Lee Murray – Rust

Ok let us first dispense of the elephant in the room. Lee Murray was once the drummer of nineties pop band Let Loose which had a host of hits including Crazy For You but do not hold that against him as you contemplate checking out his new solo single Rust. You will find a song which is an infectious slice of rock pop with a steely edge to its textures and acts like a magnet from start to finish.

Already renowned for his drumming, Murray is equally skilled as a composer and producer. In his own songwriting and solo sound he has drawn on inspirations ranging from Kaiser Chiefs and The Killers to Depeche Mode and Gary Numan, the latter a definite spicing to the single. Equally it has a feel of The Wonderstuff to it especially around one contagious chorus.

Straight away riffs and rhythms tenaciously invite attention, crowding enticingly around Murray’s potent tones as guitars send melodic flames across their bow. It all unites in time for a rigorously catchy surge leading to that vibrant chorus, repeating the cycle with increasing energy and a fervour which reflects the song’s theme of getting sucked into a toxic relationship which is initially exciting, but one where “you’re attracted to the danger and free spirit only to find it becomes destructive”.

We will admit we were surprised by Rust, quickly enamoured, and now rather intrigued to find out if the song is a potent sign of things to come from his solo adventure.

Rust is available to pre-order now and to download from October 6th 2017.

https://www.facebook.com/officialleemurray/    http://twitter.com/leemurraymint

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Twister – 64 White Lies

Not quite a year ago, UK rock outfit Twister grabbed our ears and attention, like with so many others, through the Designed State of Mind EP. It was an infectious yet meaty collection of melodically woven, rousingly catchy rock pop openly rich in a potential which has since been realised and pushed again by a debut album and now new single 64 White Lies.

The Durham hailing outfit formed in 2004 and has grown to be one of the more enticing rock propositions on the British scene as well as a powerful and acclaimed live encounter. Over the years they have played with the likes of Status Quo, Simple Minds, Texas, Scouting for Girls, Ron Thal (Bumblefoot),  Jools Holland, and The Joy Formidable and finished in overall second place out of 12,000 acts in the Surface Festival. The Designed State of Mind EP was a definite nudge on bigger recognition of their powerful sound with its release last year and more than built upon by first album Combined State of Mind released this past May.

Taken from that full-length, 64 White Lies epitomises the band’s strongly written and potently crafted sound. It might not be bursting with surprises as a song but everything about it is adventurous and an adventure for the listener. From its opening melodic tease of guitar and the swiftly following wave of muscular rhythms and pressing riffs, the song has ears in the palms of its creative hands. The engaging tones of vocalist/guitarist Stevie Stoker only reinforce the temptation; his voice melodic warmth within the more volatile roar of sound and intensity.

With the strolling bassline of Matt Whitaker and the wickedly swung beats of drummer Joe Major striking bait alongside the creative inducement of guitarist Jake Grime and Stoker, the song is an instinctive surge of heart and craft as effective in its composed moments as in its fiery roar. It is a mix of the enticingly familiar and appetisingly fresh which makes a delving into Combined State of Mind and the incoming horizons of Twister an inevitable next move.

64 White Lies is released September 22nd.

http://www.officialtwister.co.uk/    https://www.facebook.com/TwisterUK    https://twitter.com/wearetwister

Pete RingMaster 12/09/2017

Copyright RingMaster: MyFreeCopyright

Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Kill for Eden – Woke Up Alone

Ahead of their new album Petty Crimes, due for release out April 21st, UK rockers Kill for Eden have just provided a sure temptation to anticipate and explore its body with new single Woke Up Alone. A magnetic slice of fire lined melody and captivating contrasts, the song is impassioned rock ‘n’ roll, as much punk as pop and hard rock in its character and thoroughly enjoyable.

London based and formed in 2012, the quartet have an already well-received pair of EPs and self-titled album under their belt, releases along with their live presence which has earned praise and support from fans and media alike. With Woke Up Alone as a clue, the upcoming album feels like it could be a step to wider recognition and richer attention, especially if it builds and pushes further the growth of sound and imagination found in their new single.

A crash of guitar and soaring harmonies is the first spark grabbing the imagination, a lively lure which soon settles into a calm moment of melodic strumming alongside Lyla D’Souza’s magnetic voice. Julian Palmer’s bass soon brings its brooding essence to the blossoming mix before a subsequent eruption of emotion and intensity. It is never near being a storm, as riffs sizzle, Dave Garfield Bown continuing to cast his melodic web while drummer Wally Miroshnikov has control in his swings yet that punk essence is a bold and forceful edge to a moment and chorus which is equally new wave like in its catchiness and warmth. D’Souza also continues to impress and captivate, her fire perfectly ebbing and flowing with the rise and simmer of the sounds around her.

As the song increases its hold with every listen, its infectious side in many ways reveals kinship with the Buzzcocks, more importantly it also wakes up an appetite to see what Petty Crimes has in store; more of the same would go down very well.

Woke Up Alone is out now with Petty Crimes released April 21st.

Upcoming Live Dates:

Thursday 4 May – The 100 Club, London W1, supporting The Barnstormers. (album launch)

Saturday 6 May – Hanwell Hootie Festival – London

Friday 19 May – The Great Escape Brighton (pm) & The Iron Road – Evesham (eve)

Friday 26 May – Phoenix Bar, High Wycombe

Tuesday 30 May – The Horn – St. Albans

http://www.killforeden.com/    https://twitter.com/KillForEden   https://www.facebook.com/killforedenrock

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Twister – Designed State of Mind

twister-pic-2_RingMasterReview

Since forming, UK rock pop band Twister has shared stages with the likes of Status Quo, Simple Minds, Texas, Scouting for Girls, Jools Holland, and The Joy Formidable, Guns ’n’ Roses guitarist Ron Thal (Bumblefoot) on his 2015 UK tour, and finished second out of 12,000 acts in the Surface Festival. Each moment has drawn praise and vocal support, something not hard to understand whilst listening to the band’s new mini album Designed State of Mind.

Offering six vibrant and emotionally intensive affairs, Designed State of Mind catches ears with its instinctive catchiness and the imagination with its accomplished melody rich character. Straight away as opener and the band’s new single hits ears, there is an instant show of new maturity and a blossoming in the band’s sound since previous album This Isn’t Wonderland of 2014. Songs are more rounded and the united craft of the band tighter, Trees alone revelling in that growth. Quickly tangy hooks and spicy melodies entangle with the darker hues of a lively bass, beats swinging with matching eagerness as the infectious encounter descends on ears and appetite. Impossibly contagious by the time of its pop loaded chorus, the track bounces around inspiring the same in body and spirit; Jake Grimes, Matthew Whitaker, and Joe Major a lively proposition around the potent voice of Stevie Stoker.

twister-album-artwork-design_RingMasterReviewed-state-of-mindIt is a thrilling start which the EP at times equals and or closely misses but constantly sparks strong enjoyment starting with Monroe. More of as grower than its predecessor and with a touch of restraint to its seeming want to explode, the song strolls along with rhythmic shadows aligned to reflective melodies as vocals again caress ears with a firm and captivating touch. It too has a chorus which is hard not to get involved in while its melancholic air seduces before the excellent Fist Fight by the Waterside steps forward.

Once more suggestive melodies and tenacious rhythms collude with Stoker’s powerful tones as the song’s character has the spirit and punch its title might suggest. Touching on the predatory at times, the track easily rivals the opener as a main highlight and quickly matched by the mellower reflective charm of Monopolise. Reflective voice and melody coax ears before the song broadens out into an anthemic croon with feisty energy and heart to the fore. There is a touch of ABC to the song, if that band had turned to hard rock, it ending as infectiously enticing as anything on the album.

Designed State of Mind ends with the equally red-blooded Feeding Frenzy, a rousing encounter if missing the final vital spark of previous songs within the album and lastly Fortune Favours the Bold, a warm and boldly engaging song again not quite reaching the heights of before. Nevertheless the pair brings the album to a highly pleasing close adding to a want to hear more from Twister, a Durham hailing band rising up the UK rock scene with every passing success.

Designed State of Mind is out now through most online stores.

https://www.facebook.com/TwisterUK   https://twitter.com/wearetwister

Pete RingMaster 10/10/2016

Copyright RingMaster: MyFreeCopyright

Amaryllis – Nova Initium

Pic Joe Brady Photography

Pic Joe Brady Photography

There is an honesty to the Amaryllis sound, a raw pureness in heart and feel which is as magnetic as the music cast by the British band. The alternative/pop rock quartet comes from London and has already awoken keen interest with a pair of previous EPs; now it is debut album Nova Initium doing the asking of attention as the band’s most resourceful and imaginatively crafted proposition yet.

Formed in late 2012, Amaryllis was a potent live proposal by the following year, backing up on stage and more the promise found in the band’s self-titled debut EP of 2013. It was a release which clocked over 10,000 downloads and 25,000 plays/views. Since then the quartet of vocalist Sante Moonie, guitarist Alex Whiteford, bassist Stewart Whiteford, and drummer Michael Mann have expanded their sound as first hinted at in their 2014 second EP, Revolt, and earned an increasing reputation for a live presence taking in shows with the likes of Elliot Minor, The Dirty Youth, Boy Jumps Ship and more over time. Nova Initium now reveals itself a clear step up on those previous strong successes; in songwriting, sound, and impact whilst still suggesting there is potential of even bigger and bolder as well as increasingly unique things to come.

The album opens with new single Thorn and straightaway an air of drama lines the initial keen strokes of guitar and the darker scythes of the same which soon arise around then with meaty rhythms in tow. In no time those early spark on ears become a rousing stroll with enticing band calls deep within the catchy roar of sound. Things settle down a little as the emotive tones of Moonie join the tempting, her voice as emotionally honest as the sounds fuelling the character of the album and in many ways their lead. There is also an instinctive snarl to her delivery echoing the rawer energy and attitude of the song; every aspect uniting for a potent and highly enjoyable not forgetting memorable start to Nova Initium.

amarcover_RingMasterReviewHold On steps up next, matching its predecessor in tone and intensity as well as organic drama. Riffs and hooks collude to quickly create an ear catching canvas through which the bass prowls and beats land upon with intimidating intent. Again there is an infectiousness which is pop bred but more so a beefiness which unmistakably announces Amaryllis firmly as a hungry rock band. With some great imaginative hooks and unpredictable twists, the song simply builds on the success of the opener before making way for All We Have, a slightly lighter affair with its own depth of emotive reflection and ear pleasing enterprise. Moonie again only impresses, especially when she brings a bolder roar to her delivery, whilst the Whiteford’s guitar and bass enterprise show great invention in uniting calm and explosive contrasts and textures.

Bounding along with emotive and energetic liveliness, Basement has attention and appetite for the release firmly held, if without quite leaping through ears with the same immediate potency as those before it. With an infectious swing led by the vocals of Moonie and band, it is not too long before the song has convinced and involved feet and voice though, with the atmospheric Nova following to tantalise and reinforce the album’s capture of the imagination. There is a great theatre to its brief presence; a shortness suggesting it is more a lead into its successor Initium than a standalone proposal which in a way is a shame because the piece really grips attention with its provocative tone and craft and feels like unfinished business by the time it drifts away. It is a missed opportunity maybe, though Initium provides its own tapestry of invention and adventure to quickly lure all attention its way.

The groove infested rock ‘n’ roll of Drown hits the spot straight after, the track a heavier rumble with certain grouchiness to riffs and rhythms; they contrasted by the warm harmonies and melodies crowding round Moonie’s engaging voice. Emerging as one of the bigger favourites within the album, it departs for the accomplished balladry of Rain which brings Nova Initium to an increasingly mesmeric close.

Across Nova Initium, Amaryllis reveals their most expansive canvas of variety and imagination yet. It might lack that final explosive spark at times, the last element to ensure that the release explodes on the ear but there is no escaping that it is also an encounter which announces the band as something different and exciting, with as suggested earlier, the promise of even more impressive things to come.

Nova Initium is out now @ https://amaryllisuk.bandcamp.com/album/nova-initium and http://amaryllis.bigcartel.com

Upcoming Live Dates:

May

20th – B2, Norwich

21st – Scruffy Murphys, Birmingham

22nd – Leeds, Milo Bar

June

4th – Camden Rocks Festival

https://www.facebook.com/AmaryllisUK   https://twitter.com/amaryllisuk

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

The Ellipsis – Wasted Potential Me

The Ellipsis_RingMasterReview

The Ellipsis is a young British band with a very easy on the ears ability to weave melodies which sing in the imagination while a virulent catchiness springs upon the body. The evidence is in their recently released debut EP Mind In The Sky and now their rousing new single Wasted Potential Me. Taken from that EP, it is a spirit raising, energy enticing wake up call to newcomers and a confirmation for those in the know that the Coventry hailing indie rockers are the real deal.

With its seeds sown when guitarist John Connearn and drummer Ben Eardley formed their first musical project as twelve year olds, The Ellipsis, with bassist Harry Green and vocalist/rhythm guitarist Henry Bristow completing the line-up, has become a potent presence not only on their local live scene but spreading across the UK. Their emergence has been more than helped by potent tracks like debut single White Feather and impressive live performances at the likes of the Wychwood festival, when headlining Coventry OxJam, and in front of 30,000 rugby fans at the Ricoh Arena. Radio play has been a courting support too and it is easy to expect the band to have more with Wasted Potential Me stirring up ears and further attention.

From its first seconds and a great bait of eager guitar, the song is soon in command of ears and appetite, the swinging beats of Eardley and strolling dark tones of Green’s bass alone thick temptation. Into a seriously catchy stride and character, with the rhythms continuing to jab and incite feet and hips, warm harmonies and Bristow’s engaging vocals soon enjoyably collude with spicy grooves and flirtatious melodies.

At times there is a touch of The Vapours to the song, The Farmer Boys meets Lightning Seeds too; a slight whiff of nostalgia which only adds to the captivation and inescapable addictive roar of the song.

Wasted Potential Me is no one off in The Ellipsis sound, having checked out their EP on the back of it for proof, but it is one of their most dynamic slices of distinctive pop rock which all should think about adding to their impending summers.

Wasted Potential Me is out now @ https://theellipsis.bandcamp.com/

Upcoming Live Dates

Sat 4th June – Coventry, Motofest

Fri 1st July – Coventry, Godiva Festival

Fri 7th July – Napton Music Festival

Sat 8th July – Nuneaton, Nunfest

https://www.facebook.com/theellipsisuk/   https://twitter.com/TheEllipsisUK

Check out the video for Wasted Potential Me @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete Ringmaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com