Mellor – Damage/ Joy


Formed in 2011, British quartet Mellor has earned some high praise and interest from fans and media alike, and there are plenty of reasons to expect things to continue and get busier around the band with the release of new EP Damage/ Joy. Four tracks which leap and bound into the imagination, the EP is a rousing slice of kinetic indie pop easy to get a healthy taste for.

The band itself calls their sound “Pop Smack”, but it can be best described as raucous Brit pop with an arsenal of twists. On the EP, it is like a galvanic stomp woven from the indie adventure of The Jackals, the punkishness of a Top Buzzer, the eighties fervour of a Purple Hearts or Secret Affair, and the transatlantic mischief of Weezer. It is a sound which has already lured potent attention through a trio of singles and a debut EP to date as well as a highly praised live presence which has seen the band share stages with bands such as The Milk, Carl Barat, and The Kooks. Now it is the turn of the Mo Hausler (Babyshambles, Everything Everything) produced Damage/ Joy to whip up fresh ears and appetites the way of Reading quartet Gary, Josh, Evert, and Sam.

The release gets straight down to it too with opener Win Me Over. Punchy rhythms and a fine clash of guitar swiftly springs a hook lined swagger which soon has hips and ears locked into it’s a seriously catchy and flirtatious stroll. Bursts of feisty energy and aggression add to the spicy drama on offer whilst its melodic infectiousness and rhythmic shuffle is not too far removed from sixties beat bands like Herman’s Hermits.

logo_RingMasterReviewIt is a gripping and eventful proposal entangling a host of flavours across the decades into its bouncing body; a treat of imagination emulated again in Dolly Daydream. A slower but no less enticing proposal which gets increasingly compelling with every minute, the song is a serenade of emotive keys and vocal prowess within rhythmic shadows and an underlying but restrained urgency. It is an energy which gets more of an escape in the riveting Going Nowhere, a track which from its delicious opening groan of bass has ears and appetite on board. Sultry caresses of guitar and melodic seducing need little time to captivate the listener either whilst fiery grooves and the ever potent vocals, as well as that persistent dark lure of rhythms, ensures enjoyment is full to the rim.

The EP closes with Schadenfreude; a rip-roaring romp of indie rock ‘n’ roll with again a breeding in each of the past five decades via various strains of galvanic sound. If reading all the references to times and flavours past triggers thoughts that the band may have missed their time in musical history, be rest assured that Mellor, certainly going by Damage/Joy, is very much a band of the now and one of those with the potential to eventually steer the adventure of the British indie rock ‘n’ pop scene.

Damage/Joy is available from 11th March 2016 via iTunes and other stores.

Upcoming Live Dates:

Saturday 12th March – Oakford Social Club – Reading (READING EP RELEASE SHOW)

Friday 25th March – The Railway – Winchester

Friday 8th April – Sebright Arms – London

Pete RingMaster 10/03/2016

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Gorilla Punch Radio – Self Titled


Embracing a wealth of rock spices and varied flavours, Gorilla Punch Radio on the evidence of their self-titled debut album, tries and succeeds in making every song a slice of impacting revelry whether they are crooning the emotions or making irresistible incitements to feet. Offering ten tracks which leave lingering impressions with their tenaciously crafted and presented exploits, band and album makes for one attention grabbing, ear pleasing introduction.

Hailing from Leeds, the quartet of vocalist James, guitarist Boothy, bassist Sam, and drummer Paul, from the little you can find out about the band online, formed the band at least three years ago and have certainly honed their sound over time to a thoroughly magnetic proposition. Taking inspirations from the likes of Kasabian, Red Hot Chili Peppers, Foo Fighters, Coldplay, James Brown, Radiohead, Green Day, Muse, Nirvana, and Michael Jackson and more, many which can be heard as spices within the album, Gorilla Punch Radio parade a maturity of musicianship and songwriting which suggests experience and definitely imagination is ripe in the band.

The album opens with the single Bragging Rights, a storming stomp of a song which alone has sparked an eager interest in the band. Fiery riffs warm ears right away before the equally appealing vocals join firm rhythms in building up 884477_505528759557315_2743931573666742889_oan attention awakening start to the song. In full swagger, the track finds a blues breath to its melodic endeavour and garage rock urgency to its stride, infecting the imagination and emotions like a horny mix of The Stones and The Killers. It is a richly contagious start to the album ensuring appetite and satisfaction is at a high ready for the following adventures.

Pick Yourself Up, the second single from the album, comes next and instantly swings a mellow tone over the senses, acoustic enticing and again the impressive vocals of James caressing ears with reflective expression. The song soon lifts its feet for the feistier engagement of the chorus whilst the earthy yet elegant croon of the song continues to embrace thoughts. The song is a gripping proposition which gains strength with every listen, much like the album. With bulging beats and group harmonies pushing its climax to greater potency, the excellent track makes way for the melodic rock stroll of I’ve Got Your Back. Though the song does not quite match its predecessors in presence and magnetism, it is a lively proposition blessed with a jazz funk jangle and sultry flames of guitar but it is it’s the rousing quality which the band instil in all their tracks, even the ballads, which steals the imagination.

Starting with a burst of sixties garage rock, thoughts of The Monkees swiftly hinting, Burn this City to the Ground erupts in a blaze of raw rock ‘n’ roll with hooks and riffs creating a scintillating tapestry. The track stands like a union between the more mod like rock of The Who and Secret Affair and the stronger blues bred enterprise of a Bad Company. The track continues to twist and turn with relish in its invention and passion in its expressive colour. The bass provides its own sublime throaty temptation whilst the magnetic guitar craft of Boothy simply ignites the track further for another major moment of the album.

Both Shadows and Follow You wind things down a little, certainly against the previous treat, but each immerses the listener into scenery of down to earth life and emotion. The first of the two glides with another impressive acoustic seduction aligned to reserved yet pungent rhythms which punctuate the evocative vocals and their lyrical narrative. There is an intimacy to the track, as many on the release, which draws in thoughts and connections. The second of the pair has that same charm as it bewitches from the start with a slow brooding expression and sound before erupting in a folk seeded romp which swiftly has feet and emotions waltzing with its punchy persuasion. A song which you could not dislike if you tried, it adds another string to the creative bow of Gorilla Punch Radio and texture to the album.

As does the excellent funk festivity of Tease, a sultry boogie primed for personal and dance-floor use. With a gnarly tone to the bass as flirtatious as the melodic vivacity and Red Hot Chili Peppers like rhythmic agitation, the track is an addiction waiting to prey on body and soul. It is a powerful weapon for the album emulated by the smouldering melodic flight of Breathe, its glowing melodies and enticing vocal harmonies absorbing hues in a riveting weave of emotional and sonic exploration.

The album is brought to a close by firstly the climactic power of Song for the Underdog, a track with thumping rhythms courting a compelling anthem of strenuous riffs and incendiary hooks. It is a glorious call to ears and passions, the best track on the album and incredibly virulent in every individual casting of the band’s lines as well as their combined explosive ingenuity. It epitomises the band’s songwriting, huge hooks and binding grooves locked into expressive and intricate invention. It is followed by Jane, the song another mesmeric ballad where vocals and guitar simply shine. To be honest the big sinew busting songs from the band have the edge for personal tastes but there is no escaping the elegance and beauty of their balladry or its persistent suasion.

Gorilla Punch Radio is a band you are destined to come across time and time again, as they can only get even better which is a truly exciting prospect after the impressive triumph of their album.

Gorilla Punch Radio is available now @


RingMaster 28/08/2014

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The Tax – Eternia

The Tax image

Combining evocative essences of indie, rock, and electro pop into a refreshing and infectious sound, The Tax is a band set to garner major attention nationwide especially with the forth coming release of debut album Eternia. The London quintet certainly set attention and enthusiasm in motion with the release of their first EP Someone Is Watching You nearing the end of last year and with their full length release confirm and push all the positive thoughts and emotions already gathered towards them into fully blown acclaim.

Formed in early 2012 and featuring ex-members of successful group The Betarays, a band which wowed audiences at such places as the famous Cavern Club in Liverpool and became the Famegames and Meer music band of the year in 2011, The Tax offers an intelligent and contagious brew of irresistible pop and synth warmth with a sinewy spine from the towering rhythm section. The new album is an easily accessible release but one which is rich in thought and carefully crafted, using defined washes of melodies and inciting invention rather than easy cheap tricks to capture the heart. The more you listen to it the better it sounds too making it one of the first essential releases of the year.

Produced by acclaimed producer Tim Hamill, who has worked with the likes of The Manic street Preachers, Duffy and the Stories, the album instantly lures you in with the opening dawn of groaning synths of first track Am I Ever Gonna Get You Back. Turning into a melodic stroll which echoes eighties hard rock and new wave electro pop of an Aha, an uncertainty is initially brewed but soon dispelled as the vocals of George Hill and their renowned quality adds real expression to the now intriguing song aided wonderfully by the warm vocal tones of bassist Katy Zee. With all elements in place the track expands into a pop rock journey of imagination. The keys of Peter Jennings dominate the song without defusing or overriding the pulsating bass strokes of Zee or the punchy beats of drummer Peter Randazzo and the guitar textures of Stevie Watts. It is a strong start to the album which like the release grows on the emotions but in hindsight after the following charge of excellent creativity, is a mere tasty appetizer.

The following Heartbreak. London. UK leaps at the ear with its vibrant chorus starting things off. It immediately has one The tax 2infected and ready to join the cause as Hill steps forward to paint a lyrical picture accompanied by thumping rhythms. The keys bring light to the shadows told before unleashing a heated dazzling with the great vocal harmonies and returning anthemic chorus in tow. The song is a masterful slice of indie pop which never rests on its laurels, the sizzling guitar solo and multi vocal sweeps simply immense flourishes.

The chilled ballad like I Am Never Alone continues the growing diversity of the album, its emotive breath an initial whisper over the senses from the impressive vocals and tender weaves of keys. Moving into a stronger almost sinewy presence the track envelopes and draws willing thoughts and emotion into its expressive heart with ease. Though a less forceful and more provocative track The Tax still wrap it in an infection causing air which will not take no for an answer. The same goes for its successor We Tell You A Lie, one of the towering highlights on the album. Again the eighties new wave/rock elements shine especially with the explosive chorus and harmonies though it is the caging beats of Randazzo and the sensational bass resonance and darkened elegance conjured by Zee which earned the greatest acclaim. As with many songs the band forges a mesh of rock and melodic pop which is stunning, each element allowed free rein within a mutual and equally sharing companionship.

Through the likes of the South Of The Border with its heated passion and the piano led ballad You Have Justified Me, the album enthrals and pleases generously but keeps its greatest moments for the tracks There’s No Time, Young, Empty And To Blame, and I’m A User. The first is a romping irresistible surge of eager riffs, jabbing rhythms, and hungry energy which recruits feet and voice early on into its vibrant rock pop dance. The second of the three is equally as compulsive, the vocal duelling outstanding and the synths a swirling weave of golden caresses and thrilling beauty. The bass of Zee again sends tingles where they should not be and the song explodes in the heart like a mix of Betarays, Secret Affair, and dare one whisperings of The Kinks and The Beatles. I’m A User is a delicious track of energy and warmth with again a sixties wind to its pop sails which just lights up emotions and the senses.

Ending on the first single from the album, Motorway, which is released on BYmonster records on the 21st of January and marked by a gig at Broadcast in Glasgow on the 24th, Eternia is a striking and thoroughly impressive piece of true pop music. The track itself is a satisfying and catchy encounter which will recruit a great many and it is easy to see why it was chosen to lead though personally with stronger and even more infectious tracks to be found on the fabulous album another track would have been our choice.

Eternia is a forceful recommendation from us and the proof that real pop is not found in the force fed mire of blandness brought by the popular media and giant labels but alive and innovatively kicking in the underground sounds of the country with The Tax right to the fore.

RingMaster 12/01/2013

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