Counting Coins – All That I Need

CC_RingMaster Review

It has been a hectic year so far for UK rockers Counting Coins; live shows and tours across the UK and Europe a source of great attention and praise for the band as well as recent single Don’t Look Down, and it continues with the unveiling of its successor. The second single taken from the Hull based quintet’s forthcoming album, All That I Need bobs along on ska bred riffs and devilish rhythms bound in spicy melodies that incite ears and imagination as potently as the equally effective vocal and lyrical incitement. It is one of those invitations impossible to refuse as it gives body and lust a rousing run out; simply one endearing and energetic romp of premeditated goodness.

artwork_RingMaster Review     Formed in 2009, Counting Coins has grown a seriously anthemic fusion of ska, gypsy punk, swing, and hip-hop over the years. From their first pair of EPs, Take the Ride and Reach for the Sky in 2010 and 2013 respectively, the band has shown a creative tenacity that wakes up the instinct to romp and stomp. Their live presence has only increased their reputation, the sharing of stages with bands such as Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple adding to an increasingly acclaimed reputation. A few weeks back Don’t Look Down had bodies of fans and media jumping around physically and in praise, a repeated success well within the creative grasp of All That I Need.

Opening on a lone and instantly enticing guitar, the bass soon adding its exploits, the track is quickly swinging along with a melodic smile and rhythmic temptation. The vocals of Harry Burnby just as swiftly bring another strain of infectious enterprise, his bouncy delivery matching that of strings plucked by Matty Dennison and Rob Green. In full stroll, like The Beat meets Reel Big Fish but with more variety to its hues, All That I Need swaggers with joyful tenacity as flames from trumpeter Will Chalk blaze over the throaty lure of bass and the keen swipes of drummer Sam Burnham.

It is an easy going proposal offered by the song but a virulently captivating one which has feet jumping, vocal chords exercised, and emotions flying with the outstanding encounter. The last Counting Coins single meant that interest of the band’s new album was thick and now with All That I Need doing the tempting, and with a great video in tow, anticipation is full and a touch impatient.

All That I Need is available from November 23rd across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer.

Pete RingMaster 23/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

The Sneaky Nixons – Sex

LisaJamie_RingMaster Review

UK band The Sneaky Nixons describe themselves “as an angry, semi-political, semi-religious, part-feminist sloppy activist group who play riotous, steam-train guitar music.” From one song alone much of that is maybe not so obvious but there is no denying that new single Sex is one mighty vehicle of mass seduction. Sauntering through ears in a flirtation of punk, ska, rock ‘n’ swing, and vaudevillian theatre, the song is a confrontational mischief on ears and imagination, and quite bewitching.

HFartwork-2_RingMaster Review     Taken from the forthcoming eponymous compilation album from Across the Ocean Waves Productions, which features the most exciting bands active on Liverpool’s vibrant music scene, Sex is a slice of rock ‘n’ roll to incite and inflame. It follows a clutch of singles released this year and The Coup de Grace EP which spawned most of them, each offering tracks which reveal a different strain of The Sneaky Nixons’ sound with Sex the most devilishly impressive of the lot so far.

The single strolls in on stabbing riffs and crisp beats beneath a sultry sky lit by the blazing temptation of brass. Settling into a gentler canter initially, with a touch of Brit pop and alternative rock to the melodies and vocals, the track is soon rising up to eye ball the listener with its creative revelry and punkish intent, both bound in more of the thick ska bred infectiousness.

Like Libertines meets The Talks meets The Vox Dolomites, Sex is an aurally salacious treat with a hard hitting video to inflame the senses further, and another mightily impressive step in the rise of The Sneaky Nixons’

Sex is released November 20th via Across the Ocean Waves Productions @

Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

Random Hand – Hit Reset

Random Hand_RingMaster Review

Hands up, who also raised an expletive or two in disappointment when British punksters Random Hand announced earlier this year they were going on an indefinite hiatus to pursue other challenges in life? Well we can tell you now that the pain is going to get simultaneously better and worse thanks to the release of one of the band’s finest roars, final album Hit Reset. Whether it is because the decision has brought a freedom to the band in some way or it simply inspired a no holds barred energy to the creation of the twelve track storm as a last offering, but Hit Reset sees Random Hand at their most diverse, explosive, and passionate best with a little something indefinably extra too.

It is thirteen years ago that the Keighley quartet leap onto the British rock scene with their energetic and dynamic fusion of punk, ska, hardcore, and metal. The time since, has seen Random Hand earn the reputation as one of the UK’s best live encounters at home and further afield, and a host of varied and generally fiercely impacting releases. Now following a final flurry of shows this past summer, it all comes to an ‘end ‘ with the PledgeMusic funded Hit Reset; a giant slice of non-stop anthems which goes with the adages, “go out on a high” and “leave them wanting more”.

Random Hand - Hit Reset_RingMaster Review     Day One is the first encounter upon Hit Reset, its opening tinnitus of percussion amidst a tangy melody tempting enough but the mere appetiser to the explosion of punk metal ferocity and riffs driven by recognisable hardcore energised vocals matched in virulent strength by their clean harmonic counterparts. The swings of drummer Sean Howe seem to have new tenacity and aggression whilst the bass of Joe Tilston could just be at its most grouchy and compelling ever. It might be that ears are interpreting things in hope’s and assumption’s desired way but as the guitar of Dan Walsh weaves a web of antagonism and infection with intense enterprise and energy, that sense of freedom is a swift wonder.

As great as the opener is, the following Death By Pitchforks eclipses it with its strolling ska swing and relentless bounce. Juicy flames of trombone from Robin Leitch shoot across the addiction whilst vocals from him and the rest of the band are again as inescapably persuasive an incitement as the sounds hugging their alluring tones. It is a track which has body, emotions, and soul in relentless involvement, much as its successor Protect & Survive with its growling fury of Bad Religion tinged punk metal and a climax to arouse an empty room, and straight after If I Save Your Back… and its adrenaline powered punk ‘n’ roll stomp. The latter song also slips into some evocative dub/ska imagination and hardcore ire to add extra spice to the bracing revelry.

After The Alarm steps up next and soon forges another pinnacle for the album, its brass seared blaze and riotous stroll instant infection whipped up to greater potency by the choppy texture of riffs and the raw Reuben like contagion flying through ears for another richly inciting chorus. The track is glorious, definite final single candidate and alone a massive reason why Random Hand are going to be sorely missed; though every track upon Hit Reset spawns that feeling, Dead No Longer with its raucous thunder and Maybe It’s A Prize through its again Reuben spiced rapacity swift confirmation.

Dragging an eager body to the floor again, Pack It Up leaps and bounds into the imagination and an already lively ardour with its ska/punk ingenuity next, it too a track to whip up old and new fans alike with its busy and eventful collusion of styles and open passion.

A Clean Slate straight after is rock ‘n’ roll plain and simple, a boisterous call to arms for thoughts and bodies but a song unafraid to suddenly whip the floor from under the listener and take them through a melodic oasis of sound and tempting before entering an even more agitated and fearsome storm. It is a seriously invigorating proposition wonderfully contrasted by the addictive ska swing and rock groove of Abide which in turn makes way for more variety in the rip-roaring alternative rock/punk ‘n’ roll of Shelter As A Verb, both tracks a quick making addiction.

Closing with the no less irresistible As Loud As You Can, a song as post-hardcore as it bluesy, as punk and ska as it is old school rock ‘n’ roll, Hit Reset is a band at the height of its game, a game now sadly being put away in mothballs for a distant or possibly no further outing. Random Hand has left us with a classic though, an album which will continue to incite and excite in their absence. What a way to go!

Hit Reset is available digitally and on CD now through Bomber Music @

Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

Bud Sugar – Blinkin’ Thinkin’

Bud Sugar_RingMaster Review

If you were sitting on a bus and a band leapt on and starting unleashing live their sounds what would your reactions be? If it was Bud Sugar it would most likely be of surprise and delight, as was the result when the British band engaged in such “guerilla marketing tactics” in their home city of Hull in collaboration with bus company Stagecoach. It is just one of the escapades the band is renowned for in supporting and promoting their emerging presence and sound. Now for a broader attention, the band is infesting ears with new single Blinkin’ Thinkin’, a song which quickly shows why such antics have only helped the band entice new fans, that and their well-received self-titled debut album of last year.

Artwork_RingMaster Review   Carrying a sound which the band self describes as “Cod Head Skank”, a fusion of ska, reggae, and swinging dance hall shenanigans, Blinkin’ Thinkin’ opens its lure with simple and gentle melodic caresses alongside distinctive vocals. With backing harmonies just as inviting, the song quickly shows it wants to throw off any reins though, which it does with joyful gaiety and energy soon after. In no time the quintet of Bacary Bax, STAN, Dyl, Live Lans, and Reason are spreading infectious rhythms and mischievous hooks around like confetti but in a tight manner which only accentuates their lures and addictiveness.

Across its vibrant body, the track ebbs and flows in its energy with every mellow seducing offered loaded with the promise of juicier treats, beats, and hooks which come the way of the adrenaline sparked roars and a vociferous festivity filled with an array of varied styles and flavours.

Blinkin’ Thinkin’ might have missed the boat in that it is easily a song for the summer but hey autumns can get quite spicy and frivolous too, so get some Bud Sugar down you is our recommendation.

Blinkin’ Thinkin’ is out now on iTunes.

Pete RingMaster 04/10/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

Hub City Stompers – Caedes Sudor Fermentum: The Best of Dirty Jersey Years

hubcitystompers_RingMaster Review

It never takes much of a reason to get our stomp on here, any excuse to fling limbs and energy around like a headless chicken devoured. One band which has perpetually been a spark is Hub City Stompers but in collecting a horde of their horniest ska bred tunes for their latest album, the band has set the fuse to global skanking like no other.

     Caedes Sudor Fermentum: The Best of Dirty Jersey Years is an irresistible bundle of songs personally chosen by band founder Rev Sinister and taken from previous releases Dirty Jersey, Blood Sweat & Beers, and Mass Appeal. It is also offers a long awaited outing on vinyl from the band, its songs re-mastered by David Perez of Memphis Street Studios for the format.

For those new to Hub City Stompers, the band was as mentioned, formed by Rev Sinister, the former vocalist for NJ Ska band Inspecter 7. When that band went into a kind of hibernation around 2001, Sinister searched out to like-minded musicians and by the following year, Hub City Stompers, with a line-up consisting of ex-members of bands such as Inspecter 7, Bigger Thomas, Professor Plum, Predator Dub Assassins, Bomb Town, and The Heavy Beat, was unleashing irrepressible creative romps. Infusing essences from styles such as reggae, punk, oi!, and hardcore amongst a few others into an array of ska flavours from the 60’s through to the 80’s, the band quickly bred a unique voice to their music which took little time in awakening greedy appetites, as shown by the success of 2004 debut album Blood Sweat and Beers and the Mass Appeal EP a year later. Both the Dirty Jersey and Ska Ska Black Sheep full-lengths of 2006 and 2009 followed suit before the band took a year out on hiatus as Rev Sinister members returned to help revive Inspecter 7. Last year though saw the frontman quit the band and return to Hub City Stompers, bringing it back to raucous new life as evidenced by their last album Life After Death which came out last December. It was of course a heftily welcomed return with their new compilation alone holding all the reasons as to why.

HCS Cover low_RingMaster ReviewThe twelve-track escapade opens with the epic sounds of Wtfiu, ears instantly under a cascade of roving rhythms and sultry brass whilst keys seduce and romance the imagination. Soon into a trampoline like gait, every beat and riff a bold bounce, the track is quickly the puppeteer to the body and soul of the listener, its contagion and energy aural addiction and merciless incitement. Uncaging a scuzzy intensity in its climax, the glorious opener sets release and ‘victim’ off in insatiable style before Bumbl-B is allowed to swarm over ears with its choppy stride and infesting key bred melodies. Vocals snarl and invite whilst the bassline coring it all, is heavy nectar, just two aspects colluding to stir up air around and the passions of all in close proximity in an encounter reminding of the UK’s own King Prawn at times.

Both the smooth skinned, Scarlet & The Harlots meets The Beat like Skinhead Boi and the ska ‘n’ roll canter Johnny Date Rape, captivate with their individual swaggers, both enticing as masterfully through the voice of Jenny Whiskey as they do with their ever tenacious weave of sounds whilst Chatterbox swings with reggae hips as the flirtatious clipping of the guitar aligns with hypnotic beats and another juicily moody bassline. Again the two tone elegance of The Beat comes to mind as the song seduces feet and sparks thick attention but once more Hub City Stompers employ all spices in their own renowned inventive and hungry adventure.

Trojan Night lifts bodies and dance-floors with its insatiable infection of sound and revelry next, early Specials a scent within its romping body, whilst a great Hub City Stompers infested version of The Cure’s Boys Don’t Cry hits the passions in the form of Skins Don’t Cry which hounds and brawls with ears; its punk toned sound and words twisted with Hub City Stompers warm irreverence.

A sixties smooch comes with the lively dance of Leave Me the F**k Alone after that thrilling pair, its own body a mischievous and flirty tempting sure to ignite everything from toes to voice in all to fall under its spell. Another exciting physical workout is guaranteed by band and song, a promise pretty much applying to all songs on teh album let us be honest, the following I’ve Got a Boot even in its belligerent and rawer ramble, a tonic to enliven the body, its relaxed and resourceful hooks and boozy brass lures especially intoxicating.

The magnetic punk irritability of F**k You, You’re Irish hits the spot with ease, its Dropkick Murphys like bar-room tromp a grin inciter matched in fun and unique persuasion by the jazz lined, blues charmed Little Julie Swatstika before the album is closed off by Mass Appeal and one last undiluted swing of sound and energy.

     Caedes Sudor Fermentum: The Best of the Dirty Jersey Years  is the cream of Hub City Stompers in the ears and thoughts of the band. Sometimes it is easy to forget the power of a band in consistency and evolving adventure over time and a good Best Of as here, can bring that home. This is simply a brilliant compilation which excites whilst igniting even greater and eager anticipation of the band’s exploits ahead.

Caedes Sudor Fermentum: The Best of Dirty Jersey Years is available from September 30th as a co-release between Rebel Sound on 150x White Riot Vinyl, Crowd Control Media on 150x Clear Vinyl, and Not Dead Records on 150x Green Goblin Vinyl, each colour exclusive to the individual label with 50x Classic Black Vinyl versions also available.

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out

The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

Ringmaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @