MountainJam – Waiting


Following the success of recent single Lemon and Lime, which itself cemented the prowess and potency of MountainJam as first discovered within the band’s debut EP and its singles of last year, the UK band now have its successor Waiting in line to please ears. The new single reveals another shade to the band’s persistently enticing sound, an emotively sculpted landscape of melodic rock with just a tinge of Americana to its alternative bred rock ‘n’ roll.

There also seems a broader depth to the flavouring building the sultry climate of sound and atmospheric enterprise and climate embracing ears. It is nothing overwhelming but as suggested a new shade of melodic and sonic colour to intrigue, fascinate, and as it proves again, excite. Influences to the Midlands hailing quartet of vocalist/rhythm guitarist Dean Dovey, lead guitarist Andy Varden, bassist Nick Roberts, and drummer Pez include the likes of The Rolling Stones, The Doors, Neil Young, Small Faces, Cream, The Verve, The Stone Roses, and The Who. Many are influences which arguably make a stronger showing within Waiting than some of the band’s previous songs to date, aiding the new hue to the becoming renowned MountainJam sound.

Emerging on the warm ambience of keys, the song soon strolls through ears with a melodic smoulder to its trails of sultry guitar and a feisty edge to its rhythmic tempting. Dovey as so often in songs becomes a potent focal point upon his entrance, but as usual too, his expressive voice is soon hugged by the strength of the sounds which here reveal a touch of psyche rock lacing and an almost sweltering atmosphere through guitar and keys.

With it all, also comes an infectiousness which, especially in the rousing roar of the chorus, has body and imagination as involved as the sonic swathes of sound which seduce in the track’s mellowest moments.

It is fair to say that Waiting does not infest the psyche as immediately as other MountainJam songs, though ears are thoroughly contented in moments, but with its magnetic layers and almost epic structure of emotion and sonic enterprise, the single is another richly and increasingly enticing lure to a band which just seems to grow with each and every track written.

Waiting is out now through most online stores.

Pete RingMaster 29/02/2016

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MountainJam – Lemon and Lime

MJ_RingMaster Review

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

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

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

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

Lemon & Lime is available now

Pete RingMaster 13/01/2016

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MountainJam – EP

MJ_RingMaster Review

UK rockers MountainJam first got in touch with their double A-sided debut single around a month ago, the release just one moment in a busy time since the band emerged in March of this year. Since then the Hinckley based band has released another track, those three subsequently making up part of a self-titled EP released just a matter of days ago. All songs have introduced to ears a band with experience in their blood, craft in their hands, and passion in their hearts, and also some rather juicy songs.

The seeds of MountainJam pretty much began when vocalist/rhythm guitarist Dean Dovey met lead guitarist Andy Varden and bassist Nick Roberts as part of Midlands rock band The Silent Union in late 2013. Early 2015 the trio left that band, linked up with drummer Pez, a long-time friend of Varden and Roberts, and stepped forward as MountainJam. In no time a clutch of demos were written and recorded, with live shows just as rapid a move with their first being at The Soundhouse in Leicester. July saw the Jealous Of Me/Lust single unveiled to eager responses with third track The Lord of My Hours revealed soon after to more positive responses. As August closes its eyes, the band have now released their first EP made up of those three songs and two more quietly but firmly imposing incitements.

cover_RingMaster Review     Musically the band finds hues in the inspirations of bands such as The Who, The Doors, Cream, Small Faces, The Charlatans, and Stone Roses to colour and inflame a sound which has a potent air of nostalgia but equally a real freshness and vitality to its energy and invention. Lust is a perfect example, its romps with ears and appetite with a blend of sixties and nineties guitar rock yet creates a presence which if not quite unique is recognisably individual. Its early caresses of guitar are soon veined by a spicy melodic acidity cast by Varden, this in turn leading to the addition of crisp rhythms and the mellow but fiery tones of Dovey. The stroll of the track is controlled and at times reserved but the sultry lacing of melodies are bewitching and the middle section when its chorus is as inescapable a hook as you could wish, magnetism.

Jealous Of Me has an even stronger feel of sixties/seventies rock, its first breath and spread of riffs carrying hints of bands like Small Faces and occasionally Bad Company. Continuing to swing more rigorous rhythmic hips and flirtatious riffs and grooves, the track has body and appetite fully involved in no time. Again it has a familiarity to it which only works in its favour and a tenacity which just rouses the energies of the listener and a want for more.

The Lord of My Hours is cut from the same feisty cloth, a healthily energetic encounter infusing even richer bluesy spices into its winding grooves, dancing melodies, and engaging vocals. Rhythmically the song is a festival, Pez never quite uncaging a full-on stomp of beats and percussion but providing an addictive shuffle which the thick bass lures of Roberts court with relish and enterprise. The track is irresistible to feet and appetite, rich enjoyment which is found again in the emotively and resourcefully lively Maybe Next Time. One of the other two songs making up the EP, it has a grip which is more of a nineties guitar escapade but again comes thick with essences and textures bred in earlier decades to grab the imagination and further keen involvement.

MountainJam also show they are adept at serenading the senses with the sultry shimmer that is Shadows of your Mind. The guitars glow with melodic, almost surf rock like charm whilst Dovey provides a similarly enticing croon to the gentle canter of a song, whilst the additional keys adding the cream to the flavoursome treat. The influences of psych rock come through vibrantly across the song and though, as the last one mentioned, it fails to quite match up to the success of the other three songs for personal tastes, it leaves a warm glow and oozing satisfaction in its place.

Looking at songs in the order we came across them instead of the track order on the EP, they all unite to provide a very pleasing potential loaded introduction to MountainJam. They are a band hard not to see luring greater spotlights and success upon them as they evolve and simply gets more time and experience under their young belts as a band.

The MountainJam EP is available now at the band’s Bandcamp profile.

Pete Ringmaster 02/09/2015

Copyright RingMaster: MyFreeCopyright

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Venice Trip – Look Forward EP

Photo Cred Kamila K Stanley

Photo Cred Kamila K Stanley

As the summer heats up so does the wealth of smouldering and sultry sounds on offer, and possibly none as bewitching as those unveiled by UK band Venice Trip within the Look Forward EP. Bringing three songs which are fuelled by the breath of late sixties/early seventies psychedelic rock and cultured in a modern imagination, the release is a striking and captivating introduction to the London quartet which more than lives up to the buzz already arising from the band’s live presence.

Fresh from making an acclaimed appearance at The Great Escape in Brighton, the foursome of vocalist/guitarist Andrés Alcover, keyboardist/vocalist Shenny, bassist Nick GK, and drummer Joe Wood immediately has ears aflame with the EP’s title track. The opening song emerges on a feisty shuffle of rhythms and wiry riffs but it is the tangy melody which has the imagination and appetite especially drooling, its sultry shimmer and inescapable lure the lead into a rich seduction of vocals and melodic enterprise. Beats continue to cast an anthemic lure whilst a sixties glazing captivatingly coats vocals and melodies, everything uniting in a contagion which sublimely engulfs body and passions. There is no escaping a sense of The Doors to the track, but equally there are essences bred in artists such as Small Faces, Syd Barrett and more currently MGMT, as well as surprisingly a potent feel of eighties band Associates at times. The song is sensational and a dramatically thrilling start to the release.

Ep cover_RingMaster Review The following Oh Katy is a gentler caress of energy though no less infectious with its evocative grooving and glowing harmonies. The psych pop resonance of the song sizzles on the ears, its spatial tempting grounded by the just as riveting and effective melancholic bass lures amidst thick swipes upon drums. Whereas the first song has a tenacious and broad sense of life and energy, its successor offers a more intimately emotional and personal presence with a just as transfixing and intoxicating tapestry of sound. It also has a slight whisper of Arctic Monkeys to it, though again the main scent of the track is soaked in psychedelic rock from across the decades.

Look Forward closes with Father Of The Universe, another song revealing fresh depths and variety to the band’s sound. From its opening seconds it flirts with a delicious garage punk like lure, the kind of dark and psyche twisted bait which graced the likes of The Cramps and The Orson Family. Swiftly infusing more Jim Morrison and Co like acidity into its alluring grooves and an increasing seduction of keys, the song blossoms into a dramatic, bordering on psychotic waltz of creative and vocal adventure where shadows and beauty collide and collude within increasingly tempestuous character.

It is a fiery blaze bringing a superb encounter to a mighty end. With the only moan about the release being it is far too short for greedy enjoyment it feels quite safe to say that Venice Trip is going to be a major part of many musical lives and quite likely the British rock scene ahead.

The Look Forward EP is available now via RYP Recordings @

RingMaster 03/07/2015

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The Youth – Nothing But…


Having been thrilled and seduced by the contagious revelry of their recent single Fancy You, the anticipation for the debut album from Danish rockers The Youth, was as excited as it has been for any release this year. Now that Nothing But… unveils its collection of flavoursome rock ‘n’ roll on Dirty Water Records, it has to be said that thoughts and hopes actually underestimated what was to come. The album is a glorious stomp of creative passion, a fiery blaze of raw and voracious sound which is as contagious in its unpolished sonic enterprise as it is addictive in the honest and organic energy which fuels it. The album is as much punk as it is beat, as potent in blues as it is garage rock, but ultimately it a release bridging nostalgia and modern ingenuity for an essential r’n’b bred triumph.

The Copenhagen quartet of guitarists Jesper Jensen and Lasse Tarp, bassist David Peter Jørgensen, and drummer Sune Christian Thomsen unveiled The Youth in 2012 and swiftly were making their mark and earning acclaim through their live performances around their homeland and across Europe, including festivals and clubs in England, Germany, Austria, Switzerland, Norway, Italy, and Spain. They earned a rich reputation for their energetic stage presence and sound; the latter certainly confirmed and reinforced by the aforementioned limited edition 7” single Fancy You, as well as other tracks unveiled previously. Nothing But… is a new ballgame from the band though, a proposition with all the majesty and melodic fury to push The Youth into the most potent spotlight and a pinnacle for not only the band but modern r ‘n’ b.

From the opening rapping of beats and riffs on ears, the swagger which radiated out of the band’s last single is there in full stride as Come On eagerly leaps upon the imagination. It is an instant temptation for feet and emotions as grooves and melodic hooks ensnare a waiting appetite and a rhythmic shuffle takes the body. The vocals of the band equally incite a keen response which the song’s addictive chorus exploits to full effect. With a healthy tinge of power pop to its beat urgency, the song is a quick fire persuasion to set the release off in fine style, a dramatic entrance soon surpassed by the following Looking at You. With the riveting skill and charm of a bluesy harmonica incitement as vocal as the rhythms and jangling riffs filling the start, the track stirs up a raw bluster which is as much seeded in seventies punk abrasion as it is in sixties beat vivacity. It is as contagious as it gets in music, the variation of vocals as exciting as the heavy fleet footed sounds which frame and shape the first pinnacle of the album. A song which should undoubtedly be the next widely spread single, it is an irresistible gateway into the compelling world of The Youth.

Both You’re Leaving and Girls Like You keeps things creatively and energetically rampant, the first a soulful flame of potent sonic simplicity aligned to a melodic web around harmonious vocals and the second, a busy and sultry dance DWC10??LP:Standard 3mm Spine Albumof inventive and rhythmic agitation under a hazy atmosphere. It is a captivating incitement especially when briefly drifting into a delicious discord lit twist of adventure, and a song to have dance halls a blur of swerving and inflamed bodies.

Bubblegum strolls in next with open confidence in its gait and enticement. An initial throaty bass and crisp drum sculpted bait sets the first incendiary kindling of the song which catches fire a second time with the coaxing flames of harmonica within an entangle of riffs and melodies. As all the songs on the album, it defies feet to stay still and emotions to resist its infectious energy and flirtatious charm, a point straight away confirmed by the Merseybeat lure of Vicious and its gripping and addictive sonic toxicity. With a dose of surf and garage rock spicing to its lively yet smouldering presence, the song is other diverse seduction in an album as bold and impressive in its diversity as it is in its magnetic sounds.

Already by this time listening to Nothing But… is exhausting on limbs and energy, such its insatiable revelry but there is no let up as the hungry rock ‘n’ roll of Count leaps upon ears with the energy and lustful temptation of a swingers party, and matched right away by the grooved delights of Suede. Whereas its predecessor has a modern fervour and attitude which whispers Arctic Monkeys and The Black Keys, the second of the pair basks in a sixties pop flavour to its smooth and catchy recipe, The Merseybeats and Small Faces a comparable hint to its mellower but no less stirring enterprise.

The essential sounds and tunes just keep on coming, the blues infused That’s Your Problem a garage rock provocation with a punk attitude which adds yet another colour to the album. The bass and harmonica steal the show here when given space by the excellent vocal belligerence and swiping craft of the guitars. The track is a searing enjoyable punch on the senses but soon a memory once the vocal croon and jagged mastery of Save Me My Love absorbs ears and imagination. Raw and warm in equal measure, the song is another controlling shuffle for body and soul cast around a commandingly persuasive Bo Diddley bred rhythmic and riff sculpted spine.

The Norwegian Feeling is similarly constructed but soon installs its own blues and sonic identity, rhythms a pounding suasion to which guitars and bass wrap their tangy riffs and grooves, it all enhanced by excellent vocals from across the band and the scorch of harmonica beauty. Another major moment to the album in only high points, the song makes way for the swinging brilliance of About to Run; again British sixties pop essences caressing ears from within the vibrant and wonderfully raw canter, and finally the closing Baby, I’m Back. The last song coats the senses in a surf blues wash which as the vocals, simply seduces with every slow glide of its evocative texture and invention. The first time the album brings energy levels a more relaxed time, the track goes to work on thoughts and emotions with its hot climate veined with imposingly seductive and sultry rich melodies. It is a spellbinding close to a stunning album and another unique string in sound to the release’s bow.

Nothing But… is all treats and energy sapping fun provided by songs which embrace the old and new for one of the explosive and impossibly satisfying triumphs of the year. The Youth is destined to greatness, hell they are already there thanks to their stunning debut.

Nothing But… is available on Dirty Water Records now digitally as well as CD and vinyl versions @!/The-Youth/c/10017014/offset=0&sort=addedTimeDesc

RingMaster 07/10/2014

Copyright RingMaster: MyFreeCopyright

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Dirty Crawlers – Southern Headlines

UK rock band Dirty Crawlers has always had a confidence and swagger about them and their sound which made the band mischievously engaging and irrepressible. Their soiled and enthused rhythm and blues flavoured rock songs y found their way to the heart with an honesty and eagerness which was refreshing and impossible not to be drawn into. Now to what will be a loud chorus of excited voices from their ever increasing following is unleashed their debut album Southern Headlines. With a revamp of favourites and a collection of startlingly pleasing new tunes the album finally announces   Dirty Crawlers upon a bigger platform and already they appear to own it.

Made up of vocalist and guitarist Luke Wallin, bassist Nick Feltham, drummer Darren Parsons, and lead guitarist Kris Hutton, Dirty Crawlers simply rock the speakers with their new release. Twelve songs which play like old boozy friends but brought forth with energy and vibrancy that makes everything sound like virgin sounds. Whilst there was definite promise and pleasure in the previous singles which led to impatient anticipation for more, Southern Headlines exceeds expectations which were already high. The quartet from Staines has simply given a feast of straight forward uncluttered rock ‘n’ roll for the ear to devour and body to let loose to.

The album opens with Gonna Be Right and immediately sets out their stall. The song grips the ear taking it into realms of rock that never fail to light up the energy and need to participate. The flavours the band offer in their music is varied influence wise and the opener wants to reveal them all. With essences of the likes of Small Faces and The Who alongside the eagerness of the likes of Purple Hearts and The Creation the band sets the album off to a fine start.

A firm start is soon eclipsed by the following Second Touch, a song that takes one by the scruff of the neck with hypnotic rhythms, expressive vocals, and guitars as caustic as they are dripping filth caked melodies. It is gritty and totally unfussed about brushing off the dirt to be the clean boy your mother would love. The song does what all good rock songs should do, party in the ear and leave one breathless.

As mentioned a few tracks have been given an updating which actually kind of leaves one slightly undecided about them as in the case of the brilliant song Victim Of Love. With a 2011 remix the song is just as stunning and infectious as ever, inviting and probably regretting the need for some listeners to join is at the top of their voices, sorry boys. The indecision comes in the fact that this and others also revamped have a cleaner and more incisive mix which really does do them justice and elevates them onto another platform, but there is still a small feeling of loss for the rawer grungier sound. Nothing can deny the power and quality of the song and though and it is another excellent track to add to the growing list on the album.

The reworked These Few Nights, the insatiable bluesy Black & White (like Casablanca), and Spaces a song dripping emotive vocals and melodies continue the fine sounds and well crafted songs. Dirty Crawlers songs are quite deceptive, on the surface they just seem like simple wholehearted slices of rock but there is a depth and skill to them which reveal s the thought and heart that goes into the music. The Top Cat remix of Bottleneck is a perfect example; it taunts and plays with the ear like a kid with a new toy, swinging chords and melodies before the senses whilst stomping on them with robust rhythms. Initially it looks easy and without effort but the song is concisely created to engage, mesmerise and then command which it does with consummate ease.

Completed by songs like southern twanged Nine Day Wonder, a great new version of another crowd favourite Looks Like Love, and the heartfelt When She’s Gone, the album is a real joy. It does not venture into directions that break down the walls of invention but chooses to stay in pasture which ignite and deeply satisfy the heart. Dirty Crawlers have kept us waiting for this but time dissipates into a distant memory when it sounds this good.

RingMaster 06/03/2012 Registered & Protected


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