Los Chicos – Rockpile of Shit

Los Chicos_RingMasterReview

There are few rock ‘n’ roll parties as thrilling and irresistible as those provided by Spanish rockers Los Chicos, an experience they offer once again with new album Rockpile of Shit. Offering fourteen tracks which embrace everything from garage to pub rock, punk to funkily soulful shenanigans and plenty more, the release is a feast of boisterously rousing rock ‘n’ roll and a delicious echo of the Madrid quintets’ inimitable live show.

Formed in 2000, Los Chicos have released a quartet of increasing acclaim grabbing albums before Rockpile of Shit, the previous trio of Launching Rockets (2007), We Sound Amazing But We Look Like Shit (2009), and In the Age of Stupidity (2013) released, as the band’s new encounter this time in conjunction with Folc Records, on the always impressing Dirty Water Records. Live the band has ignited stages alongside the likes of Mudhoney, Southern Culture on the Skids, King Khan, The Sonics, Johnny Casino, Soundtrack of our Lives, Redd Kross, Cosmic Psychos, Spencer P Jones, The New Christs, The Young Fresh Fellows, The Meanies, Barrence Whitfield, Hi-Risers, Eddie And The Hot Rods, Roy Loney, and many others and toured across the globe, hitting Australian four times. Now they are ready to set a new stomp in motion across the world with Rockpile of Shit, a one hard to resist slab of fiercely flavoursome rock ‘n’ roll.

Feet and hips are soon as on board with band and album as ears when opener A Kingdom Of Coolness starts things off. Choppy beats and riffs soon tempt as grooves and vocals steer the course of the punk infused encounter. With its seeds seemingly in sixties garage rock and seventies punk, the track carries a great feel of old UK band The Cortinas to it as it emerges an undemanding yet seriously inescapable incitement to body and appetite as virulently infectious as it is commandingly rousing.

The same qualities fuel the following Rockanrolla, its own raw rock qualities making a potent temptation around the inviting tones of vocalist Rafa Suñén. Again the guitars of Gerardo Urchaga and Antonio Urchaga nag and jangle with remorseless enterprise and persuasion, bringing an Eddie And The Hot Rods hue to its boisterous catchiness before the even more virulent charms of I Don’t Wanna Learn Anymore steps forward. The swinging bassline of Guillermo Casanova makes for a powerful lure as the crisp beats of Ral García back up its invitation; they in turn matched in old school revelry by the guitars but with a modern spice which is inimitably Los Chicos.

FDW003_RingMasterReviewThe funky R&B of Older And Better has feet taking to the floor from its first rhythmic beckon, backed perfectly by the sizzling flames of sax which grace the outstanding encounter. With a hint of King Salami and the Cumberland Three to it, the song is mouth-watering devilry laying an early claim to best track on the album but soon rivalled by its Department S spiced title track. It too infests body and soul, bringing each alive and indeed eager vocal participation with its and the bands creative festivity.

Last Day Here offers a fiercer snarl while feasting on a fifties rockabilly inspiration. Equally though, it has a power pop vibrancy which lights up another impossible to escape chorus, voice and hips puppets to its manipulative magnetism. With discord flirting with the guitars and a Devo-esque quaintness emerging, the track epitomises the album; a seemingly simply flavoured proposition soon showing itself bursting with bold adventure and diversity.

The country/cow punk romp of Responsibility Ville hits the spot with ease next whilst More Beer is a melodic jangle sparking thoughts of countrymen The Pulsebeats as it too grips an already greedy appetite for release and sound. The wonderful relentless beats of García, as throughout the album, enslave ears and spirit alone, guitars and vocals playing with its conquest in an array of styles and devilish ways, Miami Beach soon employing its own surf hued punk ‘n’ roll web ensuring there is no respite for the listener’s  body and enjoyment.

Through The Ramones meets The Members like Mommy’s On MDMA and the country punk of Little Man, there is no lessening in bouncing songs and bodies while Night Ride adds its own individual twist on the country rock scent. All three leave a big smile on the face, though each is eclipsed by the scuzzier funk ‘n’ roll of I Know I Don’t Know and finally the hypnotic shuffle of closing track Toga Land. The pair ensures that physical and emotional involvement is at its most eager as the album comes to a mighty conclusion, an event leading only to a hard deny urge to press play and start all over again.

A great many already know of the rock ‘n’ roll majesty spun by Los Chicos, and with Rockpile Of Shit we can be safe in suggesting so will a great many more. This is one party everyone should gate crash.

Rockpile Of Shit is out now via Dirty Water Records/ Folc Records @ http://www.dirtywaterrecords.co.uk/shop/#!/~/category/id=2801529&offset=0&sort=addedTimeDesc and http://folcrecords.tictail.com/product/fdw003-los-chicos-rockpile-of-shit-preventa-disponible-en-mayo

https://www.facebook.com/LOS-CHICOS-42339317978

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Infectious roars: talking Rosedale with founder Mike Liorti.

Rosedale_RingMasterReview

The brainchild of Torontonian Mike Liorti, Rosedale is an aggressive pop band which commands attention. Formed in 1989, the band has moved and evolved through numerous personnel and situations, all the time Mike honing the sound and imagination which has lured potent praise to EPs and albums. With thanks to Mike we recently explored deeper into the world and body of Rosedale…

Hello Mike and thanks for talking with us.

Can you first introduce the band and give us some background to how it all started?

Thanks for having me. Rosedale is currently just me. I have different members all over the place but I’ve been solo for almost 5 years.

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

I’ve produced, managed, and played keys/lead guitar for my friend Alex Baker. We recorded his album January Blues in 14 hours and toured it for a couple months. He’s an incredible artist and has definitely influenced me to keep it simple. I also filled in on guitar/guest vocals for a couple bands that played as my band such as Time and Distance (Charleston, WV) and Your Favorite Coastline (Virginia Beach). Both were very fun experiences. I programmed some FX and lights into their back tracks for fun. And they both taught me a lot about writing even before I played for them and I was just a fan. I also sang vocals on a Disney musical called Radio Rebel. I sing all the vocals for the GGGG’s character, Atticus Mitchell.

What inspired the band name?

The band name came from a street that was on our way to the local music store, L&M. We would walk to that music store almost every day and write songs on their awesome gear. We ended up becoming friends with all the employees and recorded with some of them. So that store and the walks to it represent our roots and where we came from. Still, to this day, I’ve met some of my musicians while checking out music stores, taught parts and sold gear to people in music stores, and we often get people saying “I feel like I walked into the lighting room at Guitar Center” as we’re about to start our set. So it’s safe to say I’ve always been the store rat. And it’s taught me more than a college degree would have.

rosedale2Was there a specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Initially we were very influenced by our local heroes, Moneen. The Used and Boxcar Racer/Blink 182 were also up there on our direction list, but every time we hit the clean channel, it was for Moneen. We were about growing pains and dreams to leave our home town (very original…) As everyone sort of fizzled out into real life and new bands, I migrated the message of Rosedale to more of a motivational message to stay focused on your dreams, show the world what you’re made of, be grateful for what you have, and never give up.

Do the same things still drive the project when it was fresh-faced or have they evolved over time?

They’ve definitely evolved over time, especially with new members coming in for tours. I try to take titbits of their influences into the parts/intros/endings so they have a little more fun every night and it keeps things fresh for me. And I definitely still enjoy playing old songs and putting a twist on them. Right now we’re doing an 8 minute “anniversary version” of our 2006 single you’ll count to Ten (for whatever ten people care) which I just now realized has some serious irony in the title.

Since your early days, how would you say your sound has evolved? Has it seen more of an organic movement of sound or more deliberate intent to try new things?

Rosedale’s sound has definitely matured into more of a listenable aggressive pop. We no longer put our amps on 11 and sing/yell from our throats the whole set. But there’s definitely a lot more raw passion and expression on stage and in the recordings so it’s overall much more authentic. There’s also a lot more orchestration and traditional symphony/big band instruments in the tracks now- big choir vocals too. That evolution just sort of came naturally through my classical upbringing and appreciation for classic movie score composers like John Williams and Hans Zimmer. I just figured ‘hey nobody has really mixed that with punk rock’ and it’s made some cool songs. It takes a lot of time to score them out and program them to sound realistic but it’s a really rewarding process to hear them back.

Are there any in particular inspirations which have added colour to not only on the band’s music but your personal approach and ideas to creating and playing music?

There are definitely influences all over the place in my music and approach on life (Some more surprising than others). You might not think Lil’ Wayne has a strong influence on the decisions I make, but he does. I don’t smoke or drink syrup, but I often think “what would Weezy do?” whenever I feel like closing up shop early after a long day in the studio. I watched a documentary on how Michael Jordan switched from basketball to baseball and I was just as inspired to work on my show from it as I was from seeing an Angels & Airwaves concert. So influences are drawn from everywhere for me. If it sounds good to me, I’ll roll with it, if it has meaning to my life, I’ll write about it.

Is there a general process to your songwriting?

My process is No Process. I like to change it up every time I write a song and challenge myself. If I started writing on piano last song, the next one I might write on guitar, or uke, or acoustic, or just a pad. If I was using pro-tools to demo it out, I’ll try Logic or ableton or Reason for the next demo. If I just finished a sad song, next one is gunna be happy; slow song, fast song etc. The last thing I would ever want Rosedale to be is a recipe that has every song on the album sounding the same…as much as that works for bands these days.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

I just write. Personal life memories, something that is on my mind a lot, whatever the chords/song reminds me of. I try not to decide what I’m gunna write about before writing a song. I usually just dive into it, even if there’s no music yet, and realize what I’m writing about once there are a few lines down.

Give us some background to your latest release.

Rosedale was released February 2016 and is a self-titled release because it’s basically all about Rosedale; where it all started, my personal story, why I am who I am, and the struggles I currently face. I recorded it at the studio that mentored me into the recording world, Drive Studios in Woodbridge Ontario. I’ve been good friends with Steve Rizun for the past few years and knew that studio inside-out so it made perfect sense to do the album there. It’s every control freak’s dream to have the key to the studio and I was like a kid in a candy store. 14 hour days flew by in that place.

Give us some insight to the themes and premise behind its songs.rosedale_RingMasterReview

The on-going theme, naturally, is to do what you love and never give up. Sacrifice everything else for the one thing you truly wanna do with your life.

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

A little bit of both. I do like going into a studio with all the ideas mapped out and just replacing the tracks with better tones/takes. But sometimes I’ll just have a couple tracks and a tempo laid out and say “I’m saving this one for the studio…I wanna get crazy with this one”.

Tell us about the live side to the band.

We have a programmed light show and a bunch of automation on our mics to make it sound like (and sometimes bigger than) the record. We also bring our own fog machine. It helps make every show epic and works well with our music. Whenever I think “man, I set all this stuff up for nothing” I’ll see someone taking a picture or video and lose all regret.

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? Are there the opportunities to make a mark if the drive is there?

Toronto is very tough to have as your home base. I rarely play it because it’s always such a let-down seeing everyone bail last minute. [With] most Canada shows that seems to be the case for some reason; like you have to create a big buzz elsewhere before your hometown cares about you again. I wish all it took was good music. The best place for music is Germany/Austria. Anywhere where German is the main language, good music prospers. I hear the same thing about Japan too but I’ve never been there myself.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

The internet and social media should be much more useful than it actually is. Contemporary social media has ruined music, straight up. It’s the independent musician’s worst enemy. It was great in the MySpace days but now, thanks to the corporate sharks taking over, it’s just one big useless distraction polluting everyone’s common sense. Will it ever be useful/free again? One can only hope. Don’t get me wrong, there’s a lot of positive things that social media is to thank for, like connecting with new fans personally has never been easier! But overall it’s just become one big cess pool of gimmicks, memes, vented personal matters, and ads.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Keep your stick on the ice.

https://www.facebook.com/ROSEDALEmusic   http://www.rosedalemusic.net/

Pete RingMaster

The Ringmaster Review 01/07/2016

Copyright RingMaster: MyFreeCopyright

Shot Of Hornets – Make Out A Picture

Shot Of Hornets Promo Shot_RingMasterReview

A release to make a lingering impression, Make Out A Picture is the debut EP from British alternative rock band Shot Of Hornets. Consisting of four tracks which snarl and rousingly seduce with equal measure, the encounter is a beast of an introduction to the Welsh trio. There is a predacious edge to every element making up its gripping drama and forceful enterprise just as a virulent contagion fuels the anthemic unpredictability shaping its ear pleasing character. Together it provides a creative and impassioned theatre of sound and imagination as compelling as it is so often breath-taking.

Hailing from Mold in North Wales, Shot Of Hornets consists of brothers Daniel (guitar/vocals) and Conor Cahalane (drums/lead vocals) alongside Charlie Farnham (bass/vocals). Emerging last year with inspirations from the likes of early Biffy Clyro, At The Drive-In, Hundred Reasons, and Fightstar in their creative arsenal, the threesome soon began making potent impressions with their fierce live presence and shows. Now it is Make Out A Picture set to rattle national awareness of Shot Of Hornets, with success surely an inevitable return for the EP’s galvanic might.

Shot Of Hornets Cover Artwork_RingMasterReviewThe band lays a tight grip on ears and appetite straight way with opener Corrosive, needing little time to tempt both as swinging beats and an instantly grumbling bassline starts things off. Angular strikes of guitar and group snarls behind the inviting tones of Conor swiftly join the affair and increase the infectiousness already sparking the senses. Smooth slips into mellower moments and discord kissed twists leads to a seriously rousing chorus, all the time an intensity and volatility seemingly lying in wait, eager to erupt but instead simply adding great depth to the song and enterprise persuading ears; when it does escape a great Reuben-esque feel flows through the track, ending in a scintillating finale which in tone continues into the song’s successor.

Don’t Go Chasing Shadows, Arthur is exceptional, from its initial lively stalking of the senses and barbarous tempest through to its quirky and deranged character one of the best tracks heard here this year. Vocally and musically the band prowls and leaps upon the imagination with their unique ideation and adventure, keeping things as enthrallingly off-kilter and seriously infectious. At times the song reminds of the now demised UK band Engerica, in other moments courting something lying between System Of A Down and Hundred Reasons, and relentlessly leaving ears and pleasure greedy for more.

The brief instrumental interlude of Firm Handshake provides a tantalising atmospheric hug though truthfully instincts after the first listen is to dive straight into closing track Everything With Nothing. The closer is another track which emerges as one kind of creature and slowly evolves into something different as one inventive minute follows another. The song’s initial abrasive growl is soon replaced by a melodic and emotive reflection though certainly vocally that raw edge still lurks. Subsequently, inescapably catchy lures and fiery flames add to the track’s theatre, spiky rhythms and riffs joining scything grooves and grisly punk infused predation as the song twists and turns and in turn bewitches with every unpredictable moment.

If Make Out A Picture is a sign of things to come, expect to hear plenty more of Shot Of Hornets in sound and acclaim. The EP is a debut which demands attention, rewarding with songs which bring the imagination and spirit through a band with very healthy horizons ahead of them.

The Make Out A Picture EP is released July 1st through all stores.

https://www.facebook.com/shotofhornets     https://twitter.com/SOHbandUK

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Syren City – Paradise In The Dirt

Syren City Promo Shot_RingMasterReview

Almost two years ago, UK rockers Syren City laid a hefty punch on attention with the Escape EP, five tracks of multi-flavoured rock ‘n’ roll which was as compelling as it was thrilling. Now the Bristol quintet returns with its successor Paradise In The Dirt and three more encounters which leave ears ringing with pleasure and an appetite for more simply greedier.

Formed in 2011, Syren City swiftly bred a sound from essences drawn across the likes of post hardcore, punk, metal and alternative rock. The 2014 Escape EP quickly showed it was a formidable and striking mix, echoing the band’s live reputation earned through festival appearances and shows with the likes of Turbowolf, The Alarm, Mallory Knox, Max Raptor, The Hell, Roam, Black Foxxes, Futures, Young Legionnaire, Attack Attack, and Blitz Kids. The release of their new proposition shows that the band’s sound has continued to expand and indulge in greater adventurous traits, increasing in magnetism with equal measure. The first in a series of EPs which have a conceptual thread and link, Paradise In The Dirt captures ears and imagination with swift deftness of enterprise and a rousing boisterousness, never relenting upon or releasing the listener until its final note has shared its mighty bait.

Syren City Cover Artwork_RingMasterReviewIt opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.

It is quickly backed up by its companions though, Danielle coming next and opening on a melodic caress which inspires the following vocals and flirtatious gait of the song. Little time passes before again a volcanic quality and energy erupts, its theatre creating a My Chemical Romance like attraction before things slip back into the captivating calm and the repeat of the galvanic cycle. As within its predecessor, there is a kind of tempestuousness to ideas and intensity which only adds to the riveting drama provided before 10,000 Knives steps forward to grab its share of the plaudits. Initial riffs and lures have a slight Therapy? feel before the punk heart of band and song grips and adds a Reuben meets Taking Back Sunday hue to the outstanding encounter.

All three tracks are uniquely distinct to each other but fuelled by a sound with a character all Syren City’s. The band impressed with their last release and have only made a bigger impact with Paradise In The Dirt, a release sure to be the favourite EP of 2016 for a great many.

The Paradise In The Dirt EP is out now through all stores-

https://www.facebook.com/SyrenCity  https://twitter.com/SyrenCity  http://instagram.com/syrencitymusic

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Unbridled arousals and stomps: exploring The Conniption Fits.

The Conniption Fits_RingMasterReview

Formed in 2004, The Conniption Fits create their own ear catching mix of alternative, progressive, and indie pop; rock ‘n’ roll which rouses the senses and imagination and has so across a host of releases. Drawing comparisons to the likes of Jimmy Eat World, Green Day, Foo Fighters, Silversun Pickups, U2, The Police, and David Bowie and having shared stages with artists such as Weezer, Panic at the Disco, Kings Of Leon, Train, 3 Doors Down, Fastball, Mighty Bosstones, 7 Mary Three, Blue Oyster Cult, Mountain, Warrant, and Cinderella among many over time, the New Hampshire hailing trio make a noise which easily sparks the appetite. Grabbing the chance to learn more about the band, we had the pleasure of chatting with member and The Conniption Fits co-founder Stevens.

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

That’s a long story.  I’m Stevens Blanchard, lead singer guitar player for The Conniption Fits.  The drummer, Shawn Snyder and I met back when we were kids.  My current band needed a drummer and he was a friend of a friend, not to mention a fantastic drummer with tons of attitude.  When that band broke up, we founded The Conniption Fits.  Jamie Hosley, or bass player, came along when we were looking for a new bassist.  Again, he had a reputation as being “the man” when it comes to bass, naturally we had to have him.

So The Conniption Fits is not the first band for you? Has previous projects had any impact on what you are doing now, in maybe inspiring a change of style or direction?

I think I just answered that above, but yes.  We had a previous band, Motorplant, which did quite well for about 8 years.  You can still find all of the music that Motorplant produced all over the web including iTunes and Spotify.  When Motorplant disbanded, we wanted to head in a slightly more alternative direction.

What inspired the band name?

If the conniption fits, wear it.

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

Far from it…We just enjoy playing and entertaining.  As far as the sound goes, I just want to create ear candy.  Songs with depth sonically and lyrically that are accessible and a bit unpredictable at the same time.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Always evolving…You can tell album to album.  Every record seems to represent where our minds were at musically at that period of time.  I’m always hearing new bands that are doing really cool things that we want to incorporate into our own stuff.  I’d say we listen as much, or more, than we play.

TCF2Since your early days, how would you say your sound has evolved?

We deliberately try new things.  Sometimes it works, sometimes it doesn’t.  On our second album, A Heaping Helping of Perspective the guys thought it would be cool if we recorded live without a click track.  I hated the idea, being a stickler for tempo.  It led to a different album and different songs for sure.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Too many to mention, from Jazz to Metal…Speaking for myself I’d say bands like Nothing But Thieves, The Shins, Bear Hands, Coldplay, Eve6, Green Day, Foo Fighters, Kongos…  I love creative rock/pop/alternative songs that still have a hook, but avoid the same four chords and progressions that are so typical.

Is there a particular process to the band’s songwriting?

I am usually the idea man then we flush it out as a group.  Sometimes I’ll record the whole song then we will replace the drums and bass later. I’m into results; I don’t care how we get there.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Life; I’ll sing lyric variations to a demo while I’m out for a run.  I usually find cool ideas that way.  I also hear the parts that suck and need to be changed.

Can you give us some background to your latest release?

I Need You (Ay-O) is an old relate that became new again when it started treating on-line. We’ve always loved the song and are happy to have it finally breaking through the “clutter”.

Give us some insight to its theme.

I need you is about wanting to leave a relationship, but continuing to be drawn back in; then dealing with the fact that needing somebody can be for very different reasons.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

I own the studio we record in.  It’s an amazing luxury because we are not “on the clock” burning money.  So we just show up with nothing and play.  Often I’ll have scraps of ideas ready to jump off from.

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

Yeah, live is where we bring it.  We entertain.  We always have a great time and that usually transfers to the audience.  It’s also the only real way we’ve made any money.  So we play live to survive, and we love it.

It is not easy for any band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?TCF_RingMasterReview

Not easy, but work hard and offer something great.  It doesn’t even have to be unique, just great.  Make people say “holy shit!”, and you’ll do fine.

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

The internet grants everyone access, even the garbage.  I think we handle it well, but there is that constant drive needed to stand out in all the noise.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Check out our website, http://www.conniptionfits.com/ to listen to all of our songs for free and look for our new EP this summer!

https://www.facebook.com/conniptionfits/  https://twitter.com/conniption_fits

Pete RingMaster

The Ringmaster Review 01/07/2016

Copyright RingMaster: MyFreeCopyright

Patriot Rebel – Cynics Playground

PatriotRebelPromo_RingMasterReview

With their first new slabs of muscle bound rock ‘n roll since the Two Worlds EP in 2013, UK quintet Patriot Rebel take another attention grabbing and impressive step to the fore of the British rock scene. Quite simply the Cynics Playground is a thumping collection of rousing incitements, a multi-flavoured EP that stirs up the spirit.

Formed in 2011, the Nottingham hard rockers have constantly honed their sound and lured greater focus the way of their ear pleasing creative roar. Drawing on inspirations ranging from Alter Bridge, Shinedown, Black Stone Cherry, and Avenged Sevenfold, Patriot Rebel poked at acclaiming attention with the aforementioned Matt Elliss (Black Spiders, Terrorvision, Skarlett Riot) produced Two Worlds. Live the band equally earned a potent reputation, taking in shows with the likes of Y&T, Tesseract, The Treatment, Jettblack, and Skarlett Riot along the way. Last year saw the release of the similarly striking video single Propaganda, a track taken from their first EP. Now with Ellis again at the helm, the band returns with Cynics Playground and a sound which has noticeably grown in maturity, power, and downright magnetism.

Patriot Rebel Cover Artwork_RingMasterReviewOpening up with Digital Mannequin, the EP hits the ground running. Led by the most irritably growling bassline to get an appetite for, the song is soon driving through ears with the riffs of guitarists Danny Marsh and Dave Gadd stirring the senses as vocalist Paul Smith roars. It is a thick and almost muggy assault with every element crisp and precise within the infectious tempest, throughout Marsh’s grooves entwining the imagination, binding the sinew swung beats of Aaron Grainger and the persistently grouchy tone of Will Kirk’s bass.

It is an outstanding start, with at times a whiff of System Of A Down to it, which leaves a lingering impression and pleasure before being matched in creative kind and potency by Self Hate. The second track similarly has ears and eagerness devouring its robust throes of riffs and rhythms, presenting another imposing yet inviting entrance which commands attention and enjoyment with swift success. Smith again stands magnetic within the boisterous energy and aggression offered, his delivery a fiery snarl with contagious prowess to match the virulent enterprise of the guitars and rhythms, which in turn means one stirring encounter.

Two songs in and the Patriot Rebel sound while never afraid to reveal some of its influences, shows itself to be at its most unique and individual yet, the emotive power balladry of Dying Breed continuing that welcome trend as it ebbs and flows with emotional and physical intensity amidst sonic invention. More a smouldering success than its predecessors, the track emerges as another highlight within Cynics Playground, being quickly equalled by the rhythm swinging, antagonistically riffed All I Wanted. It is a beast of a proposal, that irritability of bass in the opener fuelling every aspect of the mighty incitement. The song takes no prisoners, guitars and beats biting as they entice and land alongside the predatory nature of the bass which in turn courts the catchy lead of the vocals and the infection sharing instincts of the track itself. Equally though, there is room for some sonic and exotic melodic imagination to be seriously tempted by.

The EP closes with Miss-Guided, a song which reveals all the Patriot Rebel attributes with consummate ease while sharing the new depth and adventure in the band’s sound. Though it might not quite live up to those before it, the song is an impressing finale to a thrilling release. Cynics Playground is Patriot Rebel on a new plateau yet the feeling is that the band is still working towards their true creative heights; so happy days for UK rock ‘n’ roll ahead we suggest.

The Cynics Playground EP is out now through all stores.

https://www.facebook.com/patriotrebel    https://twitter.com/patriotrebeluk

Pete RingMaster 24/06/2016

Copyright RingMaster: MyFreeCopyright

Pretty Little Enemy – Bitch PLEase!

Pretty Little Enemy Cover Artwork_RingMasterReview

2012 and ’13 saw the release of The Treatment EP and the album Save As I Save respectively from UK melodic metallers Zoltar Speaks. Both encounters seriously impressed so it was with disappointment that the band subsequently folded. Out of its ashes in 2015 though, came Pretty Little Enemy, a quartet formed by vocalist Louise Body, bassist Jason Coles, and drummer Ben Dean.  Completing their line-up with guitarist Georgia Bell, Pretty Little Enemy quickly stirred up attention on the live scene, taking in shows supporting the likes of Syren City, Embers of Eden, and Chasing Cadence amongst their own stage firing shows. Now they are grabbing attention with the Bitch PLEase! EP, three tracks of muscular yet siren-esque alternative rock leading ears into a mix of contagion and danger.

As opener Myles grumbles on the senses with its metal scented invitation, a swift appetite is bred but soon taken aback by the sudden slip into an almost pop rock moment with the appearance of Body’s distinctive  voice. Reminding a touch of eighties band The Photos, the band soon re-establishes its hold especially as the song blossoms into a more Skunk Anansie inspired snarl. Bell’s grooves dances on the ear in no time, her sonic enterprise skirted by the grouchier lure of Cole’s bass and the firmly landing beats of Dean. Continuing to blend aggression and melodic endeavour, the song makes for a potent start to the release though it is soon eclipsed by successor Vertebreak.

The second song is a roar which instantly grips ears and attention, Body sharing her powerful and skilful vocal range to bring back memories of her previous band, a spicing backed up by the track’s irritable yet beguiling character in sound and imagination. Their new single, it is a striking and forcibly magnetic proposal stealing best song honours while confirming an already brewing appetite for the Pretty Little Enemy invention.

What Makes You completes the trio of tracks; it also quickly enticing rich focus with a spidery web of grooves around the ever impressing drama of Body’s vocals. Rhythmically it is the least dramatic but both Coles and Dean perfectly back up the leading elements of the song without ever feeling like they are just supporting textures.

With Bitch PLEase!, Pretty Little Enemy are not yet at a place to rival Zoltar Speaks but already the hints are there that it is a potential in the making and something to eagerly await while thoroughly enjoying the band’s debut proposition.

The Bitch PLEase! EP is out now through all stores.

https://www.facebook.com/prettylittleenemyuk   https://twitter.com/prttylttlenemy  http://www.prettylittleenemy.co.uk

Pete RingMaster 24/06/2016

Copyright RingMaster: MyFreeCopyright