Vault 51 – Kid

It is never a bad thing to make a thumping good first impression and that is exactly what US quintet Vault 51 has done with their debut EP, Kid. Not that the band is exactly a new force to attention having been around a while now with a buzz soon brewing up around them and apparently they have been signed to Roadrunner Records at some point too. Kid though is their first meaty proposition for real focus following a clutch of magnetic singles, and a forcible reason to pay close attention to their rousing sound.

Roaring out of Atlanta, Vault 51 breed a sound which lies somewhere between alternative rock and melodic/post hardcore; a proposition embracing familiar essences with fresh invention to create an individual character which blossoms across the six tracks of Kid. Already earning comparisons to the likes of Red Jumpsuit Apparatus and Story Of The Year, the band gets straight down to persuasive business with the Drew Fulk (I Prevail, Motionless In White) produced and Lee Rouse mixed EP. Thirty Six gets things underway, it’s ticking suggestiveness soon submerged in a torrent of riffs and fiery sonic flames. That passing of time is still there working away as the song ebbs and flows, the bass of Alex Garmon a gnarly temptation and the jabbing beats of Joshua Landry a biting trespass as melodies and harmonies catch alight and soar. Frontman Landon Jones leads the way with his potent tones backed by the similarly alluring voice of guitarist Tom Jepson, whose strings simultaneously collude with those of Patrick Snyder in a web of enterprise which has ears gripped and an early appetite stoked in swift time.

It is a powerful start to the release, that mix of varied flavours and textures a tempestuous yet composed blaze which as suggested earlier merges recognisable essences with bolder exploits belonging to Vault 51; a success found again within the following We Don’t Care. The track quickly shows itself a predatory individual, riffs carrying a sinister and aggressive edge tempered by again impressing vocals. With rhythms bringing their own cantankerous almost inhospitable intent, the track still plunders the senses; a Spineshank meets Breaking Benjamin spicing grabbing keen attention as things flow through mellow and harsh scenery with craft and emotional intensity.

The first two striking tracks set the marker for the EP which arguably the subsequent songs miss matching yet as latest single Magnolia with its melodic graces and atmospheric caresses soon reveals, the adventurous ear pleasing nature and power of the release refuses to die down. A volatile encounter as calm and seductive as it is fiery and imposing, the third song breeds a virulent infectiousness as forceful as that cast by its predecessors and in next up Wildfire. A poppier incitement from the off but soon lighting a pyre of emotion and intensity, the song has something of Australians Voyager and Sick Puppies to it, a mix of the two in many ways at least which has the imagination soon caught up in its creative drama.

The magnetic reflective calm of Mourning View makes an engaging contrast soon after; the song a melodic serenade on the senses with a brooding rhythmic lining as keys cast their suggestive poetry.  It too has tempestuousness to its heart which flirts with rather than breaks in ears, adding an anxiousness which firmly appeals before Sincerely Me brings things to a ferocious conclusion with a blistering tempest abound with melodic beauty and emotional drama. Maybe taking longer to initially convince than other tracks within Kid, it blossoms into one of the highlight of the release with its cyclonic breath and rousing ingenuity.

Kid makes an increasingly compelling and impressive statement through every listen, sparking the lift off of Vault 51 into the grasp of real attention but more importantly a certain new wave of hungry fans.

The Kid EP is out now on Spotify, through other stores and @

 Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Uncaging the roar: in interview with Fivefold


Formed in 2007, St Louis, Missouri hailing Fivefold has earned a strong reputation for their melody thick and emotionally rousing rock ‘n’ roll. Taking in a quartet of albums and a host of shared stages with the likes of The Offspring, Buckcherry, Redlight King, 10 Years, Switchfoot, Sick Puppies, Greek Fire, The Urge, Shamans Harvest, Broadway, Red Jumpsuit Apparatus, Memphis May Fire, Jamies Elsewhere, HURT, Cavo, among many others, the quintet is one of the fresh breaths on the current music scene. We talk to the band to get a feel of their passion and invention…

Can you introduce the band and tell us to how it all started; what brought you all together?

Ryan Cheney – vocals

Matt Amelung – guitar, vocals

Matt Benne – guitar, vocals

Coco – bass

Derrick Huskey – drums

Derrick (drums) and Matt Benne (guitar) met through our late guitar player Jesse. Derrick met Ryan (vocals) at a church camp they were both attending. After a few line-up changes, Derrick, Matt Benne and Ryan met Coco (bass) from playing shows with his Hold On.

Have you been/are involved in other bands before? If so has that had any impact on what you are doing now?

Most of us have played in local St. Louis bands before Fivefold. I think we’ve each taken elements from previous projects and applied them to what we do in Fivefold.

What inspired the band name?

At first we did what every other band does…we looked through dictionaries. Haha! But really, we decided on Fivefold because it essentially means five different units/things that come together to accomplish one goal.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We just wanted to be “good”…and to promote positivity.

fivefold4_RingMasterReviewHow would you say your sound has evolved over time?

We’ve tried to push ourselves to continually refine our sound. In our case, I think that has meant approaching our music with more pop sensibility.

Has it been more of an organic movement of sound you deliberately setting out to try new things?

A blend of both.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted on the band’s music and your personal approach to creating and playing music?

I don’t think anything one element impacts itself into our music. Rather, all of our inspirations impact our music.

Is there a process to the songwriting which generally guides the writing of songs?

Most of the time we just start jamming on a riff and take it from there.

Where do you, find inspirations to the lyrical side of your songs?

Honestly, our lyrics have no bounds. They are about anything and everything, whether it’s something one of us has been through personally or something greater than all of us.

Can you give us some background to your latest release?

Our latest release is Open Letter. We released it in December of last year and it’s the first batch of songs written with Matt Amelung on guitar.

What about its themes and premise.

Open Letter is our response/interpretation of the world around us.

Do you go into the studio with songs pretty much in their final state or have looser ideas to develop as you record?

We’ve done both over the course of our 4 albums. Both have their strengths and weaknesses.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I think it’s definitely our favorite aspect. We like to make every show bigger and better than the last.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?Fivefold2

To be honest, we don’t know the answer. We just continue to work extremely hard and push ourselves and our band.

How has the internet and social media impacted on the band to date?

The internet has enabled us to delve deeper into the life of Bruce Willis.

Find out more about Fivefold @ and

Pete RingMaster

The RingMaster Review 19/08/2016

Copyright RingMaster: MyFreeCopyright

Golden State – World On Fire


A roaring blaze of soaring melodies and anthemic temptation, World On Fire from US quartet Golden State is a song which leaves the senses invigorated and appetite awoken. Though not necessarily breaking in new ground, the single full of the essences of U2 and to a lesser degree Echo and the Bunnymen, it is an inescapable contagion which ignites ears and emotions with an energy and presence which is easy to be greedy over.

Hailing from California and consisting of the Rick Rubin produced Paloalto as well as Florida band Red Jumpsuit Apparatus, Golden State first gripped attention with the release of their debut album Division of last year. It was a vibrant release which marked the world’s card, soon etched in further by the new single’s predecessor the Subdivision EP. Released via State Champ Records, World On Fire continues the band’s passion for big bold rhythms and flaming melodic adventure all beneath a heated stadium rock like sky.

The song emerges from a sonic mist with guitars teasing the air with enterprising melodic caresses and instantly appealing vocal harmonies. With firm sinew clad rhythms and evocative bass croon spearing and roaming respectively the imaginative and riveting unpredictable guitar invention, the track takes little time to wrap an appealing call around the ears, a persuasion all the more potent from the excellent lead vocals of guitarist James Grundler which impress from start to finish, even with a rather Bono like lilt to the delivery. Easily accessible but rich in unpredictable musical narrative, World On Fire leads the passions on a three minute plus flight of euphoric melodic rock. Lyrically the song is undemanding but it only adds to the anthem clad potency and easy to join call of the song.

World On Fire is a song which enlists an appetite to check out the band and album further, and though for many the U2 comparison which is so apt here will be an antidote to any urge to hear more, it is only a flavour to a sound which is not ground breaking but has its own full and absorbing character. This is a great single and Golden State a band which has bright and exciting horizons ahead.


RingMaster 22/09.2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from



Elisium: Becoming

This is possibly the first time you will have heard of US metalers Elisium but it certainly will not be the last as their new impressive EP Becoming begins to consume and excite the globe. Approaching their tenth year the trio from Fredericksburg, Virginia is another example of those secrets that metal and music in general always seems to hide from us for far too long. Now though with their new release things should change the EP that impressive and a statement of the quality and power of what is still to the world an emerging band.

      Becoming follows up debut album Things They Carried of 2004 and that in itself is a crime, the fact that circumstances and life in this great musical world has meant such a long wait for a successor to what was a strongly received album. Over the years the trio of brothers Nate and Kirb Compton, vocalist/guitarist and bassist respectively, and drummer Nathan “Junior” Thomas (who joined in 2009), have shared and impressed stages with the likes of Chevelle, Flaw, Days of the New, Red Jumpsuit Apparatus, Straight Line Stitch, and Nonpoint, as well as headlining their own successful tours throughout the US. They have been frequently compared to bands like Tool and Chevelle and it is easy to see why but Elisium on the evidence of the EP have their own distinct breath and energy which certainly sets them apart from others.

The first notable thing is how much power and sound the threesome brews up in their songs, yes on recordings it is easy to add levels and textures to build a storm of noise but the songs here are organic in their presence with a mighty core which cannot be contrived. With reliable sources saying live they are just the same it really is a formidable strength the band has. The other impressive thing is the variety the band offer within their distinct overall sound, each song unique in composition and passion to their siblings whilst easily recognisable as kin to each other.

The EP opens with an excellent intro which to be honest does not seem to have any relation to what follows but its metallic pulse and rippling industrial intensity is hypnotic and it would be great to see it turned into an actual track. First full track is Bombshells and an immediate treat for the ears and heart to be absorbed by, especially the vocals of Nate which are striking against the rasping heavy riffs and controlled rhythms. He has a smooth delivery which comes with a snarl and fully emotive edge to light up the songs within the dark coarse melodic play and prowling intimidating basslines. The song does not offer any extravagant thrills or glossy shimmers but simply strikes with an honest and blistering strength and complete with a great vocal harmony the track is an excellent starter.

The following Sleep Awhile is equally predatory though with a less insistent energy. The song is a real grower evolving with initial thoughts at yeah this is good into an intrusive and persistent pleasure. Actually with a slight contradiction the pair of songs are certainly outstanding but as the release unveils its journey they are subsequently put in their place by the closing duo of tracks which we will come to shortly.

In between the two pairs there is a surprise in the shape of a cover of Men At Work song Safety Dance. Now the song is already one which is annoying but frustratingly infectious, a track which it is hard to find many admitting to liking but all know and join in with. Elisium do a Wolverine like corruption on it and fill its veins with their type of metal to give it muscle and a darker energy to obliterate its previous camp gaiety. It is still annoyingly as a song but even more infectious and great fun in the hands of the band.

The track whether intentionally is like an interlude between the previous songs and the amazing following AVG and Surface. The first of the two initially roughs up the ear with restrained riffs before slamming hard with a heavy energy and an incendiary groove. The song is unrelenting in its bristling attitude and almost combative assault whilst retaining a mesmeric melodic grace in atmosphere and further outstanding vocals. Every note is dripping emotion but also intimidation and it is a glorious mix. The closing Surface is another fully impactful creature emotionally with a mournful beginning erupting into a fiery mix of bullying riffs and outpouring vocals. It is a beautiful track in its composing and realisation, a fully engaging and emotionally draining song.

 Becoming is deeply impressive and surely the doorway to much full acclaim for Elisium as well as mass recognition. If they carry on creating music like this it will be a given.

RingMaster 14/06/2012 Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.