A Parade of Goodness

The past month going into the next has seen our friends at SaN PR send over a host of artists with new singles to tempt and rouse the senses. o we thought we would club the best together and give you the heads up on their striking propositions.

First up and coinciding with their next tour of the US, is British punksters Ghouls who have just uncaged their new single Be. An irrepressible slice of the raucously infectious and boisterous punk rock the Londoners are becoming keenly renowned for, the track just bounds through ears taking the spirit with it on a rousing stomp. Yet equally its heart and words reveal shadows and emotions to hook and captivate thoughts and imagination.

Formed in 2013, the quintet has earned a potent reputation and an increasingly growing and dedicated fan base through their songs and a praise wrapping live presence which has seen the band play numerous UK and international festivals and share stages with bands such as Less Than Jake, Slaves, The Skints, The Ataris, Sonic Boom Six, Random Hand, OPM, and ROAM. It is hard not to hear why the increasing attention on the band when hearing Be and also a handful of months back its predecessor, the similarly bold and compelling Internet Famous.

Be is an immediate blast of catchy sound driven by swinging rhythms and rapacious guitars. Just as swiftly though it is a bloom of imagination and unpredictability, calms and crescendos plus brass flames adding fun and adventure to its dynamic punk funk antics and though seemingly over before its time, the track is as arousing and manipulative as anything heard this year; simply a real gem of a song.

Next up is Dead Ground, an alternative rock trio from Exeter consisting of Ollie Harris, Edward Tucker, Jake Friese-Greene who has just released their new single, We All Feel The Same, another song rather hard to ignore.

Emerging in 2015, the British trio has earned plaudits through shows with the likes of Idles and Black Foxxes and are sure to again through their latest offering. It is a song which echoes inspirations which include Muse, Black Peaks, and Radiohead though it is the former which most comes to mind across the magnetic track. Even so, from its first breath and the strong lure of voice and guitar, We All Feel The Same shows the band’s music has its own unmistakable identity. The track is a calm yet eventful piece of melodic rock which never seems over busy or creates a tide of sound but is as rich in enterprise and aural intimation as a full on tempest.

With smart twists and little turns within its magnetic body, the track is another seriously enticing offering from Dead Ground and a potent invitation to newcomers.

The wait is over, British punks Eight Days have returned from their eighteen month hiatus and roared back with a major holler of a track.

Stray barracks and harries the senses like it is making up for lost time yet has an imagination in its creation which revels in the time taken to breed its angst bursting outcry. Equally is has a fresh breath to it which echoes the potency and character of the band’s very well-received 2016 EP More To Life but reveals a whole new thrust of energy, invention, and potential, maybe no surprise as Eight Days returns with new members offering new ideas and essences in creativity.

A fusion of punk, hardcore and alternative rock in varying degrees, the track immediately had ears on board as its opening lure of hook loaded riffs beckoned. It proved the prelude or rather lead into a tempest of ferocity and sonic tension but an emotion loaded storm ripe with swinging grooves, tenacious rhythms and subsequently unsettled calms and post hardcore-esque intimation.

The track is a fine return by the band and hopefully a hint of big things to come.

With their debut album of this year, Face Value, still luring new fans and plaudits, UK hardcore outfit Of Legions are poised to unleash their new single Vision Of Misery. A brand new track, it is a beast of a trespass, a cauldron of the band’s fusion of hardcore, punk, and metal which not so much warrants attention but orders it.

From Stoke, the quartet has steadily risen up the hardcore ranks since emerging in 2015. Embracing inspirations from artists such as Black Flag, Slipknot, and Parkway Drive, Of Legions has honed their individual sound across two EPs and that recently their highly praised album and earned a potent reputation for a live presence taking in shows with Silent Screams, Liferuiner, Martyr Defiled, Continents, Brokencyde, Sikth, and Loathe among many others.

Intimating a new wind of adventure in the band’s sound, Vision Of Misery prowls the senses initially, riffs a scowling predator against a rhythmic rumbling. A melodic tendril though lights its advance calming the intensity a touch before the shackles are off and the track invades. There is still somewhat of a restraint to its attack but that only accentuates its power and animosity.

Continuing to bawl and punish with its hardcore bred, metal infested confrontation, a contagious mix despite its punishing tempest, the track is a thick indisputable declaration of a band heading the way of major attention.

Be from Ghouls is out now.

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

Dead Ground has We All Feel The Same on the loose now.

https://www.facebook.com/deadgroundmu/

Eight Days has Stray available now.

https://www.facebook.com/EightDaysUK/   https://twitter.com/eightdaysuk

Of Legions unleash Vision Of Misery November 9th.

https://www.facebook.com/OfLegions/     https://www.instagram.com/of_legions_uk/

Pete RingMaster 24/10/2018

Copyright RingMaster: MyFreeCopyright

Authority Zero – Broadcasting To The Nations

June sees the release of the sixth album from US melodic punks Authority Zero and a riot for the spirit which shows the genre’s young bucks just how it is done. After twenty plus years, you could be forgiven for expecting the band’s obvious maturity in sound and craft to come with an aged controlled fire but Broadcasting To The Nations quickly sets the records straight. There is an excitement and energy to its body and heart which you would more expect from a band just starting out as well as a freshness and urgency bred in a newcomer’s hunger to make their first mark. Add that to the long established invention and infectious prowess of the Mesa in Arizona hailing outfit and you quite simply have one of the most rousing and seriously enjoyable punk offerings of the past few years.

Once again Broadcasting To The Nations is a proposition brought alive with the distinctive Authority Zero mixing of SoCal punk with reggae and ska and as ever delivered with a host of swinging hooks and anthemic dexterity which has lured persistent acclaim the way of their music and releases. Within the new album though, it all seems to have found a new appetite and imagination; like the quartet has reaped the best elements from previous successes and honed them into their keenest most rapaciously rebellious but fun adventure yet.

It launches with First One in the Pit, a baying eager crowd luring out the band and a stomp of brooding bass and swinging rhythms aligned with senses clashing riffs and rich vocal enticement. Within seconds ears are hooked on the vigorous anthem of sound and spirit, its vocal declaration matched in tone by the contagion of aggressive punk ‘n’ roll sound.

The galvanic start is quickly reinforced by the bold holler of Reconciliation where again the beats of drummer Chris Dalley splinter bone as they land and the heavy grumble of Mike Spero’s bass grips an already awoken appetite. Their predacious edge though is skilfully tempered by the melodic roar of frontman Jason DeVore and the spicy hooks and melodies thrown into the commandingly catchy affair by guitarist Dan Aid. As exceptional as it and its predecessor are though, both are still eclipsed by the stirring charge of the Bad Religion scented Destiny and Demise. Within moments it has its spiky attitude and bold tenacity into hooked into limbs and emotion, stoking the instincts with its raucous enterprise and bullish energy. Submission and involvement is quick and lusty, the track simply punk at its best.

The album’s title track is just as mercilessly compelling, its ska infested shuffle an infestation of body and heart leading the listener into a breath stealing bounce of air punching unity. Spero’s bass uncages a groove which devours the passions, Aid offering hooks which are more puppeteer than suggestion, whilst Dalley’s beats just bite; all together the band spawning an infectiousness which borders on rabid as DeVore anthemically roars.

 

Summer Sickness allows things to calm down a touch though its reggae nurtured grooves and hip teasing bait is swiftly in control and directing reactions alongside the magnetic presence of DeVore. Highlights have flowed since the first second of Broadcasting to the Nations, this another stunning pinnacle springing  in Latin brass flames and a punchy catchiness to get lustful over.

The band dives back into their more direct punk dexterity with Bayside next, the song giving an additional contagious coating its heavy bustle. It is the kind of goodness Green Day delivered back in their prime but with the devilment and heart of Authority Zero which has never wavered and now seems hungrier than ever as supported by the Clash meets Random hand like Revolution Riot, an inescapable stonking romping incitement, and Sevens with its melodic blaze of reflection and defiance.

There is a whiff of Strummer and co to next up La Diabla too, its festival of melodic sound and creative diversity a smouldering fire with more inventive flickers and magnetic exploits than most ferocious pyres of sound and energy. The track is sheer captivation with, as no doubt now you might expect, the listener’s physical participation at its finger tips.

The brassy stroll of Creepers has claws just as vigorously in feet and imagination straight after; its lyrical and musically feisty rock ‘n’ roll something akin to Russian punks Biting Elbows and an instinctive arousal of attitude and anthemic coupling while When We Rule the World simply hits the spot with its stylishly infectious canter. Certainly, like its successor, it is missing that little imaginative extra which set ears and album ablaze earlier but leaves pleasure rich and a greed for more slavering.

One Way Track Kid mixes all its shades of rock in its cry; hard, melodic, and punk rock as boisterous as the other in its dynamic bellow before No Guts No Glory brings things to a fine close with a punk assault as old school, raw, and incendiary as it is fresh, melodic, and galvanic. With a sniff of Flogging Molly to its glory, the song is a heady conclusion to an anthemically intoxicating release.

There is no escaping that as a band Authority Zero are growing physically old but equally it is more than obvious their music whilst impressively mature is lost in the rapture of youth; all the evidence in one of the essential punk roars of recent times.

Broadcasting To The Nations is released June 2nd via Bird Attack Records across most online stores and @ https://birdattackrecords.bandcamp.com/album/broadcasting-to-the-nations

http://authorityzero.com/   https://www.facebook.com/AuthorityZero/   https://twitter.com/Authority_Zero

Pete RingMaster 01/06/2017

Copyright RingMaster: MyFreeCopyright

Faintest Idea – Increasing The Minimum Rage

FI_RingMasterReview

Though understandably often tagged as a ska punk band, Faintest Idea definitely shows themselves to be a true punk band with a penchant for ska bred hip swinging revelry loaded with oi! inspired snarls upon new album Increasing The Minimum Rage. The eleven track stomp is an irresistible roar of politically charged songs that have no qualms in getting feet and bodies feverishly bouncing whilst thoughts and emotions are inspired by its lyrical bite. Most of all though, the British band’s new offering is simply one of the most rousing slabs of contagious rock ‘n’ roll heard in many belligerent moons and deserving of everyone’s energy and time.

Formed in 2008, the Kings Lynn hailing Faintest Idea initially was a jugular ripping punk band venting their political unrest and distrust. That attitude and defiance has never lessened even as the band began weaving in inspirations taken from two-tone, ska and reggae influences. 2013 saw the release of debut album The Voice of Treason on Manchester’s TNS Records to swift acclaim, soon potently backed by the videos for tracks such as Bull In A China Shop and Youth. Live the band has equally become an essential great time for many, the “rudeboy street punks” taking their rousing presence to shows and festivals across Europe and the UK, including in 2014, a 10 date tour of Russia.

Now the band is ready to uncage a new infectious call to arms in the shape of the Hieronymous Melchers (Capdown, Citizen Fish, King Prawn and Snuff) recorded and Massimiliano Giorgini (Anti Flag, Rise Against, Alkaline Trio, Common Rider) mastered Increasing The Minimum Rage. Featuring guest contributions from Vic Ruggiero (The Slackers) and Sean Howe (Random Hand), the album quickly reveals Faintest Idea to have a grouchier fire in their creative belly and a sound at its heaviest and angriest, musically and lyrically, yet with no detriment to their instincts to swing and inflame the listener’s body. The first track, Circling The Drain opens on a theme setting sample as horns meander in the background. From there as a guitar adds its vague musing, the song grabs a breath and leaps into a captivating stroll with Jack’s choppy riffs colluding with the flirtation of mischievous melodies amidst organ shared smiles. The brass flames of trumpeter Sara, trombonist Bobble, and tenor saxophonist Lil dan add to the infection quickly grabbing ears and imagination, creating a rich platform for the snarling vocals of bassist Dani and his dark throated bassline. There is a snarl to Jack’s guitar enterprise too and a firm hand to the beats of the other Jack but as the song’s climate gets feistier and more agitated, a rampant swing stills drives it and the listener before it slipping straight into the equally irresistible Cocktails.

Faintest-Idea-Front-Cover_RingMasterReviewThe second track similarly bounds through ears with rhythms and riffs as inescapable bait and a virulent catchiness to its energy and attitude equally matched by the band’s vocals. Throughout hooks grip and again flirt with the imagination as the song’s skittish gait takes care of the body, vocals in turn challenging thoughts at the same time as brass unveils a rich seducing in something akin to Rancid meets Random Hand meets The Members. Its mellowing departure simply simmers into the sultry embrace of Down Pressure, a funk infested and ska fuelled romp as light on its feet as it is antagonistic in voice. As its predecessors, the song defies the listener not to become fully involved, dares them not to offer their hips and support; a challenge impossible to win as the song leaps around with kinetic persuasion.

The power pop/ska punk exploits of Echo Chambre steals attention next, working its addictive charm on every aspect of a willing disciple as guitar jangles and pop punk rhythms act as ringleaders to another thrilling proposal embracing smouldering brass and lively shadows furthered nurtured by Dani’s vocal attitude. Its tenacious exploits lead to the thick energy and aggression of The Well Has Run Dry which, from its first breath, is a confrontational proposition equipped with spiky hooks and a flaming melodic coaxing courtesy of guitar and some emotive lip prowess. United it stirs up air and emotions before the outstanding Stick Em Up (Lords of War) takes a stand with its punk ‘n’ roll contagion. As jazzy and funky as it is ska and old school punk spun, the track tantalises and badgers in sound and tone. Female vocals bring a B52s spice to certain parts whilst other times the song rumbles along like a mix of early Specials and The Adicts, revealing itself as another enjoyably multi-textured adventure.

Through the Clash/ Serious Drinking like chest beating of the beguiling Throw Away The Key and the ballsy rock ‘n’ roll of No Consequences, greed and thick enjoyment for the album is only confirmed before being given another big shot in the arm by the brilliant pairing of Ouroboros and Corporation. The first of the two is a web of flavours and styles as surf rock spiced guitars entangle with ska spawned riffs and intrigue loaded progressive punk grooves whilst Dani and co take potent shots at political and social injustices. The track is glorious and swiftly matched by the dramatic theatre of its successor. With vaudevillian prowess to a sinister soaked sound, the band bring the exploits of the song’s villainous title protagonist into panto-esque but certainly not trivialised view before descending upon them with oi! fuelled animosity and anthemic incitement. The track is ingenious; pure creative theatre and heading numerous memorable moments within the album.

Closing on Tightrope with its strongly brooding persuasion of sound and imagination, Increasing The Minimum Rage makes it so easy to say it is destined to be one of the year’s highlights. From start to finish it has every aspect of the listener enthralled and involved; only increasing that hold with subsequent plays whilst showing that to stand up and be counted does not have to see an absence of unbridled fun.

Increasing The Minimum Rage is released via TNS Records on 1st April @ http://tnsrecords.bandcamp.com/album/increasing-the-minimum-rage

http://www.facebook.com/faintestidea   http://www.twitter.com/faintestidea   http://faintestidea.bigcartel.com/

Pete RingMaster 31/03/2016

Copyright RingMaster: MyFreeCopyright

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Counting Coins – All That I Need

CC_RingMaster Review

It has been a hectic year so far for UK rockers Counting Coins; live shows and tours across the UK and Europe a source of great attention and praise for the band as well as recent single Don’t Look Down, and it continues with the unveiling of its successor. The second single taken from the Hull based quintet’s forthcoming album, All That I Need bobs along on ska bred riffs and devilish rhythms bound in spicy melodies that incite ears and imagination as potently as the equally effective vocal and lyrical incitement. It is one of those invitations impossible to refuse as it gives body and lust a rousing run out; simply one endearing and energetic romp of premeditated goodness.

artwork_RingMaster Review     Formed in 2009, Counting Coins has grown a seriously anthemic fusion of ska, gypsy punk, swing, and hip-hop over the years. From their first pair of EPs, Take the Ride and Reach for the Sky in 2010 and 2013 respectively, the band has shown a creative tenacity that wakes up the instinct to romp and stomp. Their live presence has only increased their reputation, the sharing of stages with bands such as Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple adding to an increasingly acclaimed reputation. A few weeks back Don’t Look Down had bodies of fans and media jumping around physically and in praise, a repeated success well within the creative grasp of All That I Need.

Opening on a lone and instantly enticing guitar, the bass soon adding its exploits, the track is quickly swinging along with a melodic smile and rhythmic temptation. The vocals of Harry Burnby just as swiftly bring another strain of infectious enterprise, his bouncy delivery matching that of strings plucked by Matty Dennison and Rob Green. In full stroll, like The Beat meets Reel Big Fish but with more variety to its hues, All That I Need swaggers with joyful tenacity as flames from trumpeter Will Chalk blaze over the throaty lure of bass and the keen swipes of drummer Sam Burnham.

It is an easy going proposal offered by the song but a virulently captivating one which has feet jumping, vocal chords exercised, and emotions flying with the outstanding encounter. The last Counting Coins single meant that interest of the band’s new album was thick and now with All That I Need doing the tempting, and with a great video in tow, anticipation is full and a touch impatient.

All That I Need is available from November 23rd across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer.

https://www.facebook.com/CountingCoins   https://twitter.com/counting_coins

Pete RingMaster 23/11/2015

Copyright RingMaster: MyFreeCopyright

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Random Hand – Hit Reset

Random Hand_RingMaster Review

Hands up, who also raised an expletive or two in disappointment when British punksters Random Hand announced earlier this year they were going on an indefinite hiatus to pursue other challenges in life? Well we can tell you now that the pain is going to get simultaneously better and worse thanks to the release of one of the band’s finest roars, final album Hit Reset. Whether it is because the decision has brought a freedom to the band in some way or it simply inspired a no holds barred energy to the creation of the twelve track storm as a last offering, but Hit Reset sees Random Hand at their most diverse, explosive, and passionate best with a little something indefinably extra too.

It is thirteen years ago that the Keighley quartet leap onto the British rock scene with their energetic and dynamic fusion of punk, ska, hardcore, and metal. The time since, has seen Random Hand earn the reputation as one of the UK’s best live encounters at home and further afield, and a host of varied and generally fiercely impacting releases. Now following a final flurry of shows this past summer, it all comes to an ‘end ‘ with the PledgeMusic funded Hit Reset; a giant slice of non-stop anthems which goes with the adages, “go out on a high” and “leave them wanting more”.

Random Hand - Hit Reset_RingMaster Review     Day One is the first encounter upon Hit Reset, its opening tinnitus of percussion amidst a tangy melody tempting enough but the mere appetiser to the explosion of punk metal ferocity and riffs driven by recognisable hardcore energised vocals matched in virulent strength by their clean harmonic counterparts. The swings of drummer Sean Howe seem to have new tenacity and aggression whilst the bass of Joe Tilston could just be at its most grouchy and compelling ever. It might be that ears are interpreting things in hope’s and assumption’s desired way but as the guitar of Dan Walsh weaves a web of antagonism and infection with intense enterprise and energy, that sense of freedom is a swift wonder.

As great as the opener is, the following Death By Pitchforks eclipses it with its strolling ska swing and relentless bounce. Juicy flames of trombone from Robin Leitch shoot across the addiction whilst vocals from him and the rest of the band are again as inescapably persuasive an incitement as the sounds hugging their alluring tones. It is a track which has body, emotions, and soul in relentless involvement, much as its successor Protect & Survive with its growling fury of Bad Religion tinged punk metal and a climax to arouse an empty room, and straight after If I Save Your Back… and its adrenaline powered punk ‘n’ roll stomp. The latter song also slips into some evocative dub/ska imagination and hardcore ire to add extra spice to the bracing revelry.

After The Alarm steps up next and soon forges another pinnacle for the album, its brass seared blaze and riotous stroll instant infection whipped up to greater potency by the choppy texture of riffs and the raw Reuben like contagion flying through ears for another richly inciting chorus. The track is glorious, definite final single candidate and alone a massive reason why Random Hand are going to be sorely missed; though every track upon Hit Reset spawns that feeling, Dead No Longer with its raucous thunder and Maybe It’s A Prize through its again Reuben spiced rapacity swift confirmation.

Dragging an eager body to the floor again, Pack It Up leaps and bounds into the imagination and an already lively ardour with its ska/punk ingenuity next, it too a track to whip up old and new fans alike with its busy and eventful collusion of styles and open passion.

A Clean Slate straight after is rock ‘n’ roll plain and simple, a boisterous call to arms for thoughts and bodies but a song unafraid to suddenly whip the floor from under the listener and take them through a melodic oasis of sound and tempting before entering an even more agitated and fearsome storm. It is a seriously invigorating proposition wonderfully contrasted by the addictive ska swing and rock groove of Abide which in turn makes way for more variety in the rip-roaring alternative rock/punk ‘n’ roll of Shelter As A Verb, both tracks a quick making addiction.

Closing with the no less irresistible As Loud As You Can, a song as post-hardcore as it bluesy, as punk and ska as it is old school rock ‘n’ roll, Hit Reset is a band at the height of its game, a game now sadly being put away in mothballs for a distant or possibly no further outing. Random Hand has left us with a classic though, an album which will continue to incite and excite in their absence. What a way to go!

Hit Reset is available digitally and on CD now through Bomber Music @ https://random-hand.bandcamp.com/album/hit-reset

https://www.facebook.com/randomhand

Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

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Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

https://www.facebook.com/CountingCoins  https://twitter.com/counting_coins

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

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The Karma Party – Illumination EP

TKP High Res 1

Last year The Karma Party unleashed one of the most thrilling confrontational propositions with the Dark Matters EP and now they return with another voraciously captivating and antagonistic incitement in the shape of the Illumination EP. Continuing the ferocious blend of punk, dub, and hardcore infused with plenty more invigorating flavours, which marked out their last release as an essential moment of 2013, the UK quintet has honed their ‘punk-step’ incitement into an even more inventive and evocative adventure. Without losing the snarl and bite of their politically charged lyrical intent, there is a new maturity and exploration within their songwriting and sound as evidenced on the new EP, an evolution which again results in an irresistible stirring up of thoughts and emotions.

Hailing from Blackpool, The Karma Party as mentioned made a potent and imposingly striking introduction with Dark Matters last year, surrounding and following it with a live presence which was as much a lure to the passions of fans as their release. Touring extensively with bands such as Random Hand, Dirty Revolution, and Jaya the Cat, the band in between EPs additionally recruited guitarist James Routh, also the bassist for Sonic Boom Six, into the line-up of vocalist Marc ‘Merc ‘ Walker, guitarist Liam Carroll, bassist Dave Cowley, and drummer Luke Hesketh. Now The Karma Party as expected go for the jugular with their new release, a commanding encounter which sets ears aflame, thoughts provoked, and passions stirred.

Opening track World War instantly proves the band has lost none of its antagonistic prowess musically and lyrically, emerging from distant scenery with electro enticing it erupts into a muscular imposing of jarring rhythms and jagged TKP Illumination 1500x1500riffs entwined with sonic grooves. Shards of electronic expulsions litter the growing landscape of the song all the time whilst the vocals of Walker and the band prowl with provocative intent across the brooding drama. It is not as dramatic an entrance as you might surmise but a severely compelling one which soon adds extra seduction through the smooth croon of Walker before unleashing a sinew clad bounce of contagiousness for the chorus. There is an edge of King Prawn to the track once into its full stride as well as the insatiable revelry of Sonic Boom Six which maybe was inevitable with Routh producing the DIY release, but also a rawness which adds an extra lacing of causticity and attitude. The song continues to engage ears with shifting invention and thoughts with its firm yet not preachy lyrical narrative for a thoroughly captivating and potent start to the release.

It is a beginning soon taken to another level with the following Under Surveillance. A track which carries an air of Asian Dub Foundation from around their Punkara album, it opens with a delicious carnival like tease of sound which is soon stomping with contentious resourcefulness and devilry. It is a mesmeric introduction enhanced by the riveting throaty sound of Cowley’s bass. Into its keen punchy stride, the song stalks and inspires the imagination addictively, vocals pushing the honest narrative whilst guitars and keys create a web of infectious mischief and commanding intimidation which like the emerging invention simply ignites the senses. Easily one of the most imaginatively virulent persuasions to come along this year, the track steals the passions with ease.

Democracy offers its own belligerent sound and scathing vocal incitement next, the track as raw as it is adversarial. From a relatively underwhelming start, compared to its predecessors anyway with the production less sharp than elsewhere especially around the vocals, the track brews up a punk bred endeavour which soon takes its own specific slice of the emotions. Riffs and hooks almost taunt with their temptation whilst keys and melodies bring a toxicity which flourishes within the punk challenge and a subsequent dub- step enterprise. It is a strong and rigorously convincing track but one which feels pale against the previous tracks and the next up End of an Empire. With a ska seeded jangle of riffs and pungently probing swipes of rhythms aligned to thought challenging vocals, the track toys with band harmonies and floating melodies from the keys to impressive effect before building a climax which fires up the senses with agitated energy and sonic vivacity.

The EP is closed by its title track, arguably the most boldly inventive song on the encounter. Piano and vocals with reflective expression and melodic balladry open up the track before growing a bloom of energetic pop infused incitement which is as catchy as it is surprising. The track reminds of now demised band Dead Til Friday who themselves crafted a spellbinding melodic seduction of a song which startled from the band’s more expected direction. The Karma Party though is not a band to let the listener settle easily, turning the elegant poise and magnetic suasion of their song into a fury driven rabidity to match the attack of the lyrical side of the track. With metallic riffs and badgering beats crowding ears as forcibly as the vocals, the song is a dramatic treat which until its last breath persists in wrong footing and exciting its recipient.

It is a strong and potential loaded shift in the band’s sound, and one which probably takes a little longer to tightly grip than the songs which raged in first release. But with a striking boldness to their growing invention and that ridiculously captivating flair The Karma Party has for igniting everything from ears to feet, imagination to emotions, Illumination is another excuse to hail its creators as one of the UK’s seriously impressive and exciting bands.

Illumination EP is available now digitally @ https://itunes.apple.com/gb/album/id904057478 and physically @ http://thekarmaparty.bigcartel.com/

http://www.thekarmaparty.co.uk/

8.5/10

RingMaster 12/08/2014

Copyright RingMaster: MyFreeCopyright

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