soon has all focus on its fuzzy, enticing saunter. An electronic grumble adds inventive shadow to the mesmeric charms of guitar and harmonies and equally a raw edge courting intrigue and dark melancholy to contrast the radiance on offer.

Darker Days is next, its electronic scuzz even deeper and dirtier than in its predecessor to accentuate the candescent sounds wrapping broad and intimate shadows. Richly captivating with its own individually bold sway, the song wears the scent of post punk and neo-psychedelia in its creative sigh; a The Jesus and Mary Chain meets The House of Love kind of wash adding to its rich pull before Animal floats in on a sonic breeze. Its climate is soon a sweltering embrace easily luring ears and imagination to its exotic heart and bluesy drama. It is a track which epitomises the album, making a strong and potent first impression but only glowing brighter with every listen.

Across the likes of the more volatile rock ‘n’ roll of Ordinary Way with its scuzzy touch and unpredictable air and the irresistible Hips Don’t Shake the album just drew us deeper into its grasp. The first of the two did not connect as thickly as other tracks but its successor more than compensated with its addictive twists and infectious almost mischievous character. There is a constant Josh Homme like hue to songs if mostly a mere dash of colour but makes for a compelling ingredient in the album’s best moment.

Cruise Control equally dips into that spicing for its raw harmonic roar, Muse-esque spatial hues fusing with the song’s sonic fuzziness while So Good serenades from within its cavernous heart. The second is a tapestry of imagination, every move unexpected yet instantly embraceable as the lucent croon of the song envelops ears and a by now greedy appetite.

The pair of Their Game and Feels (So Sad) bring the album to a beguiling close with their respective indie rock and hypnotic glow of melancholic yet lustrous beauty. They complete a release which just captivates but with moments that had us drooling. Even so we still have the feeling that Dark Stares has not come close to finding the boundaries of their sound and that makes the anticipation for their next release as strong as the enjoyment found with Darker Days Are Here To Stay.

Darker Days Are Here To Stay is out now through iTunes and other stores.

https://www.darkstares.com/   https://www.facebook.com/DarkStares/   https://twitter.com/dark_stares

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright

Hercules Morse – Vita Boundary

After richly enjoying their previous EPs, it was easy to discover real intrigue and anticipation for the debut album from Hercules Morse. There were also hopes that it would strongly build on the potential and enterprise of those earlier encounters with the UK outfit and we can say that Vita Boundary more than delivers, the ten-track offering a feast of magnetic and infectious melodic rock with plenty of eager snarls and sonic blazes to feast upon.

The Southampton hailing quartet emerged in 2014 and released their first EP, Edge Of Life, the following year. It was met with praise and attention as well as potent radio play; success just as easily and more keenly tempted by successor Equine Size Comparison in 2016. Their live presence has been just as potent too, Hercules Morse sharing stages with the likes of Calvin Harris, Primal Scream, Duran Duran, and The Streets alongside supporting bands such as Turbowolf, Band of Skulls, Black Peaks, Blaze Bayley, Tiger Cub, Orange Goblin, and Dinosaur Pile Up. Their reputation has grown step by step and now looks poised to be escalated by Vita Boundary.

Musically they sit somewhere between the likes of Foo Fighters, Queens Of The Stone Age, and Biffy Clyro; their sound a fusion of hard and stoner rock infused with more psych and simply melody spun imagination. Quickly as opener Everything Is Great grabs ears, the album reveals it is a sound which has grown and matured from those previous encounters whilst embracing an even broader array of flavourings. Harmonies wrap classic rock bred grooves from the off, the lead vocals of rhythm guitarist Steve George captivating within the alluring flame of sound. Guillaume Redonnet-Brown’s beats and clips tease throughout too as the guitar of Harry Gardner spins a web of familiar yet fresh enterprise. It is a swiftly magnetic affair an echo of the album in that it is not strikingly unique yet everything on offer is enticingly individual to the band.

The following War Within similarly warms the appetite with recognisable and unique adventure. The dark hues of Paul Shott’s bass cast a great shadowed but infectious lure at the heart of the song and its catchy swing; egging on its virulent instincts and in turn those within the voice of George just as potently backed by those of Gardner.

Cuckoo leaps in next with its own addictive contagion, the beats of Redonnet-Brown bounding through ears with a persuasive swagger as the guitars weave another ridiculously tempting tapestry of hooks and melodic dexterity before Talk Me Down brings an earthier proposition to contemplate but one with big rousing rhythms and melodic adventure. Within a couple of listens, if that, each seduced eager participation in the lively strolls; a trait and persuasion which fuelled the enjoyment of the whole album.

There is a slight whiff of Voyager to the following Clockwork and its melodic glide across an enjoyably bumpy rhythmic landscape while Resigned reveals a more sombre lining and composed gait to its just as captivating stroll. Though neither quite matched the heights of those before them each song left ears hungry for more, Can’t See The Sunrise providing as it steps up straight after to steal best track honours. From its initial senses entwining groove and the rapier swings of Redonnet-Brown, the track had us drooling, vocals and the grumble of bass just escalating the track’s virulence and rapacious attack. That opening hook continues to pierce and sear the song, never allowing a moment for lust to relax as the song romps all over the imagination and spirit.

It is a success pretty much matched by the infection spewing Still Singing. As potent as it is from the first note, Vita Boundary saves its greatest moments for its latter stages though of course it is down to personal tastes as to its most fertile times. For us this and its predecessor is Hercules Morse at their most inventive and fiery best but equally most bold with melodies revealing a heat and rhythms a bite which simply inflames the rest of the band’s qualities.

The calmer proposal of The Story Goes similarly ignited the passions, its blend of light and dark as invasive as it is seductive and inescapably magnetic while closing track, Go For Broke, provides a fusion of tenacious rhythms, ear caressing harmonies, and spicy melodies which just get under the skin, especially the agile temptations of Shott and Redonnet-Brown. George and Gardner are just as compelling in voice and sonic invention though as the track brings the album to a rousing conclusion.

Vita Boundary is a masterful mix of the familiar and the boldly new; a rousing incitement built in layers of magnetic enterprise from a band which just gets bigger and more enjoyable, in this case, song by song.

Vita Boundary is out now on CD and digitally @ https://herculesmorseuk.bandcamp.com/album/vita-boundary

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

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

Louis Antoniou – Rag Doll

Having been introduced to British rocker  Louis Antoniou through two-track single Lonesomeville / I Let The Rain Fall Hard this past March, it was rather easy to find a keen appetite for his flavoursome rock ‘n’ roll especially now after the release of its successor, Rag Doll. As tempting and enjoyable as those two songs are, the new track just blows them out of the water.

With his equally well-received single of February, You Ain’t The Girl, the trio of tracks this year to date revealed a great broad and imaginative canvas to Antoniou’s sound which Rag Doll stretches just a little more. The track has a tasty line in dark blues rock in its virulently infectious swing, a teasing almost sinister texture infesting the delicious groove and rapaciously tenacious character of the song.

Antoniou again shows his vocals to be a just as potent lure as his music and instinctive devilry on the guitar. This added to a rascality of unpredictability and a Queens Of The Stone Age-esque spicing made the song an irresistible lure, a devious one too as the track just seems to get bolder and more virulent by the listen.

Rag Doll is another in a planned five singles from Watford hailing Antoniou this year but after this latest offering is it being too greedy to hanker after a full album?

Rag Doll is out now.

https://www.louisantoniou.com/    https://www.facebook.com/Louisantonioumusic/

Pete RingMaster 03/05/2018

Copyright RingMaster: MyFreeCopyright

Elephant Memoirs – No Pressure No Rush EP

Formed in 2013, British outfit Elephant Memoirs have honed an ear grabbing sound which has grown release by release. New EP, No Pressure No Rush continues that successful trend, offering up six of the band’s most potent and imaginative songs yet.

Hailing from Gateshead, the trio of vocalist/guitarist John Aspinall, bassist Carl Aspinall, and drummer Barry Drew create a thoughtful style of alternative rock which has seen them already compared to the likes of Manic Street Preachers, Biffy Clyro, Placebo, and Queens Of the Stone Age. As No Pressure No Rush suggests, it has not found its unique character yet but there is no denying that each song provides individual and imaginative adventure.

Recorded with Kyle Martin at The Garage Studios in South Shields, No Pressure No Rush opens with Homework. A vocal hush ignites an attention luring pulse of guitar which in turn sparks a composed stroll of swinging rhythms and alluring sonic causticity. The potent vocals of John nestle within the raw flames, the track continuing to almost lumber along. It is an intrigue provoking proposition which certainly had us firmly attentive and animated if not quite as excited as later in the release.

Pink is a vocal repetition of the EP’s title within a sonic trespass. Brief yet suggestive, it leads the imagination into the awaiting pop rock of A Little Metaphor. John is again a strong clean lure against the scuzzy exploits of his guitar, Carl and Barry creating thick rhythmic bait stirring song and appetite alike. As it swings along, it is easy to hear why those earlier mentioned comparisons arise; all adding to the infectious song’s strong appeal. There is muscle and depth to its catchy body though which easily engages the imagination, a richness of textures just as bold within its captivating successor Ether. With drama in every twist and enterprise in every turn, the song grabs best track honours, the fire in its body alone seriously compelling.

The release concludes with firstly Orange, a lead of sonic pulsation and melodic intimation luring ears into the infectious rock ‘n’ roll saunter of Complete Resonsibility. Though it lacks the spark of the preceding pair, the EP closer easily hooks keen attention with its tenacious and arousing character, sparking a bounce in the body to match its own.

It is a fine skilfully accomplished end to a release which is potential stocked and craft laden. Elephant Memoirs is still growing and brewing their sound whilst continuing to create highly pleasurable proposals such as No Pressure No Rush. It is a journey we for one are thoroughly enjoying.

The No Pressure No Rush EP is available now @ https://elephantmemoirs.bandcamp.com/album/no-pressure-no-rush

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

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright

SickJoy – Amateurs EP

Whether you wish to call the sound of UK outfit SickJoy post-grunge, alternative rock or whatever, it is one healthily captivating form of rock ‘n’ roll which going by the band’s debut EP is destined for eager attention. The four-track rich Amateurs EP is a tenacious and eagerly infectious proposition weaving essences of bands such as Nirvana, Soundgarden, Feeder and The Pixies into one individual if not quite unique offering; all the time suggesting a band with potent horizons ahead.

Formed 2016 in Newcastle, the band relocated to Brighton and quickly made their presence felt on the local and surrounding music scene including playing a sell-out debut show in their new home town. The Amateurs EP is a potent introduction and nudge on national attention and needs little time to arouse personal interest with opener Senses. A scratch of guitar springs a lo-fi melody and swiftly after a full surge of riffs and rhythms. The growl of Danny Pitson’s bass instantly accentuates the song’s instinctive lure upon its touch, guitarist Mykl Barton’s lead vocals as inviting as they roar upon and prowl the now composed canter of the song with zeal and energetic relish. There is something familiar to the track yet is as fresh as a bracing wind with its crystalline harmonics, lusty tenacity, and flirtatious snarl.

Lead single Smiling Shame follows with its own outbreak of stirring riffs and enterprise. The crisp beats of Drew Michael persistently tap on the senses as the guitar weaves a web of melodic temptation, aligning its grooved suggestion to the dirtier antics of the bass. With surges of almost carnivorous intent and volatile roars, the song ignites its calmer body with rich imagination and though it never quite matches up to the excellence of its predecessor has ears and appetite well satisfied.

The poppier rock of Karma & Ketamine has hips swaying and feet tapping within its first breath; both continuing to get involved as the song keenly smoulders and simmers, bursting into fiery intent from time to time. There is volatility in its depths and heart, vocals echoing that undercurrent and boisterously embracing it at times. Michael’s rhythmic bait is compelling throughout, as every ingredient within the increasingly compelling encounter, but really stirs the spirit as they bring the track to a magnetically riveting conclusion.

They also bring the final track into view in fine style, a metronomic coaxing soon joined by Barton’s magnetic vocals and scuzz lined guitar tempting. With a Queens Of The Stone Age hue to its twists and turns, Stumbler skilfully lurches at and baits the listener into involved submission in no time. It too wears a recognisable if yet to be defined scent to its ballsy rock ‘n’ roll yet creates its own character as it brings one richly enjoyable potential loaded debut to a fine close.

The press release for Amateurs declares it “a joyous four-track ride” and SickJoy as marking “themselves as ones to watch.” We can only wholeheartedly agree to both.

The Amateurs EP is out now via SaySomething Records.

https://www.sickjoy.com/   https://www.facebook.com/sickjoyband    https://www.twitter.com/sickjoyband

Pete RingMaster 28/03/2018

Copyright RingMaster: MyFreeCopyright