Downcast – Self Titled EP

Finding a band which stands out with a truly individual sound within the melodic punk landscape has not proven to be so easy these past years. There have been many outfits which have still impressed but finding that specific individuality is less frequent but now we have British outfit Downcast and the release of their self-titled debut EP. It is n introduction which more than suggests that the band with their emo spiced pop punk has the potential to be something different and such the memorable moments within this their introduction we could say they are already well on the way to realising that promise.

Taking inspirations from the likes of The Wonder Years, Alkaline Trio, ROAM, and Neck Deep, Downcast emerged last year, initially concentrating on writing this debut and honing the sound which flourishes within it. Recorded with producer Ian Sadler (Anavae, ROAM), it would be fair to say that the release made a good if not immediately sizeable impact on ears and thoughts. Yet there was something which easily lured us back more than once or twice and with every play has blossomed into a very enjoyable and impressively potent, potential loaded proposition.

It has moments which simply got under the skin and aroused the passions alongside other instances where expectations were fed even if enjoyment still courted those times. The EP opens with Anthurium and potent guitar bait which lures attention into a waiting tide of pop punk tenacity which takes little time to erupt. Settling down into a robust and busily infectious stroll, the track springs melodic hooks and vocal prowess with ease. Surprises are maybe less open yet the song has a tenacious catchiness and open enterprise which takes charge. With firm often heady rhythms bearing down on the senses, it is a strong and magnetic start to the release swiftly backed by the following Sombre.

The acoustic heart of the second track quickly casts a different breath within the EP, guitar melody and vocal unity reinforced as a potent part of the band’s sound. Short but a full captivation, it offers plenty of reasons for expectations of that real originality emerging ahead as too its successor, Window Seat. It is another song which took and needed time to fully persuade but once hitting its stride after a relatively gentle entrance, it blossoms into a rousing roar nurtured through a strong undercurrent of imagination and boisterousness.

The EP is completed by the pair of 2013 and I’m Sorry. The first is the biggest highlight of the release; its instinctive hooks, spicy melodies, and vocal dexterity an infectious blend blending the familiar with the individual. The final track in turn provides another appetising offering if without finding the heights of its predecessors. From its solid if slightly underwhelming start the song builds crescendos of emotion and drama, flourishing with each before settling back down into that initial mercurial calm. In saying that, there is a captivation to the song which never stops nagging and we can only say enjoyment came with it.

Overall, the EP is a powerful foundation to spring from with potential and pleasure at its heart; Downcast a band it could be impossible to ignore ahead.

The Downcast EP is released January 11th.

https://www.facebook.com/downcastUK/   https://twitter.com/downcastuk

Pete RingMaster 8/01/2019

Copyright RingMaster: MyFreeCopyright

 

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

High Down – Moving On

Suggesting they might be the ones to give the British pop punk scene an invigorating new breath, Portsmouth hailing High Down have just released their first EP. Moving On offers five slices of ear pleasing infection carrying punk rock, each bearing a sound with a spikiness which alone commands attention and further investigation.

Emerging last year, High Down made a potent mark with debut single Family & Fiends, the track recorded with producer Matt O’Grady (You Me At Six/Deaf Havana). Its impact was followed by the band playing slots at the likes of Seasick Fest, Butserfest, and Teddy Rocks Festival as well as share stages with bands such as WSTR, Roam, and Like Pacific. It is fair to say that things are beginning to stir for the quartet, a motion sure to gain momentum through Moving On.

The EP opens up with new single Life Lessons, guitars instantly luring ears with their catchy invitation. It is an infectiousness which is as instinctive in the vocal prowess of Luke Smithson and the rhythmic stroll of bassist Tim Hoolahan and drummer James Grinter who it appears has since left the band. The energy of the song is bold but with an enterprising restraint, it constantly pulling on the reins throughout but blossoming from that same reflective control. Feet and ears are soon lost to its temptation, appetite to its mix of harmonic warmth and again reserved but open irritability.

Making History backs up the fine start with its own line in melodic suggestion and rhythmic persuasion, it too keeping a hold on its boisterousness but giving enough of a rein to stir the spirit especially within another rousing chorus. The guitars of Darrell Ellis and Joe Soar weave a captivating web of sonic adventure with the former’s vocals potently backing the lead tones and expression of Luke Smithson. There are no big surprises yet each moment of accomplished endeavour increases the song’s draw, a quality just as inescapable in next up All On You. High Down has been given comparisons to artists such as Blink 182 and New Found Glory, the third track with its high kicking beats and nagging riffs a contagious example of why. There is a greater fire in its belly than in its predecessors and similarly an even more imposing catchiness that commands attention and response as smart hooks and harmonic dexterity relentlessly tempt.

The acoustic seduction of Rescue Me follows with vocals and guitar crooning knowingly with thought and emotion. The song features the guest tones of Nottinghamshire singer Christina Rotondo, her vocal beauty a striking essence in the union with the similarly impressing presence of Smithson. With a rawer edge to its gritty finale, the track grows in intensity and emotion to truly hit the spot before making way for the pinnacle of the release. The best track on offer for these ears, Against The Tide instantly winds wiry tendrils of guitar around ears, their steely touch alone a keen lure but only tightening their invitation with their niggling prowess, one matched in dexterity and persuasive trespass by the muscular swings of Grinter and the growling bass of Hoolahan. It is a dynamic and imposing yet again seriously infectious proposal to bring the highly enjoyable encounter to a fierce close.

In many ways there is nothing overly remarkable about Moving On yet every moment it shares is rich in enterprise and energy whilst being backed by a potential which suggests High Down can have a big presence on the UK if not European pop punk theatre.

Moving On is out now and available @ http://highdownuk.bigcartel.com/

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

Pete RingMaster 05/09/2017

Copyright RingMaster: MyFreeCopyright

Maypine – In The Back Of My Mind

Providing a rather strong introduction to themselves, British pop-punks Maypine release their debut EP this month. In The Back Of My Mind offers five tracks of infectious melodic punk bursting with potential and an already revealing potent craft in songwriting and enterprise. It is not jaw dropping or particularly unique but certainly commands eager attention with ease, success in anyone’s book.

Formed around the middle of last year and rising from the ever vibrant Brighton music scene, Maypine soon showed their strengths and lures on the local live scene, continuing to draw support and acclaim thereon in leading up to the imminent release of their first EP. Recorded with producer Ian Sadler (ROAM/Homebound), it opens up with recent single A Little Sooner which soon has ears cupped in a weave of melodic guitars speared by striking rhythms. From their midst, a strolling gait loaded with instinctive catchiness breaks, vocalist Jason Payne backed by the equally alluring tones of rhythm guitarist Dan Jarvis, magnetic at the fore. It is hard not to be swept up in the song’s infectious nature and exploits, lead guitarist Becky East weaving a captivating web of melodic and enterprise to seal the deal.

The great start is keenly backed by new video/single North South Divide which too needs little time to have ears lured and bodies bouncing. The swinging beats of drummer James Holdsworth make a great driving impetus to its exploits, the heavier tone of Tommy Roberts’ bass bringing a fine tempering to the fiery flames of guitar which again firmly hold ears and appetite as vocals share the song’s emotive heart. Calmer moments only add to its strength, revealing bolder aspects in the band’s imagination before Inside Out jumps in with its just as keen energy and tenacity. Though it lacks some of the more unpredictable twists of its predecessors, the track is a contagious proposal leaving enjoyment full and giving plenty of clues to the band’s success as a live proposition.

Never Far Apart calms things down with its acoustic croon, guitar and voice sharing real magnetism before things eventually boil up with the rest of the band adding their flames to the increasingly volatile smoulder. A slow burner in some ways compared to other tracks, it rises to be a compelling part of the impressing release.

Closing track Day After Day brings things to a strong conclusion though it too misses out on making the more striking impression of other tracks on the EP. Nevertheless tapping feet and pleasured ears endorses its catchy potency and its part in ensuring In The Back Of My Mind leaves a strong appetite for more of the Maypine sound.

With numerous essences which should appeal to those with a liking for bands such as ROAM, Blink-182, and You Me At Six, the EP suggests Maypine is a rather promising new addition to British pop punk.

In The Back Of My Mind is released August 4th through Disconnect Records.

MAYPINE August tour:

Friday 04 – Hope & Ruin, Brighton

Saturday 05 – Mulberry Tavern, Sheffield

 Sunday 06 – Creepy Wee Pub, Dunfermline (Acoustic/afternoon set)

Sunday 06 – The Attic/The Garage, Glasgow***

Tuesday 08 – Retro Bar, Manchester***

Thursday 10 – The Shed, Leicester**

Friday 11 – The Thunderbolt, Bristol**

Saturday 12 – The Attic, Torquay**

Sunday 13 – The Joiners, Southampton**

Monday 14 – The Black Heart, Camden**

Tuesday 15 – The Attic, Ashford**

Wednesday 16th – TJ’s, Eastbourne

**w/ Better Than Never | *** w/ Coast To Coast

http://facebook.com/maypineuk   http://twitter.com/maypineuk   http://instagram.com/maypineuk

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Deadset Dream – Snakes and Ladders

Photography by Elliot Young.

Photography by Elliot Young.

Following a 2015 which saw the band earn great attention, British alternative rockers Deadset Dream are keeping that same success going on stage and recently through the release of new single Snakes and Ladders. The track is a rousingly infectious slice of melody thick rock ‘n’ roll driven by the warm jangle of guitar aligned with emotively shaped vocals, and very swiftly is very satisfying.

ARTWORK_RingMasterReviewFormed on 2013, Sheffield hailing Deadset Dream has bred and honed their sound into a flavoursome proposition matched in strength by the interest it has sparked. As mentioned earlier, last year was the most potent yet for the quintet of vocalist Shiney Lingwood, guitarists Dan Burridge and Alex Hudson, bassist James Yeaman, and drummer Conor Burridge. Live, the band supported the likes of Funeral for a Friend, Roam, and Autumn Ruin as well as selling out Sheffield’s Corporation towards its end. The release of The Fall, a single taken from Battlecry, the band’s first EP in three years, only added to Deadset Dream’s success with their reputation growing in tandem.

Surging into 2016 with the same live intensity, Deadset Dream gives attention another firm nudge with Snakes and Ladders. The single initially caresses ears with a guitar jangle before Lingwood counts down to an immediately catchy and evocative flow of riffs and melodies around his following plaintive vocals. With rhythms framing all with their own infectious drama, the track croons and rumbles as it sweeps ears up in its anthemically toned adventure.

There is a feel of Mallory Knox and Bring Me The Horizon to the song, open hues which add to an overall roar which fires up the appetite for the Deadset Dream sound. Produced by James Pinder of Treehouse Studios, who lists the likes of Bullet For My Valentine and Fightstar on his CV, Snakes and Ladders suggests this year is more than capable of matching the last in the ascent of Deadset Dream.

Snakes and Ladders is out now with Deadset Dream playing the Kaya Festival in Wales August 7th.

https://www.facebook.com/deadsetdreamband   https://twitter.com/deadsetdreamuk

Pete RingMaster 04/08/2016

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

Beaumont – Nothing

Beaumont_RingMasterReview

Creating alternative rock with a nice line in pop punk to it, Beaumont is a newly emerging proposal for the British rock scene to contemplate. The beginning of May saw the Birmingham-based quintet release their debut EP, Nothing; a five-track romp of infectious energy and melodic tenacity which quite simply commands attention. That is not to say that Beaumont have come across major uniqueness in their sound yet but with strong potential fuelling its presence, it certainly is something easy to take a real shine to.

Taking their name from a character in Shakespeare’s Henry V, Beaumont is a creative union of friends mixing the melancholic heart of their lyrical exploration with the vibrant catchiness of a melody rich sound. 2015 was a busy year for the band with shows alongside the likes of Light You Up and WSTR a particular highlight to add to individual experiences seeing members touring and playing with bands such as Four Year Strong, ROAM, State Champs, and A Loss For Words over the last few years. Produced by John Mitchell (Lower Than Atlantis, You Me At Six), Nothing is the band’s introduction to a broader national spotlight, and such its vivacity alone, easy to see an invitation rewarded with new fans and keen praise.

With songs which in the words of vocalist Spencer Edmonds, “…cover a range of emotions from hatred and greed to loneliness,” adding “It’s a snapshot of how we were feeling at specific times over the last two years…” , Nothing swiftly entices and pleases with opener Cheapside. An initial melody coaxes ears before thumping beats and spicier melodies join its welcome in league with an already throatily potent bassline. Edmonds’ vocals complete the creative scenery, quickly impressing in quality and expression as he shares the melancholic angst of the song. As mentioned previously, the solemn reflection of word and voice comes bound in lively sounds around a swinging gait driven by the contagious bassline of Reece Aleksander and Mitchell Dornan’s scything beats. It is a web, with guitarists Jake Murray and Chris Inston tenacious in riffs and grooves, which refuses to be ignored as it provides a potent start to the EP soon matched by the excellent Boys & Girls.

BEAUMONT NOTHING EP COVER_RingMasterReviewThe second song makes a bolder entrance, keeping its boisterous character going as it slips into a pop punk infused stroll with nagging riffs and eagerly prowling rhythms. Edmonds again impresses as great harmonies soar around him at times, it all gaining greater energy in the track’s rousing chorus which just tops the thrilling encounter perfectly before it hands ears over to the emotively shadowed and musically vibrant Miserable. Riffs and hooks have a bite to them, backed by the rapier swings of Dornan, which accentuates and gives greater character to the melodic endeavour surrounding them. With its predecessor, the song provides the pinnacle of the EP, though the ‘step down’ is barely noticeable as Art School manages to simultaneously croon with emotive flame while whipping up a feisty physical involvement. It might lack the extra spark of adventure of the previous pair, but in no time it tempts with throbbing riffs from bass and guitar amidst the contagious nature of hooks and group vocals, and a blaze of a chorus.

The Springsteen referencing E Street brings Nothing to a strong close, it too missing that final piece of the jigsaw yet has ears and enjoyment hungry for more whilst showing fresh aspects to the songwriting and sound of Beaumont. As catchy as anything on the EP, it makes a fine end to a thoroughly engaging and satisfying first look at and listen to a band with promise and imagination which alone could see them make great strides ahead.

The Nothing EP is out now via Reclaim Music through most online stores.

https://www.facebook.com/beaumontuk   http://www.twitter.com/beaumontuk   http://reclaimmusicgroup.com/artists/beaumont/

Pete RingMaster 06/05/2016

Copyright RingMaster: MyFreeCopyright

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