The Winachi Tribe VS Sense Of Danger

Print_RingMaster Review

With feet and hips, not forgetting imagination, still sweaty from the rousing temptation of last year’s impressive single Time For Love, the increasingly addictive charm and invention of The Winachi Tribe has set out to work them up all over again with its successor Sense Of Danger. The band’s new single is a magnetic and almost imposingly infectious shuffle of pulsating electronics and skittish rhythms woven into a tapestry of evocative vocals and flirtatious melodies; a proposal which simply confirms The Winachi Tribe as one of Britain’s most mesmeric contagions.

Emerging last year out of Northern D.Funk collective China White, the Warrington/Leeds based band create a funk fuelled, soul bred, dance party which has quickly drawn references to the likes of George Clinton, Massive Attack, and The Happy Mondays, they amongst inspirations to the band which equally include Sly & The Family Stone, Primal Scream, Ian Brown, and The Rolling Stones. As Time For Love and its companion Plant The Seed eagerly showed as the band’s first single, even with those spices The Winachi Tribe only uncages unique proposals and infections of sound which gets right under the skin and into every corner of the body; a quality vocalist Liam Croker, guitarist Jamie McGregor, bassist Richie Rich, keyboardist Antony Egerton, drummer Sam Tushingham, and percussionist Inder Goldfinger have escalated for Sense Of Danger.

The song opens with the raspy but inviting tones of Croker, their echo warming the way for the pulsating rhythms and electronic radiance which swiftly link their hypnotic motion with the obeying reactions of the listener. Within a few breaths the track is in control of body and thoughts, its flirtatious movement and rhythmic dexterity colluding with the atmospheric and provocative textures of keys, guitar, and voice. At certain moments it is a Tom Tom Club meets Thompson Twins incitement and in other times leaning towards a darker The Happy Mondays/Talking Heads hue but all the time an irresistible lure impossible to resist.

Accompanying the track is I Sense Danger (Everybody’s Got Their Price – Remix); a more energetic and flirtatious take on the lead song replacing the it’s shadows with livelier shards of electronic tempting and energetic tenacity. Its predecessor was a magnetic saunter, a seductive crawl through ears whereas the second song blossoms into a boisterous canter with matching elegance and compelling revelry for similar responses.

Both tracks feed body and soul, and each suggest they are just the next step in the inevitable ascent of The Winachi Tribe into one of the UK’s most greedily devoured bands.

Sense Of Danger is out now digitally on iTunes with a Ltd Edition Hard Copy also available.

http://thewinachitribe.com/   https://www.facebook.com/thewinachitribe   https://twitter.com/winachitribe

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

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

Burn The Ocean – Come Clean

BTO_RingMaster Review

This month sees the European release of Come Clean, the debut album from Italian rock band Burn The Ocean and an introduction which grabs ears from start to finish with an eventful and passionate mix of alternative/heavy rock.

Rising from the ashes of 2NOVEMBRE, the Genova hailing quartet is made up of guitarist/vocalist Emanuele Pecollo, drummer Davide Di Maggio, and bassist Valentina Di Maggio, all previously in the former band, and guitarist/vocalist Fabio Palombi of Nerve and Ritual Of Rebirth. It is a merger of talent which swiftly shines within Come Clean, a release which song by song and listen to listen becomes more potent and enjoyable.

Straight away ears are enticed with Days in November, the opener emerging from the twist of a radio dial with pungent grooves and jabbing beats. It is a strong invitation soon infused with more intimidating textures and glimpses of sinister vocals, though still those initial thick grooves steal ears and appetite. Quickly backed by the vocal unity of Pecollo and Palombi, the track is soon showing a confident swagger and rhythmic muscles as infectious grunge hues colour its thick enticement like Soundgarden with a predatory snarl.

Burn_The_Ocean_come_clean_RingMaster ReviewThe Seed, as persistently used as enticement across the whole album, offers easy to devour grooves and melody sculpted hooks backed by again a potent mix of vocals. With the dark throated tones of Valentina Di Maggio’s bass prowling that thick seduction aside the composed but impacting beats of Davide Di Maggio, the song also grows into a raw yet welcoming grunge shaped incitement encrusted with classic and heavy rock flavours and attitude.

As suggested the album becomes stronger and more compelling with each song, though Land of Mud is more matches its predecessor than outshines it as it strolls along with a lighter catchier gait within tendrils of spicy guitar around moodier rhythms. It is Feast which makes the more dramatic proposal with its fiery nature and sonic twang around an inflamed heart represented powerfully by both sets of vocals. It is hard to say that there are any major surprises but the persistently evolving and heftily flavoursome song is only a step up in potency and attraction with its easy to get involved in union of individual prowess and emotive intensity.

Latest single Bitedown comes next, its grouchy but welcoming character the lead into another web of intoxicating grooves and expressive melodies around robustly tenaciously rhythms. The track sizzles in ears, its anthemic antagonism and rousing blaze of sounds virulent drama as it steals top honours in the impressing release.

The dynamic, groove infested cover of Led Zeppelin’s Black Dog soon and boisterously backs up the album’s pinnacle, the track an incendiary roar of sonic fire and creative dexterity exciting ears before making way for the closing allurement of Gone Away. A southern rock infused instrumental crowded with evocative samples, it plays like an epilogue to the vociferous shadows emerging across the themes of its predecessors. Sparking the imagination and unmistakably pleasing ears, the forcibly enticing acoustic rock finishes seducing Come Clean off in magnetic style.

Without lighting a fierce blaze, Burn The Ocean has announced themselves in fine and perpetually impressing style. Come Clean is a release which needs and deserves potent attention to show the depth of its success and potential, whilst suggesting that this is a band with a very promising future.

Come Clean is out now via Sliptrick Records through Amazon and other stores.

http://www.burntheocean.com   https://www.facebook.com/burntheocean

Pete RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

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

The Amputees – The Hitchhiker’s Guide To The Amputees

band photo_RingMaster Review

It has been just over two years since US garage punks The Amputees stirred up strong attention for themselves with the Scream EP, its body and success building on the similarly appealing beginnings founded in its predecessor Commence The Slaughter a year earlier. Always a busy live proposition, now the seven strong collective of musicians return from the studio with The Hitchhiker’s Guide To The Amputees, a four track roar proving their promise drenched sound has now come of age.

To be fair, the new 7” EP is also rich in further potential too, it more the beginning of a new chapter of exploration than a final destination in sound. From day one, The Amputees have never been predictable, in the style of songs, the direction an EP might go, or the line-up at shows but always the septet makes a potent and stirring impact and The Hitchhiker’s Guide To The Amputees is no different; in fact it is the band’s finest moment to date.

front cover_RingMaster ReviewFormed in 2011 by vocalist/guitarist Louis Ramos, the band consists of Gary Young (guitar), Kaleen Reading (drums/guitar), Carrie Ramos (tambourine/vocals), Geena Spigarelli (bassist/vocals), Soledad Alvarado (bass), and Nova Luz (vocals/guitar/bass); musicians uniting in New York City from various US states. Inspirations range from The Beatles and Fleetwood Mac to The Sex Pistols, The Velvet Underground and Black Sabbath to Nirvana amongst many; influences which no doubt go some way to the diversity of the band‘s sound and songs over their trio of EPs.

The new encounter opens with Al Hammer, the song hugging ears with a controlled but dirty guitar before launching into a fiercely rousing slice of punk ‘n’ roll. Louis Ramos immediately stirs things up vocally as riffs and rhythms unite in a combative yet infectious stroll whilst hooks come with a mischievous tempting. In no time a thick anthemic quality entices and grip ears and appetite, infesting its potency into the vocals too as fiery grooves and sonic enterprise add their tenacity to the inescapable contagion driven by confrontational rhythms.

The song is superb, alone sure to wake up broader spotlights upon the band, though the following Dogrose will pull its fair share of keen appetites too. A boisterous riff steps forward first with a lure which is almost Rocky like in its challenge and invitation, though the biggest bait is the female vocals which lay tempting tones across the emerging song almost as instantly. We cannot say which of the ladies provides the lead, but her tones only seduce as the song bristles and rumbles in something akin to Breeders meets The Passions with a touch of The Raincoats to it.

Ego dives straight in next, riffs and beats inspiring a feisty stomp as vocals and guitars spread their raucous attitude and tangy resourcefulness respectively. A minute and a half of punk ferocity, the song as its predecessors, also uncages the keenest hooks and spiciest melodic twists to grab attention and ignite the passions before Dogmother grumbles into view to bring the EP to a cantankerous close. Grouchy and compelling, band and song merges grunge and garage punk to infest body and psyche with a proposal which swiftly has you heading back to the play button once it departs.

As suggested The Hitchhiker’s Guide To The Amputees is the band’s finest moment so far, and clearly so, such its step forward from those previously impressive encounters. The Amputees should be stirring up crowds and ears far from home and after their new EP escapes that might just begin to happen.

The Hitchhiker’s Guide To The Amputees is released on February 13th on Money Fire Records.

http://www.theamputees.org   https://www.facebook.com/theamputees

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

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

GET OUT. – Let Me In

photo by kim zangrando

photo by kim zangrando

Formed in 2014, GET OUT. is a Kingston, New York bred outfit showing a healthy appetite for a vast range of rock ‘n’ roll. Evidence comes with debut album Let Me In and its collection of tracks seeded in thick and varied essences from heavy rock, metal, punk, and plenty more. The result is a potent sound which gets straight to the point without distracting frills and a commandingly solid release providing increasingly thickening enjoyment.

With its members experiences in local, national, and international music scenes, GET OUT. has all the instincts and imagination to grab attention and get the body rocking. Scarab of Green quickly proves the point, the opener almost prowling ears with predation guided rhythms and fiery grooves before taking a lumbering stroll awash with spicy guitar coaxing from Ryan Rios and Jeremy Swift. Against more intensive and intimidating rhythms, it is an appealing start added to by the strong vocals of Morgan Y. Evans and blossoming further as the heavy rock enterprise of the song increasingly broadens in flavouring and aggression lined catchiness across its body.

Bloody Marys steps up next with sonic winds surrounding the rolling rhythms of drummer Greg Allen, this soon turning into an inviting mix of grouchy riffs and feverish grooves within a muscular frame stalked by an intimidating bassline. As its predecessor, the track has a hazy hard and blues rock air to its tone, the first of many hues spicing up the adventurous sounds within Let Me In, the metal fuelled Seven Heavens swift confirmation. From riff to rhythm, the song has a harsher intimidating edge to its body and attitude, nagging grooves and the thunderous bass of Colin Brown especially tasty against another strong lure of vocals. Sure to get anyone’s feet stomping and hips eager for the mosh pit, the track quickly hits the spot.

Album art by Chris Smith

Album art by Chris Smith

The melodically shimmering Master of Storms has similar success with its mellow croon and evocative melodies which lead to an alternative/melodic rock roar. As provocatively anthemic as anything on the album, it seduces and rouses the spirit with imagination before the sinew spun Chameleon strides in with a heavy rock swagger and bluesy climate. Carrying a rock pop scent to its infectious body too, the song stirs ears and appetite, though admittedly not quite as forcibly as the rampant rock ‘n’ roll of the album’s title track; Let Me In a robustly tenacious and energetically wilful stomp refusing to take no as an answer to its snarling infection.

The latter part of the album holds the strongest tracks, that particular highlight making way for another pair in the shape of the stoner-esque heated Moon Harvest and straight after, the great punk ‘n’ roll tearaway that is Faded. The first of the two is another slow gaited but intensively bodied proposition taking deliberately heavy steps across the senses whilst confronting ears with rapacious grooves and growling riffs aligned to scything rhythms. Its contagion drenched successor is simply a storming incitement of high octane riffs and attitude loaded rhythms guided by the ever impressing vocals of Evans and band. With the previous song to the pair, they make the best extensive moment within Let Me In, simultaneously revealing more of the diversity within the band’s sound.

The burning rock ‘n’ roll of Dagger Complex brings the album to a thumping close, its heavy rock a match for the offerings right before it with it’s in the face dynamics courted by virulent aggression and blood-pumping energy. It is a fine end to a release which, though for personal tastes Let Me In is a few flames short of the raging blaze it might have been, gives full enjoyment and you cannot be much greedier than that.

Let Me In is available from January 15th on iTunes and through the GET OUT. bandcamp.

https://www.facebook.com/getoutrock    http://getoutband.com

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

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

MountainJam – Lemon and Lime

MJ_RingMaster Review

Having lured attention with their first pair of singles last year and even more when those tracks came together with further new offerings to form a debut EP, UK rock band MountainJam has more than suggested they are an emerging talent to keep a close eye and ear upon. The release of the Tamworth/Hinckley quartet’s new single Lemon & Lime only adds weight to that intimation and the sizeable potential already showing its potency within the band’s captivating sound.

A boisterous rock ‘n’ roll stroll bred with the spicy strains of alternative and indie rock aligned to fiery blues flames, Lemon & Lime shows another shade to the colourful tenacious weave of melody, harmony, and rousing energy which predominantly shapes a MountainJam song. Inspirations to the band comes through the likes of The Rolling Stones, The Who, Small Faces, The Doors, Cream, The Verve, The Stone Roses, and Neil Young, and as in previous songs here they are spices which, if not openly fuelling the encounter, reveal some of the sources to its imagination and invention. Formed early 2015, the foursome of Dean Dovey (vocals, rhythm guitar), Andy Varden (lead guitar), Nick Roberts (bass), and Pez (drums) soon caught ears and appetite with their double A-sided single debut Jealous Of Me/Lust last July and its quickly following successor Lord of My Hours. They subsequently became part of the release simply called EP which ignited even stronger awareness of MountainJam, an awareness which Lemon & Lime can only successfully reinforce.

The song cups ears in a sonic mist initially, intriguingly holding the senses as a pungent union of sonic tendrils from the guitars and resonance fitted bass tempting gets involved. With firm beats in the mix too, the track soon blossoms a heated mesh of enterprise against which the potent vocals of Dovey begin sharing the lyrical persuasion. In turn catchy hooks and a swinging groove join in the sweltering fun, bringing greater blues essences into the flowing and evolving landscape of a track. Such the resourcefulness of the songwriting and imagination, every roaming riff and twist of that evocative bait loaded groove seems to find another dimension within the song’s design, a shimmering psyche rock breath and pop rock tenacity further aspects breaking out within the festivity to prove the point.

For personal tastes Lemon & Lime does not quite match up to previous tracks The Lord of My Hours or Lust yet as all offerings from MountainJam to date, it leaves pleasure full and anticipation of more rife. If you are yet to explore the rock escapades of MountainJam then Lemon & Lime is the perfect tonic to get enticed by.

Lemon & Lime is available now

https://www.facebook.com/MountainJam2015/    https://twitter.com/mountainjam2015

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

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

Incendiary Arousals: Twenty one Metal/Noise/Rock releases which lit up The RingMaster Review in 2015

2015 was a year of creative savagery and rousing, anthemic glories within metal, rock, and noise driven genres. The RingMaster Review picks out those EPs/albums covered by the site which especially sparked ears and passions.

 

OMNISCIENT_FC_RingMaster Review

Desert Storm – Omniscient
https://ringmasterreviewintroduces.wordpress.com/2015/01/22/desert-storm-omniscient/

Skindred – Volume
https://ringmasterreviewintroduces.wordpress.com/2015/10/29/skindred-volume/

William English – Basic Human Error
https://ringmasterreviewintroduces.wordpress.com/2015/07/01/william-english-basic-human-error/

Arcade Messiah – II
https://ringmasterreviewintroduces.wordpress.com/2015/11/23/arcade-messiah-ii/

Arcade-Messiah-II-Cover_RingMaster Review

Tirades – Lifetime of Wars
https://ringmasterreviewintroduces.wordpress.com/2016/01/08/tirades-lifetime-of-wars/

Raketkanon – Rktkn#2
https://ringmasterreviewintroduces.wordpress.com/2015/04/15/raketkanon-rktkn2/

Show of Bedlam – Roont
https://ringmasterreviewintroduces.wordpress.com/2015/05/08/show-of-bedlam-roont/

XII Boar – Pitworthy
https://ringmasterreviewintroduces.wordpress.com/2015/03/10/xii-boar-pitworthy/

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Jess & The Ancient Ones – Second Psychedelic Coming: The Aquarius Tapes
https://ringmasterreviewintroduces.wordpress.com/2015/12/08/jess-the-ancient-ones-second-psychedelic-coming-the-aquarius-tapes/

Shevils – The White Sea
https://ringmasterreviewintroduces.wordpress.com/2015/11/04/shevils-the-white-sea/

Shattered Skies – The World We Used To Know
https://ringmasterreviewintroduces.wordpress.com/2015/01/15/shattered-skies-the-world-we-used-to-know/

Possessor – Stay Dead
https://ringmasterreviewintroduces.wordpress.com/2015/04/02/possessor-stay-dead/

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Grumpynators – Wonderland
https://ringmasterreviewintroduces.wordpress.com/2015/05/21/grumpynators-wonderland/

Shaving The Werewolf – The Pissing Link
https://ringmasterreviewintroduces.wordpress.com/2015/12/09/shaving-the-werewolf-the-pissing-link/

Sofy Major – Waste
https://ringmasterreviewintroduces.wordpress.com/2015/10/14/sofy-major-waste/

6:33 – Deadly Scenes
https://ringmasterreviewintroduces.wordpress.com/2015/01/12/633-deadly-scenes/

art6:33_RingMaster Review

Murdock – Dead Lung
https://ringmasterreviewintroduces.wordpress.com/2015/04/17/murdock-dead-lung/

Grenouer – Unwanted Today
https://ringmasterreviewintroduces.wordpress.com/2015/03/20/grenouer-unwanted-today/

Markradonn – The Serpentine Deception
https://ringmasterreviewintroduces.wordpress.com/2015/12/15/markradonn-the-serpentine-deception/

We’ll Go Machete – Smile Club
https://ringmasterreviewintroduces.wordpress.com/2015/08/27/well-go-machete-smile-club/

 

cover_RingMaster Review

TesseracT – Polaris

https://ringmasterreviewintroduces.wordpress.com/2015/09/27/tesseract-polaris/

The RingMaster Review 01/01/2016

Copyright RingMaster: MyFreeCopyright

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

The Migrant – Flood

Pic by Arne Marius Skogås

Pic by Arne Marius Skogås

We all like to be romanced and seduced and that is exactly what The Migrant does with new album Flood. It is a warm melodic smile with melancholy at its corners; a collection of songs which wander through vibrant folk and pop rock landscapes with psychedelia aired exploration and magnetic intimacy. The album is gorgeous, a fascination which becomes even more irresistible with every gaze upon its aural beauty.

Hailing from Denmark, The Migrant is the creation of Copenhagen songwriter Bjarke Bendtsen, a project hugging a fine group of musicians when seducing live audiences around the globe. Critically acclaimed albums in 2011’s Amerika and Beads two years later have caught international attention already, both building on the potent start made by debut album Travels in Lowland in 2010. Recorded in a Danish summer cottage with the musicians that accompany Bendtsen on European stages, Flood simply envelops the listener in evocative and invigorating portraits of sound and vocal expression. Released earlier in 2015 in Denmark and Germany via DevilDuck Records, the album swiftly ignited the plaudits of media and fans alike and with its UK release at the tail end of last year through Cardiff imprint Rockpie, it is now finding matching success here too.

First track Climbers sets the tone and first inescapable lure, a reserved but energetic shuffle of a proposal which skips and flirts across ears with its flighty rhythms, acoustic caresses, and vocal temptation. In no time feet are bouncing and emotions dancing with the blend of poetic melodies, reflective vocals, and a dose of Sicilian laced guitar enterprise. The song is pure contagion, a gentle but bold enslavement quickly matched by the similarly tenacious charm and revelry of The Fixer. Harmonies play like the call of a steam train initially before Bendtsen serenades the imagination from within another acoustic hug. With a touch of Billy Momo to it, the track has body and energies leaping with ease and an already sparked appetite for the release greedier.

Flood-cover_RingMaster Review   The album’s title track slips in next, Flood providing a low key magnetic croon with drama waiting and building in its wings as flirtatious rhythms and a suggestive atmosphere infuse its walls. Things never reach the level of exploding but persistently shadow and add endearing shade to the mesmeric call of the song before it makes way for the outstanding Belly of a Man. Straight away it has a more boisterous air and energy to its temptation, rocking and rolling with certain restraint whilst wearing a broad harmonic grin coloured with seventies psychedelic hues. Before you know it, voice and heart are wrapped up in its rapture, eager involvement a given before half way and only increasing as its seriously catchy momentum builds to a thrilling climax.

Recent single Silence follows, it one of those songs you feel you already know without reason. With sultry sways of guitar and the ever radiant vocals and harmonies around throbbing rhythms, the track runs persuasive fingers down the spine to seduce and thrill. A shoegaze scent only adds to the sonic splendour and thick success made, the variety of creative flavouring again open within Flood and individually showing within Water as fizzy blues spices are filtered by guitars into enticing melodies across an exuberant character.

From its feisty adventure a calmer climate appears next with Give Up, the song an evocative charm of sound and provocative voice with a touch of Paul McCartney and Andy Partridge to it in songwriting and rural suggestiveness. As many tracks, within its oasis of tranquillity an eager energy brews and subsequently drives an increasingly catchy stroll.

The delicious smouldering swing of Haunted Takes over next, the song a majestic slow stepping intoxication with melancholic radiance carrying more drama and impact in its first minute than many albums can find in their whole body. The track really does haunt ears and thoughts, becoming a wonderfully lingering contemplation still working away long past taking its leave.

The duo of Tiger and Row Row bring the sublime release to a close, the first a balmy and again reserved proposition which prowls ears in its unique way whilst building up to almost overpowering and exhilarating crescendos with more than a whiff of Liverpool artists like Pete Wylie and Echo and The Bunnymen to them. Its successor simply kisses ears with slim acoustic elegance leading to psych pop sultriness, and though it arguably remains overshadowed by its stirring predecessor, the song has ears transfixed and pleasure ripe to end Flood with another fine moment to heartily devour.

Flood is simply sensational, in its subtle way as Homeric and monumental as it is intimately spellbinding, and one of last year’s real triumphs.

Flood is out now in the UK via Rockpie and available @ https://themigrant.bandcamp.com/album/flood

http://themigrant.net/   https://www.facebook.com/themigrant   https://twitter.com/themigrantmusic

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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