Turning on the LoveSick Radio

US rockers LoveSick Radio “bring a distinctive blend of unapologetic rock guitar coupled with pop melodies and a little hip-hop swagger, creating a fresh sound all their own. “ The words of their bio are swiftly backed up by a sound which infests body and spirit and a live presence which has had halls bouncing long before the likes of All-American Rejects, Bon Jovi, Dorothy, Bobaflex, Scott Weland of Stone Temple Pilots, Justin Bieber, Blue October, Kid Rock, Steel Panther, Three Days Grace, Hinder, Twenty One Pilots, Safety Suit, Paramore, Dead Sara and New Found Glory have followed the band on stage.

A short while back we had the pleasure thanks to the guys finding out more with the band, chatting about origins, their sound, songs, and much more…

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?

David (Guitar):  Thanks for having us! We are LoveSick Radio & we play honest rock & roll with a touch of blues/punk. This line-up started when I reached out to Troy, our singer. I asked him if he wanted to sing on a track I had & he was game. Oddly enough we have known each other forever but can’t remember how we met. That song snowballed into bringing in Glenn & the Matts. We’ve been writing & touring ever since.

Were you involved in other bands previously? If so has that had any impact on what you are doing now, in maybe style or direction?

Glenn (Bass): All of us have played in a bunch of bands prior to coming together and doing this one. We’ve all brought a lot of what we learned in the other bands, as far as what makes a band work and what doesn’t and what we want out of music, to this band. Everyone’s past musical experiences have really shaped the way this band operates. Being in a band is like a relationship: you have to go through some tough ones to discover what you want.

What inspired the band name?

Matt B. (guitar): Our previous drummer was going through a breakup. Whilst on his way to rehearsal he kept hearing all these songs about heartbreak on the radio & when he got to rehearsal he made a comment about how the radio seemed lovesick & everyone thought it sounded cool so we went with it.

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

Matt S. (Drummer): I wouldn’t say there were any specific ideas about forming the band.  We are just 5 guys who vibe well with each other musically, have an almost obsessive passion for music, and the drive to write and play day in and day out.  All of us have differing backgrounds musically, but at the heart of it, we love rock and roll.  The sound is a culmination of the individual influences of all of us, but more importantly, we just want to write good songs.  A good song is a good song, regardless of the genre.  Some might sound heavier, more twangy, or more soulful than others, but that’s all of our personalities coming out.

Do the same things still drive the band from those fresh faced days or have they evolved over time?

Matt B.: Essentially writing great songs that we get off on performing & connecting with an audience has always been the driving force within the band.

As the band evolves the drive to widen our reach & get our music out to the masses becomes stronger & stronger

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

Troy (Singer): “Early days” kinda makes me laugh as I still feel like we are in our “early days”, but as far as evolution I think that honestly happens from song to song. Not just in our sound, but as a band overall…getting more comfortable with one another and for me as a vocalist pushing myself to new places. I think evolution has started since day one for us.

Are those things, that evolution, something organic or more the band deliberately setting out to try new things?

Matt S.: We aren’t afraid to try new things or experiment musically.  It just depends on the mood of the song and what makes sense.  We don’t just follow a music equation, but obviously we want our music to be accessible to everyone.  From the time that someone shares an idea, we build on it, we practice it, and we finally record it, the song could be almost completely different.  I’d like to think it happens organically.  When we get in the studio, that’s where the fun and experimentation begins.   On the current album we are working on, we have instruments which we do not have live on stage (strings, keys, horns), the band plays kazoos and sings gang vocals, we stomp, we clap, we play instruments that we have never played before, just to get the sound and vibe that we hear in our heads.. 

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?

David: Yes everyone in the band love a million different things but I think the artist the inspire our approach are Aerosmith, AC/DC, The Stones, LED Zeppelin, Sex Pistols, The Rival Son & Stereophonics to name a few. These are all iconic bands & that’s what we strive to be one day. So we are constantly pushing ourselves to be the best we can be.

Is there a particular process to your songwriting?

Troy: There are always gonna be some variations, but music usually comes first…typically a killer riff. I’ll take a rough demo and live with it for a while…usually spend time driving around coming up with ideas and bring them to rehearsal where everyone chimes in. So in the beginning it’ a very “isolated” process but as we get things worked up, the band as a whole will bring in all the different influences.

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

Troy: Inspiration for me is always life…either something I lived or something I am watching someone go through. The only time it would vary is if I am asked to write for a specific TV or movie thing, but even then I have to draw from personal experiences…As an introvert I spend a lot of my time just watching people. I write what I see.

Please give us some background to your latest release.

Glenn: Our latest release is a song called “Young Hurricane”. It’s written kind of like a poem in the way the vocals are structured. Basically it’s just about sticking’ to your guns and doing what you know is right (kind of a metaphor for playing rock n roll in 2019). A lot of the really cool elements of the song came together in the studio when we had a chance to really sit down and play with different ideas to build the song.

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

Troy: I think it is fair to say we have some pretty universal themes with all our tracks…def some self-reflection and overcoming, some rebellious middle finger flipping and of course love and loss. I’d say our next release “Bloodshot Eyes” falls in the self-reflecting/ overcoming category but doing the reflecting in some smokey bar if those still exist…haha

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?

David: It happens both ways in the studio. But a lot of time we will have the music done to a certain point & start tracking before the vocals are finished. The bed tracks might influence Troy to do something different then what we had for the rough demo. We are never married to an idea. We are always changing or rewriting trying to get the best out of the song.

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

With the live show we want to sound like a freight train going a full speed. So we work on dynamics, power & energy. We want you to feel it when you come to a show.

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?

Matt S.: Like any other band, you have to put in the time.  We have played for empty rooms, we have played for packed houses, and we have played festivals where you can’t see the end of the crowd.  People seek out good music.  The hard part is introducing it to them (luckily the internet exists).  I feel that we have the sound and energy to lure people in, and to keep them coming back to shows.  It doesn’t matter if it is regionally or worldwide.  As long as you connect to the crowd, you will build a following.  Whether it is a home show or something across the country, we put on the same game face each night and try to win over every crowd we play for.  We have found that people like the resurgence of good old fashioned rock and roll everywhere we go, so everywhere feels comfortable and like our neck of the woods.

Are there the opportunities to make a mark if the drive is there for new bands and talking of the internet how has social media impacted on the band to date?

Glenn: Absolutely. It all comes down to a band’s desire and willingness to push themselves and go outside of their comfort zone to grow and do something cool and original. Social media and the internet are a great thing for bands because it allows us to reach people all over the world as independent artists. Without the internet, we might not have the opportunity to do this interview!

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?

Troy: I think there will always be both negative and positives whether being the “underdog” band on the come up, or at the top trying to stay there. I think the internet and social media will always have the ugliness and trolls looking to tear you down, no matter what your status….however, the positive of how many people can be reached is hard to argue. Honestly with this band being started in the “new world” of technology, it’s really all we’ve known so is kinda our new normal.

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

David: Thank you again for having us!!

If you would like to check out us & the music you can go to these links. See you on the road!

AppleMusic: https://itunes.apple.com/us/artist/lovesick-radio/203509719

iTunes: https://itunes.apple.com/us/album/feels-so-good-single/1436316245

Spotify: https://open.spotify.com/artist/7zca83vBdFEDg0119J8thJ?si=4bw6zx7-RL-fbpKajO1aHw

YouTube: Youtube.com/lovesickradio

Instagram: @lovesickradio

Twitter: @lovesickradio

Facebook: https://www.facebook.com/LoveSickRadioBand/

 & anywhere else you stream & download music

Pete RingMaster 03/04/2019

Copyright RingMaster: MyFreeCopyright

Dirt, spices, and rock ‘n’ roll: getting a taste of The Sourheads

If you ever have thoughts that real rock ‘n roll is on the wane a quick listen to the new album from British rockers The Sourheads will soon make you think again. Care Plan For The Soul is a nine-track debut full-length, a skilfully and passionately woven roar of classic and fresh rock diversity which snarls as it seduces, thrills as it trespasses ears and imagination. Through our friend Garry at SaN, we had the chance to dig deeper into The Sourheads with guitarist MIK CRONE, exploring the band’s origins, digging into the heart of Care Plan For The Soul, The Sourheads live and more….

Hi Mik and big thanks for taking time to chat with us.

Can you, for those yet to be invaded by your rock ‘n’ roll, first introduce the band?

Jake on vocals, Mik on Guitar, Ben on Bass and Lamb on Drums.

We are The Sourheads and we come from Wakefield West Yorkshire. We are a rock band who take influence from the greats and add our own twist. We like to think of ourselves of somewhat multi-genre and we don’t want to be seen as just one specific style of music. A career band like The Stones or The Who dip into different things but still stay true to who they are…So yea we are a rock band who give it our all live.

The band is said to have emerged in 2016 but does its seeds go further back?

The version of The Sourheads now is the result of many years building. Like Oasis the original version was Jake [Coxon]our singer and his brother Sid who played guitar. They had a string of musicians throughout a short period of time. I first came into the picture as a producer for the band. I had been working with various bands and the early version of the band struck me as a very different but awesome set of musicians. I felt with direction the band could be massive.  Around this time I was asked to join as a second guitarist and a month later Sid left. So at this point we upped our game and decided to focus on a solid tight band and work on the debut album. The Sourheads you see now emerged in 2016.

Is The Sourheads your first ventures in a band or do you all bring various previous experiences and explored styles of music to the mix?

Everyone in The Sourheads has been in other bands before and we are all have different musical influences. This has proved a major asset in creating the sound and style of The Sourheads.. I had a small amount of success with a metal band I was in. Lamb [Chris Lambert] our drummer was in a relatively successful Indi band. Ben [Taylor] has a more Pearl Jam grunge influence and has played bass forever and grew up jamming with his brother Simon (Inme) and Jake has always been a creative person singing and painting and  as I, is more 70s inspired through bands such as The Doors, Alice Cooper, Deep Purple. The combination of these different influences creates the originality of our band. We are what we are.

What inspired the band name?

A Sourhead can be interpreted a number of ways. Bitter and twisted, hungover. There is no deep meaning behind the name.

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

As a band we feel that it is easy to be stereotyped into a genre. We don’t necessarily want that as we are all influenced by different styles of music. What we want to do is wear our hearts on our sleeves and be 100% true to what we are. Our image and sound isn’t contrived, it is pure. Our front man is a character and is like that 24/7.

As a band we have evolved over time and we are now as sharp as a razor. In the last few months we have really tweaked everything so that it is the best we can offer. Little things like changing guitar sounds or what bass amp we use. We are always trying to give the best live performances we can. Through time you learn how to fine tune every aspect of the band.

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

Before I joined the band the sound was more indie influenced. When I joined we rocked it up considerably. The band used to jam and have beers and chill out more. Since we started writing the debut album and got the record deal we became more focused. It is important to be professional at rehearsals. As a result we worked on emphasising certain parts of songs, making them tighter and adding dynamics.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

We have always tried different styles of music when we write. Some songs sound like the Rolling Stones others sound like Black Sabbath. It depends on who comes up with the first ideas, riffs etc at some point we will bring the Synths and organ back out. Everything we do usually comes from a groove, guitar riff etc

You have just released your debut album, Care Plan For The Soul. From its first breath it shares a multi-flavoured, refreshingly dirty and just a little salacious roar of sound and intent; a mix which suggests a varied range of inspirations to the band and individual members. Who particularly stands out as having an impact on your approach to making music?

We take our inspiration from different places. Jake is a massive Doors fan, Lamb is into his classic British Indi music; Ben is also a fan of different styles of music. I look up to any band that has strong songs. Stone Temple Pilots are a massive influence for me. Deftones, Queens of the Stone Age, The Cult, Shed Seven, Oasis, Clutch. We use many colours to create our art.

How would you describe your sound to newcomers?

Iggy and the Stooges mixed with the Sex Pistols thrown into a blender with The Stereophonics and Nirvana.

Classic Rock with an edge.

It feels like it just follows its nose, always prepared to embrace fresh and unpredictable flavours. Is this something you deliberately set out to purposefully develop or a sound and direction which just grew and evolved organically?

We are what we are. People either get it or don’t. One review says we are original and have rewritten the rule book of what a rock band should be. The other will say they don’t get us. Why do we look like we do and why does the artwork not match the music. Well the answer is we are totally focussed and we are 100% us. Everything is totally focused and this is what we do, our sound and direction develop naturally. Luckily our label saw this and our friends like Red Spektor saw this. So it’s better to have a loyal friendship and business partnership and have loyal listeners than to be fake and try to jump on a scene.

How long was Care Plan For The Soul in the making?

We had a lot of time rehearsing and making sure we could play the songs. We could play without vocals, with vocals, without bass or without guitar and obviously all of us together…Probably 3 months of pre-production and a week to record.

It has an instinctive snarl to its air and open rawness to its energy; at times feeling like it may have been recorded live. How did you approach its creation in the studio?

We decided early on that the band has a live energy that needed to be captured so we decided to record live and then delete the guide vocal and do a main vocal later. I also overdubbed a second guitar rhythm track to fatten the overall mix. We also added congas and cello in the overdub stage.

Can you give us an insight into the trials and pleasing surprises you found when recording the album?

We worked with a wonderful producer called Matt Knee and we used an old 70’s BBC mixing desk, this gave us a warmth that we were pleasantly surprised by. We wanted initially to record full analogue but as we wanted to play live we decided it’s may be better to do it digitally but through old analogue gear. This was due to the fact that digital is instant and we knew we had to keep in budget for our business plan to be effective. We needed to make sure everyone was comfortable and the atmosphere was good. We had incense burning and lava lamps. Pretty laid back.

It was subsequently mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2) and released through German Label Kozmik Artifactz. How did those link ups come about?

Pete Maher has worked with everyone and we liked the fact that he worked within multiple genres. Katy Perry, Pink Floyd, Linkin Park are a few of his varied clientele and he had just finished mastering the LA LA Land soundtrack. We knew that attracting a big name would gain us attention and Pete does great deals for up and coming bands. It seemed like a great idea and he did an amazing job. Around this time we became close friends with Red Spektor and their manager Simon. They were saying good things about us in interviews and we were starting to get noticed. I sent a private link of the album to a number of labels and pretty much instantly Kai at Kozmik Artifactz messaged back saying ‘We don’t usually release this style but we think you would fit our sister label Oak Island perfectly so we did the deal and we are honoured to be part of the Kozmik Artifactz Oak Island family. The label is having great success with bands like Church of the Cozmic Skull and of course our brothers Red Spektor.

Can you give us the inspiration for the album title and some of the themes within its body?

We felt that the title had to reflect the song content. Our drummer Lamb came up with it. The songs are pretty intense in parts and cover lots of topics such as Demonic Possession, Marriage Breakdowns, War veterans, soul stealing creatures. When you take this into consideration and then see the album cover is a lone figure stood in the middle of the beach with his dog it’s kind of like that is the care plan for his soul. He is escaping the turmoil.

Is there a particular songwriting process within the band?

Pretty much straight forward…Ben or me write a riff or two. Lamb plays a beat. We arrange the song, record it on a phone then Jake writes the lyrics.

Apart from obvious pride and satisfaction in Care Plan For The Soul is there a particular moment within it which gives you a specific personal flush of inner pleasure?

The whole thing is a major flush of inner pleasure. We set out with a goal and we achieved it on budget and we didn’t move away from our art and vision one bit. This is amazing to us. To have a vinyl copy of the album in my hands and look at the finished product gives me goosebumps. The fact that the digital streaming numbers are good too also feels good. We want to get out to as many people as possible. From the actual recording there are a few moments I like. I think some of the vocal delivery is the best Jake has ever been.  The rush created when he shouts I am the Lotus! That’s a fan favourite moment.

Give us an insight into the live side of the band?

We are told we are extremely good live. Jake is a bare chested beast of a frontman, live truly something that has to be seen and heard. We are very tight and play as close to the album as we can get. I like the idea that we are four individual characters and that as a member of the audience you can get what you are looking for from us. We put a lot into it. I’m swinging my arm in the air and running around; Jake is in the crowd or rolling around on the floor. Ben is grooving away and lam is bashing the living daylights out of the kit.  We are an old fashioned rock band. We put on a show.

Obviously the album is in its early days inviting attention but what is next on the horizon of The Sourheads?

We are hoping to tour throughout 2018 and play some festivals. Do a couple of music videos and keep writing. We have 3 songs written for the next album already. We have also experimented with slightly different sounds. Some old school style Stones vibe.

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?

The most important thing to do is gig swap with other bands throughout the country. There are so many bands who are hometown heroes. That’s all very good if it is a hobby but not so if you want to leave a lasting impression and have your legacy respected. What we have found is the more we play the small festivals, the more the promoters share the information. There is a really healthy underground rock scene in the UK at the moment and everybody seems to be looking out for everybody else.

How has the internet and social media impacted on the band to date; is a battle which has to be waged or a constant weapon for success?

Social media is great if the people already know about you. In the last few years the pay to get hits and advertise your band has really hurt the artist. The idea that you pay £50 to get 300 likes in Indonesia isn’t helping anybody. We have had musical instrument companies say you need so many likes on Facebook for us to consider you. This along with people not actually going on bands websites anymore means companies like Facebook and Instagram pretty much have the Monopoly on online presence. Bandcamp seems to work and I would encourage other bands to check it out if they haven’t already. Webzines like yours also help a great deal. I would say use social media but don’t let it be the basis of promoting your band.

Again many thanks for sharing your time; any last words you would like to add?

Thank you for showing interest in the band. We truly appreciate every website, magazine radio station that helps us spread our message and music. We are fans of music and do this because we love playing and creating our art. People like you keep the musical torch burning bright. There is a buzz and new found enthusiasm for rock music and we want to embrace this whole heartedly.

Check out The Sourheads further @ https://www.thesourheads.com/    https://www.facebook.com/thesourheads    https://thesourheads2.bandcamp.com/

Pete RingMaster 13/12/2017

The RingMaster Review

Copyright RingMaster: MyFreeCopyright

The DeRellas – Freakshow

DeRellas_RingMasterReview

Kicking off their own album Rockaway Records in rousing style, UK punk ‘n’ rollers The DeRellas release new mini-album Freakshow. It is an insatiable six track roar of the band’s familiar glam infested sleaze punk rock ‘n’ roll but equally their most instinctive punk rock centred trespass upon the senses. The result an incitement which just fires up the instincts to be bad whilst treating ears to their most irresistible proposal yet.

Freakshow is also the first offering from the London hailing quartet without vocalist Robbie, one of the band’s founders along with bassist Timmy DeRella. Stepping forward to fill the spot as if he has always been there is Stevie D, the band’s line-up completed by lead guitarist Luca DeRella and also new drummer Bish, once of Flesh for Lulu. It is a foursome which goes straight for the jugular with the Pat Collier produced Freakshow; from its first breath tearing up its surroundings like Johnny Thunders meets The Boys infested with the raw power pop of The Quakes.

Rip It Up descends on the senses first, from its first rap of drums and spicy grooves winding around ears with a salacious attitude backed by tangy grooves and predacious rhythms. Stevie’s vocals are just as cantankerous as the sounds around him, carrying a great irritable edge potently backed by Timmy and Luca as a strong catchiness invades song and ears. Carrying a touch of The Damned to its darker riffs and rhythmic imposing, the song without ripping up trees is a strong and enjoyable start to Freakshow which blossoms into a greater beast hereon in.

Strung Out Sin City grumbles and rumbles upon an already keen appetite straight away next. A nagging potency lines its riffs whilst rhythmically the track is enjoyably heavier and darker than its predecessor, it all combining with a lively imagination which sees the song quickly eclipsing the opener. It too has a chorus which demands involvement whilst Stevie’s rhythmic guitar prowess is a great echo of the sonic enterprise cast by Luca. There is plenty about The DeRellas sound which is familiar but as here rarely to the detriment of creating its own character and persuasive individuality.

cover_RingMasterReviewHinted at in the last song, a great 999 flavouring invades next up Soho Hotel, an essence which accentuates the virulence of the song and its fiercely catchy demeanour led by the swinging bass groove of Timmy and Stevie’s rousing delivery. Bish’s beats equally make a lively impact throughout as sonic flames escape the strings of Luca. The song is another step up in power and adventure within Freakshow more than matched by the album’s outstanding title track. Taking best track honours, it is a bad boy encounter; defiant in heart and aggressive in bearing stirring up all the punk rock/rock ‘n’ roll instincts within itself and the listener.

Dress Up, Mess Up is another pushing thoughts towards 999 comparisons without losing its own DeRellas identity; the song a boisterous stomp of hungry riffs and bitchy rhythms as vocals and melodic toxicity inflame an eagerness to get involved. Again you could say surprises are low yet everything about the song and indeed Freakshow is fresh and all persuasive.

The release closes with a captivating version of the Adam and The Ants track Plastic Surgery, The DeRellas giving it a rawer Sex Pistols/The Adicts edge which just hits the spot dead centre.

Freakshow is The DeRellas at their most punk yet and no coincidence that the album outshines their previous and thoroughly enjoyable reputation marking encounters. It is also a great start to their new label which we would suggest in providing more of the same will be hitting, like the band, far loftier heights.

Freakshow is out now through Rockaway Records digitally and on CD and 10” green vinyl @ http://thederellas.bigcartel.com/

Up Coming Live Dates:

Friday 11 November – Birmingham, Hare & Hounds (with The Black Bombers and The Primevals)

Thursday 17 November – Bristol, Thunderbolt (with The Setbacks)

Saturday 19 November – Reading, Rising Sun Arts Centre (with Rage DC and The Go Go Cult)

Sunday 27 November – London, The 100 Club (with The Crunch)

Sunday 11 December – Edinburgh, Bannermans (with Buzzbomb + more TBC)

http://derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Japanese Fighting Fish – Swimming with Piranhas

Photo by Scott M Salt Photography

Photo by Scott M Salt Photography

The highly anticipated third album from British aural dramatists  Japanese Fighting Fish is uncaged this week, a release which not only confirms that there is no other proposal like the London based quartet but shows the band hitting another plateau in their breath-taking sound and invention. There are few with the musical craft and adventure to match an imagination as daring as it is inimitable but Japanese Fighting Fish have it all in abundance and in full enthralling flow within Swimming with Piranhas.

Formed in Leeds in 2009, Japanese Fighting Fish had a great many hooked, including us, by the release of debut album Just Before We Go MAD two years later. A release experimenting with South American rhythms as raw vocals and dirty guitars played, its compelling success was eclipsed by its successor, the punk infused Day Bombs of 2011. Releases and years have seen the band draw comparisons to the likes of Faith No More, System of a Down, QOTSA, Nick Cave & The Bad Seeds, Red Hot Chili Peppers, Primus, and Frank Zappa, but as evidenced once more by their latest triumph,  Japanese Fighting Fish really do stand alone in character and sound. Mastered by Tim Young (Massive Attack, The Clash, Sex Pistols, Nick Cave & The Bad Seeds, Elbow, and The Beatles ‘Love’ Album), Swimming with Piranhas is the band at its most eclectic yet and offering a collection of funk infested, theatrical exploits; quite simply rock and roll with the devilry and boldness of creative insanity.

Inspired in title by the real life wild experiences of vocalist Karlost Thompson and drummer Al Sweetman whilst staying in Ecuador with a Quechan tribe where they took a dip in the Amazon River, Swimming with Piranhas has ears and imagination swiftly gripped with its opening title track. A lone spicy groove teases first, it soon joined by broader sonic sighs and boisterous rhythms as the song increasingly expands into a hip swinging, rhythmically riveting magnet. Once the familiar, ever expressive and captivating tones of Karlost complete the line-up of creative cast, the imagination is taken on a beguiling off kilter ride. With kinetic beats and baroque scented organ shaped theatre adding to the ever shifting gait and mood of the encounter, the opener is sheer captivating as fiery and infectious as it is thought provoking and a great sign of things to come.

art_RingMasterReviewThe excellent start continues and hits another level with Egyptian Sunrise, the song a sultry tango of exotic mystique upon the driving throaty bassline of Matt McGuinness and the swinging bait of Sweetman. Impossible to resist getting physically involved, the song leads the body a merry dance with the imagination caught up in the creative tones and lyrical incitement of Karlost. Also swathed in the equally suggestive invention of Gareth Frederik Ellmer’s guitar, the song is a mouth-watering exploit soon matched in creative theatre by Provocative Cat. Funky with Parisian hues, the song flirts and dances with ears as the bass masterfully groans and Karlost paints the imagination like a vaudevillian showman.

New single For Queen Marilyn comes next, sauntering in on a raw riff and rumbling beats as vocals spread their instinctive drama and ascending energy. Soon its rapacious rock ‘n’ roll is ablaze with intensity amidst a hearty roar, switching between calm and volatile waters before making way for Close The Gate. An encounter which seems to mellow as it reaches climactic moments and erupts when you expect it to slip into alluring calms, the unpredictable song is a twisted treat but one soon outshone by previous single U Ain’t Gonna Win This. An exploration of split personalities also making a “homage to boxing greats like Ali, and Rocky “, the song is a fleet footed shuffle with another deeply contagious gurning  bassline from McGuinness courting the vocal waltz of Karlost and band. Taking addiction to a fresh level, the track mixes sweltering melodies and grungy textures with sonic guitar splatters and a virulent carnival-esque bounce.

Hard To Resist is a matching enslavement of body and appetite, its lazy yet snarling bass swing and gripping croon just two of the irresistible elements in what must be the next single. The track is glorious, reminding of little know eighties band, Zanti Misfitz as it throws its creative temptation around. A slip into a deranged XTC like pasture only adds to the fun and increasing seduction too.

Another funk sculpted adventure follows in the shape of I Got Time; its Red Hot Chili Peppers like romp infused with a Talking Heads like prowess, while On A Fall sonically shimmers as the eager beats of Sweetman fuel the pulsating balladry of voice and Ellmer’s resonating guitar enterprise. Increasingly more provocative and gripping with every listen, the track is yet another thrilling twist in the varying style and sound within Swimming with Piranhas.

The album is brought to an equally exciting and inventive close by firstly Dr. No-Sense and its noir spiced and increasingly bedlamic intensity. It is followed by the similarly deranged but skilfully reined imagination and creative resourcefulness of I Caught You Wandering for a bewitching end to another superb offering from Japanese Fighting Fish. Swimming with Piranhas takes the band and their one of a kind proposition to a whole new plateau, not just for them but for the British rock scene. Why Japanese Fighting Fish is not a name on so many more eager lips already is a bit of a mystery, now they might just be with this beast of a proposal doing the persuading.

Swimming with Piranhas is released 17th June across most online stores.

http://www.japanesefightingfish.co.uk/    https://www.facebook.com/Japanesefightingfishuk   https://twitter.com/jffuk

Pete RingMaster 17/06/2016

Copyright RingMaster: MyFreeCopyright

Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

https://www.facebook.com/lodykong7   https://twitter.com/lodykong

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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

Healthy Junkies – Box of Chaos

HJ_RingMaster Review

It was September 2013 when we last had Healthy Junkies igniting ears with a release; that being their impressive second album The Lost Refuge. One of our parting lines then was that the UK had “come of age and you only sense they will get better.” It was partly right as the London quartet has only gone from strength to strength on the live scene and now with third album Box of Chaos. Their coming of age back then though might have been a touch premature for the riveting and dynamic fourteen track punk ‘n’ roll stomp from the band firmly outshines its acclaimed predecessor.

Emerging from a meeting between founders, guitarist Phil Honey-Jones and Paris hailing vocalist Nina Courson at the venue Punk in Soho in 2009 and their creative bonding over mutual loves and influences, melodic punks Healthy Junkies took little time to start leaving their stamp on the UK punk and rock scene. Making their live debut at an all-day punk festival in Brighton in 2010, the band has become a rousing roar around the UK moving into Europe and one of London’s most exciting and prominent live attractions with their self-hosted monthly night at The Unicorn in Camden a regular treat. Debut album Sick Note awoke a broader attention on the band when released, a success forcibly backed up by The Lost Refuge. Throughout the time line-up changes have only seemed to refuel the band at various times too, the latest coming since the recording of Box of Chaos with bassist Ivan Baragone replacing the departed Dave Renegade alongside Courson, Honey Jones, and drummer Tony Alda.

HJ(1)_RingMaster ReviewWhilst The Lost Refuge was a rousing tempest in ears from the first roar, Box of Chaos takes its time to build and entice even greater greedier reactions. Certainly its first play and touch is a potent lure but each listen reveals greater depths and imagination at the heart of the release which only adds to its strength and drama. There is also seemingly richer old school punk and rock ‘n’ roll hues this time around, essences no doubt bred from inspirations to Honey-Jones and Courson such as Sonic Youth, Hole, Sex Pistols, Bauhaus, Siouxsie and the Banshees, Iggy and the Stooges, and David Bowie. One band which our thoughts most leaned to as a reference across the new album though is Penetration; a similarly evocative nature and tone to the great County Durham band spicing the band’s adventurous sound from the off with both Nice n Sleazy and its successor Never Want It Again. The opener emerges on a sonic shimmer with waiting riffs quickly stirring into predatory life as ears continue to be enveloped in that initial mist. Rhythms are soon just as pressing as Coulson’s magnetic voice seduces, her tones a smouldering caress within the rising fiery heat of the song. It is an increasingly virulent protagonist grabbing swift involvement of the listener, setting them up for more riotous stroll of Never Want It Again. It is a tenacious canter though superbly twisted with ska/like asides as rhythms and vocals flirtatiously swing with mischievous intent within the otherwise busy attitude loaded rock ‘n’ roll of the song.

Danny Trash keeps the potent start to the album in top gear, its catchy canter and haunted atmosphere soon enslaving hips and imagination respectively. As expected and already shown, Health Junkies produce choruses and anthemic moments which are inescapable; voice and body soon on board with a track which is a maze of evocative sounds, pungent emotion, and creatively boisterous exploits.

The following Hypocrite is the opposite but just as glorious, its punk rock fury offering one minute fifteen seconds of cantankerous rock ‘n’ roll with raw riffs and repetitious brawling spawned from delicious old school incitement before I Don’t Give a Damn springs with a similar aggressive heart into ears. It is soon casting another prowling proposal with addictive hooks and gripping rhythms; both swift slavery as the guitars weave a melodically provocative narrative for thoughts to get wound up in as successfully as the body is lost to the anthemic prowess of the encounter.

The more hard rock meets punk ‘n’ roll tempting of Je Suis Free is an inviting and again contagious defiance next whilst Watch Out has a blues rock lining to its infection loaded, roister fuelled smoulder. Both tracks lead the listener into energetic and galvanic ways before Rebellion, with presumably Honey-Jones standing toe to toe with Courson in duet, stirring up another urge to take a stand and lose inhibitions in voice and deed. The track is Healthy Junkies at their rock ‘n’ roll best, direct, lyrically potent, yet igniting the want to fling the body around.

The confrontational rock pop enticement of Just a Fool steps up next, it too quickly sparking total involvement before the outstanding creative theatre of Runaway Devil infests ears and psyche. There is no escaping a Siouxsie and the Banshees air to the song, keys running their melodic fingers over the senses as Courson’s ethereal tones enchant seductively around the darker touch of rhythms. In short time the track is soon a fiercely bubbling and intimidating tempting, reminding of fellow Londoners The Duel, but still with that early coaxing a rich lure.

There are numerous peaks in the landscape of the album, that one pinnacle almost matched by the dirtier rock ‘n’ roll of Hustle Street straight after and indeed the twin tempting of the melodically mesmeric Captive with its dub shimmer and the robust swagger of Don’t Give Up where scything beats, bass rumbling, and scuzzy riffery crowd around the ever alluring tones of Courson. Reggae seeded turns and again dub spiced inventiveness only increases its grip on ears and appetite, Ruts DC like imagination leaving satisfaction bulging.

Closing with D7, another spellbinding mix of evocative calms, atmospheric haunting, and vocal seducing in a case of antagonistically anthemic rebel-rousing, Box of Chaos is a thrilling blaze for the ears and manna for the spirit from a band looking at their most successful and surely acclaimed loaded year yet.

Box of Chaos is released February via STP Records.

http://www.healthyjunkies.co.uk   https://www.facebook.com/healthyjunkiesband/   https://twitter.com/HealthyJunkies

9/10

Pete RingMaster 01/02/2016

Copyright RingMaster: MyFreeCopyright

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

Never Found – Sorrow And Cyanide

Never Found_RingMaster Review

It seems Welsh band Never Found has been thrilling fans for quite a while now, but that potent knock on the broadest attention and success has yet to be made. Until now anyway as the band’s debut EP Sorrow And Cyanide is the kind of persuasion to give the British rock scene a mighty nudge. A gripping fusion of punk, metal, and riotous rock ‘n’ roll, the four-track encounter is a warts and all incitement that easily grips ears. Comparisons to the likes of Bullet for My Valentine and Aiden have been already and frequently sent the way of Never Found, but as proven by the EP, that reference only tells part of a flavoursome tale.

The seeds of Never Found began with vocalist/guitarist Daniel Barnes and bassist James Sweeten, their vision of a band starting its first steps back in 2009, though it was three years later when things began to really escalate in purpose and sound. That was the year drummer Kieran Ivey joined up to give the band its missing heartbeat. Since then Never Found has become an eagerly followed live proposition, playing with bands such as Fearless Vampire Killers, Ashestoangels, and William Control amongst many along the way. With their line-up more recently completed by guitarist Sam Redmayne, they are now ready to make a big statement towards bigger spotlights; Sorrow And Cyanide the first potent line in that creative declaration.

Artwork_RingMaster Review   It opens with Just Like Hollywood, a track careering through ears from second one upon a charge of punk riffs and battering rhythms driven by the instantly strong tones of Barnes. As Clash/Sex Pistols like chords and ferociously lined punk roars erupt in sound and voice, the song quickly brews an aggressive virulence with its own line of contagious hook littered enterprise, and an adventure unafraid to embrace hardcore and harsher metallic spicery. Tenaciously and bruising, the track provides a gripping and thrilling start to the EP, but sound wise, it is just one shade to be discovered within Sorrow And Cyanide.

The following Choking Me stalks and rises up against the senses with a much more metal leaning, barbarous rhythms and acidic grooves entwining ears as Barnes vocally and enjoyably carries on employing a punk seeded incitement. With the bass of Sweeten a grouchy and bestial stalking at the heart of the growing infection too, the track springs a confrontation as antagonistically grouchy and spikily catchy blend of As I Lay Dying and Lost Prophets to entice and impress.

King Of Nothing follows a similar if less intensive pattern as its predecessor, and maybe loses some of its predecessor’s spark and potency because of it, but with more great vocal enticing and strong muscular enterprise walling in spicy adventure through the guitars, the track leaves satisfaction only full.

Fair to say it is swiftly outshone by Take Me Away though, the EP closer enticing hues of grunge cored rock ‘n’ roll into its volcanic landscape of metal voracity and punk rock rebelliousness. Almost like Green Day meets Gruntruck and Reuben, with the results stirred up by Skinlab, the track is a powerful and favourite dynamo to end the excellent EP.

Demandingly we are now expecting big things next time around from Never Found just because of the impressive introduction offered by Sorrow And Cyanide, but to be honest more of the same would not be a major disappointment either, as long as some of the promise oozing through this great release is intensified.

The Sorrow And Cyanide EP is out now @ http://www.neverfound.bigcartel.com/category/cds

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

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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