The Castor Troys – Legends Never Die

We all come across propositions sparking a passion which is just meant to be whether in life, love, or regard to Legends Never Die, music. The new release from Canadian rockers The Castor Troys, everything about the EP caught our instincts and wants in a slab of rock ‘n’ roll whilst providing one of the most fiercely enjoyable encounters this year.

Hailing from Hamilton, The Castor Troys was formed in 2013, taking their name from the Nick Cage character in Jon Woo’s movie, Face/Off. Embracing inspirations from the likes of Headstones, Social Distortion, Motörhead, The Offspring, and Iron Maiden, the quartet forge their rousing sound from a tenacious mix of hard rock and punk with plenty of other strong hues involved around stories of “war heroes, bank robbers and clandestine lovers”. It is a recipe which drew potent praise upon the band’s debut album, Come Hell or High Water in 2015 and will surely lead to even greater attention and acclaim for Legends Never Die.

With shows with the likes of The Planet Smashers, Scarlett, and Silverstein under their belts and having just shared stages with Headstones and Black Collar Union in the lead up to the EP’s release, The Castor Troys get straight down to business from the first breath of the Andre Kaden Black produced EP.

Blackout Love makes the break from speakers first, hungry riffs and swinging rhythms instantly descending on the senses in an inviting trespass. Vocalist Aaron Walsh soon leaps into the mix, his powerful and magnetic tones as compelling as the sounds roaring around him. Straightaway our appetites were hooked, the steely groove of Matthew Bowker’s bass alone irresistible but with the wiry tendrils springing from the guitar of Chris Ledroit and Bryson Emmons’ swinging beats everything about the punk ‘n’ roll holler hit the spot.

The backing vocals across the band alongside Walsh also consistently make for a thick galvanic incitement and are in full force within the following We Are One, the band’s new single. From the first note they are careering through ears pulling the tracks’ devious hooks and eager exploits along with zeal and in no time, its call to arms character and chant fuelled persuasion, with a whiff of Grumpynators adding to its compelling cry and creative thunder, takes command leading body and emotions to get boisterously involved; that always a sign of prime rib rock ‘n’ roll.

The country rock lined Watch the City Burn is next, its sultry grooves and infectious chorus enough to hook the appetite. There is certainly something familiar to the song though nothing which can be exactly defined but, without hitting the heights of its companions, it leaves ears and satisfaction full to the brim with goodness before the EP’s title track uncages its punk rock rapacity. Though it reminds of UK punk metallers Fuckshovel a touch, the track epitomises the individuality of The Castor Troys sound and its insatiable anthemic howl.

Wreck of The Bastard boasts its claim for best track honours next, its melodic vines carrying something of Skids to them whilst riffs and rhythms nag and harass with a punk infused hunger. Even so their organic irritability is perfectly tempered by the hard rock breeding of the track, the song emerging as another slice of unpredictable but easily accessible rock ‘n’ roll scorched in The Castor Troys individuality.

The release concludes with a great cover of the Tom Petty track, Runnin’ Down A Dream. Certainly the song does not quite live up to the heights of those before it, but with a bouncing body and well-worn vocal chords in its wake gets the job done with a firm enterprising hand.

It is a great and again inescapably rousing moment in a release which The Castor Troys deserve all the attention and praise they get for and with Legends Never Die that should be plenty.

Legends Never Die is out now; available @ https://thecastortroys.bandcamp.com/

fuick

Making Monsters – Bad Blood

2015 promo_RingMasterReview

We heard the buzz and now we know it is pretty much on the mark, UK band Making Monsters is one striking and seriously exciting proposition. Our evidence comes with the band’s new EP, Bad Blood. It is six tracks of highly irritable and even more contagious rock ‘n’ roll equipped with the snarl of punk and bold diversity of alternative rock; a proposal which stirs the instincts and spirit from start to finish; oh the fact that the band’s sound has a touch of Animal Alpha to it does it no harm either.

Emerging in 2011, the Derry based Making Monsters soon poked at keen attention with their self-titled debut EP the following year, that potently back by successor, Attention, two years later. Alongside that success, the quartet has developed and honed their sound and live presence, impressing and luring new flocks of fans while sharing stages with the likes of Young Guns, Silverstein, We Came As Romans, Max Raptor, and Skindred amongst many. A clutch of singles have increasingly stirred the blood and ears these past couple of years while a full UK tour with Fightstar and Arcane Roots last October cemented the band’s growing reputation. With Bad Blood though, it is easy to expect the band stepping into new spotlights and strength of acclaim, the EP holding all the creative cards to be a game changer in the ascent of the band as it is in their sound.

Straight away the EP suggests there is a new maturity and even bolder adventure to the Making Monsters sound, a thought confirmed song by song across Bad Blood. It opens up with its mighty title track, a slab of punk ‘n’ roll straight away teasing with spicy hooks as the instantly impressing roar of Emma Gallagher takes on all challengers in attitude and quality. Guitars and boisterous rhythms continue to entice and intimidate across the excellent encounter, Gallagher’s emotive fire backed by male scowls as Brian Doherty’s drum sticks beat out an addictive pattern.

MM - Better _RingMasterReviewIt is a glorious start with, as suggested at the start, a great Animal Alpha hue to its tempest; an imagination and appetite inciting beginning to the release quickly and potently backed up by Call Me Out. A kinder affair on the senses for the main but with an imposing volatility, the dark stroll of Gary Todd’s throaty bass at first holds court with the provocative tones of Gallagher, who is already showing much more of her versatility; the pair soon colluding with the fiery enterprise of guitarist Paul Monk and heftily swung beats to stir up an already keen appetite.

Latest single Better comes in next; its entrance also less intrusive but taking a quickly unshakeable firm grip on ears as shimmering melodies and senses piercing hooks lay their bait into the rhythmically virulent swing of the song. There are moments throughout it where thoughts wonder if Distillers were fused with Stolen Babies, would they sound like and as riveting as this. They are essences which continue to flavour a song which has the energies breathless and hunger greedier by its end, so luckily We Aren’t Living is next to eagerly share its melodic pop ‘n’ roll with a growl and a tenacious will. Like those around it, the track offers plenty of unpredictable twists and moments of fascinating imagination, neither ever disrupting the flow and impact.

Rose seduces next, Gallagher caressing ears with her warm yet snarly tones as sultry tendrils of guitar sway. It is a mesmeric coaxing soon over run by a torrent of spiky riffs and busy rhythms providing a just as enticing invitation. As now expected things are soon turning down new avenues and offering a variety of twists woven into a blaze of a song as raucous as it is emotively inflamed and intimate.

Bad Blood ends on our favourite track, a rampaging beast of attitude and invention going by the name of Noodle Sync. Noise and garage rock meets punk metal infused rock ‘n’ roll, the track is a blistering assault and trespass on ears and the senses. It is a cauldron of raw riffs and invasive hooks driven by the diverse drama and emotion of Gallagher’s explosive voice and presence, her ability and invention more than matched in sound and imagination by the rest of the band.

It is a stunning end to a quite exhilarating release; an EP which just might be the making of Making Monsters and certainly another step towards major things for the band one suspects.

The Bad Blood EP is out now digitally @ http://makingmonsters.bandcamp.com/ with physical copies available @ http://makingmonsters.bigcartel.com/product/bad-blood-ep

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Pete RingMaster 16/05/2016

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The Shapers – Reckless Youth

The Shapers Promo Shot_RingMaster Review

Having gotten their melodic punk claws into other parts of the world, French trio The Shapers are now concentrating on the UK with the uncaging of new EP Reckless Youth which is set to be followed by a British tour. The release offers a captivating collection of songs bred from the heart of punk rock and brought up embracing its numerous strains. It is punk ‘n’ roll to breed a hungry appetite for and an encounter which starts with a bang and, though it arguably does not always maintain its initial impact, only leaves a want for more.

Hailing from Toulouse, The Shapers emerged in 2009 from the union of vocalist/guitarist Anthony Cauvin, bassist/backing vocalist Raphaël Bouissière, and drummer Benoit Holin. Quickly unleashing a hunger to play live, by 2011 the threesome was touring China and Indonesia to such success that the band retuned again in 2015 to eagerly awaiting fans, adding the likes of Thailand to their global CV. Two years after that first tour, The Shapers was going around North America where they shared stages with NOFX and Pennywise, the prize for winning a ‘best up-and-coming band’ competition. With the release of debut Everybody Needs To Have A Dream in 2012 equally drawing potent acclaim to go along with shows alongside the likes of The Flatliners, Silverstein, Face To Face, and Dream on Dreamer over time, The Shapers have been on a unstoppable roll set to continue with Reckless Youth.

The Shapers Cover Artwork_RingMaster ReviewThe EP opens with a gentle caress of guitar as Can’t Forget slips into view. Within a few more breaths it is rumbling through ears with sturdy beats and ravenous bass riffs as band shouts crowd the voice and guitar enterprise of Cauvin. Initially there are few surprises but certainly an alluring dose of hooks and anthemic prowess which has the body bouncing and energies aroused. Subsequently though, an electro hinting broadens its presence to sizzle and provoke, the song from an opening Blink 182/Pennywise like character with a hint of Buzzcocks to it revealing a fiery G.R.I.M scented invention. Melodies and adventurous twists only add to the increasing creative drama and virulent persuasion of the song, resulting in a superb and invigorating introduction.

The outstanding start continues with Secrets and straight away it is taunting with beats as the guitar enjoyably hassles the senses with its spicy intimidation. The grooved bait of the bass only adds to the swiftly gripping tempting, as too an excellent mix of lead and group vocals. Carrying a fuzzy electro pop mischief into its imagination and urgency, the song reminds of Russian band Biting Elbows in a punk ‘n’ roll stomp that only gets the body and emotions fully involved.

The following Another Chance equally shows its muscle and catchiness early. The bass offers the menace whilst beats and hooks uncage the infectiousness which fuels the songs’ surge into attention and a keen appetite. Again maybe uniqueness is not as high on the agenda of the song as stirring up a good time, but whilst lacking some of the spark of its predecessors, the track only pleases with its feverish enterprise and refreshing energy loaded revelry.

The instrumental Lonely Moments comes next with an acoustic guitar hug of melodic charm which is enjoyable but does not quite fit in with the company of the songs around it, something which No Regrets has less problem with. It too is an acoustic bass croon with Cauvin as potent as ever vocally and impressively backed by band harmonies. It also misses the same elements which made especially the first pair of songs so captivating but again it only leaves satisfaction full before Youth Disaster takes over with its grumbling riffs and skittish percussion around more of Cauvin’s engaging. Offering a tenacious landscape of classic rock laced, punk seeded rock ‘n’ roll, the track plays like a mix of Good Charlotte and Sum 41, blossoming from a strong start into an inescapable, almost stormy roar thick with anthemic persuasion.

Ending almost as powerfully as it certainly started, Reckless Youth is one of those releases easy to find yourself drawn back to time and time again. As mentioned The Shapers have their eyes on the UK now and going by the potency of their EP, it is hard to see them failing to stir up another wave of eager fuss.

The Reckless Youth EP is available from Friday 26th February through all digital platforms.

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Pete RingMaster 24/02/2016

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POPULAR FRENCH POP PUNK OUTFIT, THE SHAPERS RELEASE NEW EP!

European trio ‘The Shapers’ set loose their spanking new EP ‘Reckless Youth’, through all digital platforms on Friday 26th February. Look out too as the gritty rockers prepare to tour the UK in 2016

The Shapers Online Promo Shot_RingMaster Review

Currently residing in Toulouse, France, Euro punk rockers ‘The Shapers’ delectably embrace the garage rock vibes of ‘The Hives’ and ‘Nirvana’, merged with the early urgent delivery of ‘Green Day’ and ‘A Day To Remember’. Born in 2009 and consisting of Anthony Cauvin (Lead Vocals/Guitar), Raphaël Bouissière (Bass/Backing Vocals), and Benoit Holin (Drums), this power trio have certainly undertaken the punk rock DIY ethos. With a keen zest for touring and adventure, the band headed out to China and Indonesia in 2011 to play a series of highly successful shows, and because of the response and support, the threesome returned the following year and again last year. In 2013, The Shapers won a ‘Best up-and-coming band’ competition, lapping up a prize to tour throughout North America where the alt-punks shared stages with punk rock legends NOFX and Pennywise. Last year, the band again toured, this time in Thailand. The three piece were overwhelmed with responses and will tour South East Asia again next year.

As well as a hearty diet for touring across the far reaches of the world, the band have also extensively played throughout France, and are currently planning their attack on the UK. Blessed with a CV that boosts support shows with The Flatliners, NOFX, Silverstein, Pennywise, Face To Face, and Dream on Dreamer, and critical acclaim for 2012’s debut album ‘Everybody Needs To Have A Dream’, which picked up rampant praise across the board, the band show no signs of letting up.

The Shapers dropped their video single “Can’t Forget”, directed by Mayol (media director of Vans, who has worked with successful bands like the Foo Fighters, among many others) this summer. The single is the opening track from the band’s hotly anticipated new EP ‘Reckless Youth’, which is unleashed this February. With six cuts of scuzzy punk, the record is a true calling to all fans of Punk in its varied forms. Drawing from the early vigour of Blink 182 and the raw power of Nirvana, marinated with a hint of The Subways, this EP is destined to break the band to the UK.

The_Shapers_Cover_Artwork.jpg_RingMaster Review

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Intervals – A Voice Within

 

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    The additional information accompanying the promo for the debut album from Canadian band Intervals, declares that the quartet is ‘set to be the most exciting new progressive metal prospects of 2014 with the release of debut album, A Voice Within. As their offering seduces and fascinates it really is impossible to disagree, the nine track adventure a magnetic kaleidoscope of sonic colours, inciting textures, and contagious adventures. With a technical craft to match its progressive enterprise, the self-released A Voice Within, with distribution across Europe by Basick Records, is a maze of diverse and inventive flavours which captivates and absorbs from start to finish.

      The Toronto hailing Intervals was formed in 2011 by guitarist Aaron Marshall and took little time in earning a well-respected and acclaimed presence with their evocative instrumental soundscapes. With a line-up completed by guitarist Lukas Guyader and drummer Anup Sastry (Jeff Loomis / Skyharbor), the band released two well-received EPs, The Space Between and In Time in 2011 and 2012 respectively, as well as playing and touring with the likes of Texas In July, Northlane, Structures, The Kindred, The Color Morale, Misery Signals and more. Last year a new direction was taken by the band, not so much in sound though that was unavoidably affected, but with the joining of vocalist Mike Semesky (formerly of The Haarp Machine). Work began on their first album last September with Jordan Valeriote (Silverstein, Structures, Counterparts) and what has emerged is a riveting triumph taking the band to new scintillating levels and you can only expect greater spotlights.

      The first single taken from the album Ephemeral opens up the endeavour, the track taking no time to immerse the ears in the Intervals.AVoiceWithin.cover.lotechnical skill and inventive breath of band and release. Bass and drums instantly cast a web which entangles and excites the senses whilst the guitars flirt and dance with the imagination. It is a potent start enhanced by the melodic tones of Semesky, his expressive and fluid delivery holding hands with the melody rich flames licking from within the sinew framed opener. Sculpting an aurally scenic venture which intrigues and draws in thoughts with ease, it is only hindsight and not its company which suggests the album’s introduction is merely an appetiser to greater things ahead.

    That suggestion arises straight away with the following Moment Marauder, the song a compelling temptation which enslaves and dances with the passions from its initial melodic caress and technical invention. Winding jazz bred imagination around precise and bewitching temptation, it seduces with almost mischievous glee as the vocals stroke and coaxes the emotions as irresistibly as the complicated breeze of sounds surrounding them. Dazzling bordering on disorientating , the ingenuity and sculpting of the song is a virulent lure but one which never indulges itself, each transfixing technical exploit matched by an openly accessible and infectious hook or sweeping groove aligned to the persistently persuasive vocals.

     Automation and The Self Surrendered struggle just slightly to match the album’s first pinnacle, though both build their own plateaus to rigorously enthuse over. The first offers an almost pop rock swagger within its progressive and technical mesmerism, the melodies and contagious assets framed by muscular rhythms which take no prisoners but equally have a respect leaving ardour rather than wounds. It’s equally smouldering and vivacious bait is swiftly matched by the second of the two, a song which has voraciousness to its opening technical gambit which it then lends to the rest of its potently catchy and provocative body. As all the tracks, the melodic canter never settles into one gait or stance for long, the ever evolving and twisting emprise coming with flared nostrils and irrepressible passion.

    After the brief elegant instrumental Breathe, the song allowing that very action before the next spiral of adventure, The Escape confronts the ears like a frantic acrobat, leaping through and wringing out its sonic narrative upon a mouthwatering canvas of inventive hues and emotion. Its beauty is replaced by the fiery landscape of Atlas Hour, technical poise and passionate energies once again offering a journey of unpredictable and persistently shifting scenic inspiration clad in formidable rhythms aligned to just as forceful riffs.

    Siren Sound confronts the senses next, the song a whirl of almost carnivorous jagged riffs and rhythmic antagonism reined in by the ever impressive vocals and harmonies. As the second song on the album, the track explores and unveils that something extra, something which sparks a furnace in the imagination and passions in comparison to the fierce blazes spawned elsewhere. There is a predatory instinct to the song too which inspires everything from the skill and hunger of the band to the uncompromising sounds themselves, and all engulfed in an irresistible seduction. The track steps up to offer a real challenge to the brilliant Moment Marauder for best song accolades, the pair then tested by the closing title track. Bringing the outstanding album to a tremendous close, the song stomps and teases the passions with a weave of severe rhythms, awe inspiring technical artistry, and simply unbridled adventure.

     Offering a kind of mix of Circles and Beneath the Buried and Me with TesseracT, but something different again, A Voice Within is an exceptional encounter and yes as suggested the evidence of something new and exciting emerging. The evolution to include vocals and new adventures by Intervals might just be the boldest most inspirational move from any band in recent times too.

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http://intervalsmusic.bandcamp.com/

9/10

RingMaster 05/03/2014

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The Heights – Drag Race On The Moon

the heightspromo1

Hailing from Toronto, Canadian pop rock band The Heights are set to make the summer a warmer and more melodic place with their new EP Drag Race On The Moon. Made up of five vibrant and enterprising alternative/melodic rock songs which flirt with the ear from start to finish, the release is sure to bring the band to a stronger and wider spread attention.

Initially a solo project for Gavin Sutton (vocals / guitar / piano), The Heights soon expanded to a full encounter with the addition of guitarist Nick Dooley, bassist Colin Jacques, and Tyler Jones on drums. The self-titled and Bonacres EPs from the band set appetites alight but it is Drag Race On The Moon which looks set to make the quartet a name on a greater array of lips and passions. Employing inspirations from the likes of Coldplay, City and Colour, and John Mayer, which are open whispers in their clean cut and honed sound, there is a freshness and invention to the band which is impossible to dismiss even if they do not find the spark to ignite your passions. Earning further acclaim for their live performances which has seen them play with bands such as Set Your Goals, Silverstein and Fireworks to name a few, The Heights with the release of the EP stand at the door to greater recognition, whether it is the actual key the next months will tell but certainly the band offers everything available within them to provoke success with their new offering.

Opening song Soldier is an immediate rich attraction, its initial atmosphere brewing behind the emotive and excellent vocals of drotmcoverSutton as intriguing as the keys which also add their voice. Those impacting lures open up a deeper bait for the senses as drums and bass walk around and cage the melodic flames beginning to lick at the ear. Once its chorus erupts for the first time there is a contagion at large which wraps tightly around thoughts and emotions and continues throughout the rest of the song. Reminding of UK band Candidate23 though arguably not quite as virulently addictive, band and song add further drama and energy to the excellent track and secure certain acclaim well before its final note kisses the ear.

The following Some You Give Away has a sense of The Wonder Stuff to its first melodic caresses but then evolves into a boisterous and energy fuelled pleasure complete with jangly guitar strokes and evocative keys. Again the vocals are outstanding and ably aided by the rest of band in voice and inventive sound. A track which prods and leaps through the ear at times,  it is a heated blaze of melodic imagination and impressively crafted songwriting continuing the strong start with ease.

Both Devil and Spinning Webs unveil their feisty yet elegant depths, the first another song with punchy rhythms and sonic crescendos which ignite around the chorus as the keys spread a resourceful and smouldering ambience to the emotive tones of vocals and words. With an element of Doves to it the track passes the baton on to its successor who runs with a piano led narrative which is coated in a melodic beauty which demands total clarity. That the band gives as harmonies lead in sultry bass persuasion and rhythmic tenderness to support another great vocal and keys invitation. Maybe not as impacting as previous more energy driven songs it is still a treat of honed and sculpted excellence.

Closing song You Make Me is the weakest on the release, though still a more than satisfying encounter, which lacks the individuality of earlier songs to set the band and release apart from the rest but with strong craft and passion coaxed enterprise it makes a more than decent conclusion to a fine EP nevertheless. It is hard to say that Drag Race On The Moon got our passions excited enough to ignite any lingering ardour but undoubtedly it got feet dancing and sparked lively reactions in its eager company which is not a bad thing.

www.theheightsofficial.com

8/10

RingMaster 09/07/2013

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