Stolen Dead Music – Penny Drop

UK based ScreamLite Records is one of those labels which you just have to keep a close ear on. Their hunger for fresh and exciting new music is the match to that of a fan meaning attention for their releases is certainly a given here. This month sees the label release the new EP from Newcastle outfit Stolen Dead Music which ScreamLite announced was “the first band to really get our feet tapping in 2019” though what the rest of their bodies were up to we don’t know because the three tracks making up the Penny Drop EP just had us bouncing from head to toe.

Formed in 2017, Stolen Dead Music take the inspiration of bands such as Nirvana, Alice in Chains, Smashing Pumpkins, Weezer, Black Flag, Pixies, QOTSA, and NiN into a sound which stands distinctly aside of what expectations assume going by that list. It is a blend of alternative and noise rock with numerous other flavours involved sitting uniquely amongst the equally striking enterprise of bands like Japanese Fighting Fish, Houdini, Damn Vandals, and Max Raptor and providing so much to get excited over.

The EP opens up with its title track, Penny Drop initially stroking ears with fuzz loaded riffs before the same guitar begins deviously scything across the senses as the tones of vocalist/guitarist Jimi Trimmer break. Simultaneously the tenaciously strolling beats of drummer Aidan McGill erupt alongside the just as sturdy bassline of Lewis Patterson, guitarist Issak Patternson continuing to tease and tempt alongside the lures of Trimmer. Just as you think you have a handle on the song, it twists into a whole new channel of virulence to manipulate and seduce, never once taking its foot off its imagination and feverish enterprise.

It is an outstanding track and start to the release more than matched by next up Shunt. Rhythms straight away toy with ears and appetite, the guitars getting in on the act with their web of teasing melodic wires. Loaded with hooks and grooves, the band’s rock ‘n’ roll is a devious persuasion and in full lustfulness within the second song. There is a great Pere Ubu-esque whiff to the track at times too which only escalates its call on instincts and sure allegiance to its feral like energy and imagination.

Gallows Humour completes the release, the instrumental simply an irresistible shuffle of salacious melodic hooks and boisterous rhythms casting intimation and addiction with ease.

The Penny Drop EP is in many ways just a teaser to the Stolen Dead Music songbook, the three tracks picked out from their repertoire to mark their link up with ScreamLite Records but a wake up to all of us previously unaware of their potential and thrilling adventure. Anticipation for more is already drooling here.

The Penny Drop EP is out now on ScreamLite Records across numerous stores and @ https://screamliterecords.bandcamp.com/album/stolen-dead-music-penny-drop

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Pete RingMaster 13/06/2019

Copyright RingMaster: MyFreeCopyright

Bastard Disco – China Shipping

Maybe more recognised for its metal diversity and prowess, over the years we have found that the Polish independent music scene breeds some rather fine propositions within other musical flavours. The latest to come to our attention is the noise rock fuelled alternative rock of Bastard Disco and particularly their new album, China Shipping. Across nine ear grabbing tracks, the Warsaw quartet’s sophomore full-length is a magnetic affair as raw and hungry as it is melodically seductive; one of those encounters you cannot help taking real notice of.

Formed in 2015, Bastard Disco finds inspiration in the likes of Fugazi, Quicksand, Smashing Pumpkins, Sonic Youth, and The Pixies for their own individual sound. 2017 saw the well-received release of debut album Warsaw Wasted Youth via Poland’s oldest independent label, Antena Krzyku. The band has united with the label once again for China Shipping, a release swiftly engaging ears with opener Sophia. The coaxing grooves of guitarist Kamil Fejfer lay down a potent lure, the accompanying grumble of Paweł Cholewa’s bass and the swinging beats of Marek Kamiński soon eagerly accentuating the early temptation. As vocalist Yuri Kasianenko’s melodic tones join the captivation, the track almost haunts the imagination, its hooks and quickly established enterprise proving very easy to devour.

Future Crimes follows, opening with the great dirty growl of Cholewa’s bass before contrasting its grumble with the melodic jangle of guitar. As with its predecessor, familiar essences collude with bold fresh endeavour to create an individual character and presence; its melodic and harmonic boisterousness adding to that distinctiveness. There is a sonic mugginess to song and sound too which similarly just lured ears in and though maybe missing the striking hooks of the opener, the track effortlessly held court before Time Traveller offered up its own humid noise cultured breath. Something akin to Dinosaur Jr meets Big Black the song proved increasingly compelling and contagious as it nagged an already eagerly involved appetite.

Next up is Clear!, a slice of scuzzy indie rock with punk voracity to its infectious holler. Its highly potent persuasion soon matched by that crafted by the outstanding Shining Confidence. The track was pure fascination, its melodic seduction and sultry climate a mesmeric setting for the track’s devilish groove spun chorus. It is another with familiar elements but never proved anything but unique to Bastard Disco while Ministry of Self-Defence emulated that originality straight after with its own sonically dissonant bounce and confrontation. Ferocious yet melodically seductive, feral but craftily conjured, the track provides another particularly compelling highlight before Game of Patriots stole the show. Its first breaths bring the hypnotic coaxing of Kamiński’s beats, every subsequent one exposing his manipulative dexterity as the equally nefariously antics of bass and guitar just enforce the track’s virulence. Kasianenko is just as magnetic alongside their tenacious enterprise, providing further impassioned flaming to the song’s fiery eruptions.

The closing pair of Sink or Swim and B-side Son ensure China Shipping leaves as potently as it arrives, the first enjoying the union of a grumble dark rhythmic incitement and scuzz lined melodic intimation around the perpetually tempting vocals of Kasianenko. The final track is all spirited bounce and creative contagion beneath vocal and emotive energy; a rousing memorable finale to an equally stirring release rather easy to highly recommend.

China Shipping is out now via Antena Krzyku; available digitally @ https://bastarddisco.bandcamp.com/album/china-shipping and on CD/LP through http://www.antenakrzyku.pl/en/shop/bastard-disco-china-shipping-lpdownload-preorder-release-date-030519-kopia/

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 Pete RingMaster 21/05/2019

Copyright RingMaster: MyFreeCopyright

Big Jesus – Oneiric

Pic cred: Chris Sullivan

Pic cred: Chris Sullivan

Imposingly dreamy, Oneiric is a proposal which simply infests, seduces, and lingers with increasing potency listen by listen. The new album from Atlanta bred outfit Big Jesus, the transfixing Oneiric is a warm serenade of the senses but equally has a predacious side to its shadows and rhythmic weight which hooks eager attention. Mellow and raw, seductive and fiery, the band’s sound sits somewhere between My Bloody Valentine and Deftones, Smashing Pumpkins and Palms but is all the time weaving its own distinct adventures now collected on one gripping album.

According to vocalist/bassist Spencer Ussery, the Big Jesus sound was bred on inspirations found in nineties rock;  everything from metal, psychedelic pop, shoegaze, hip hop, and classical piano music impacting on the ideas and music of the band. It is a mix which lured potent interest in the band with the release of their debut album One, and is set to escalate as the Matt Hyde (Deftones, Slayer, Monster Magnet, Sum 41, Alkaline Trio) produced Oneiric swarms over more and more ears.

Bringing four tracks from their earlier release with six new encounters, Oneiric quickly grabs ears and imagination with opener SP, the song instantly a writhing mix of fuzzy melodies and hungry grouchy riffs. It is imposing yet inviting, especially as the warm tones of Ussery float across the feisty landscape of the song. Guitarists CJ Ridings and Thomas Gonzalez cast a great web of warm and aggressive enterprise too, riffs and grooves a conflicting yet beautifully united adventure which with the ethereal nature of Ussery’s voice offers a House Of Love meets Smashing Pumpkins enticing.

art_RingMasterReviewThe snarling air of Ussery’s bass and the intensively swinging beats of Joe Sweat make a matching powerful lure, their driving energy and dark nature as virulent in the following pair of Always and Lock & Key. The first of the two is a ridiculously catchy affair, it’s relentlessly twisting grooves and rhythms a feistily contagious invitation wrapped in magnificent psychedelia/ shoegaze spiced vocals while its successor musically ventures down the same creative avenue to create its own tempting while caressing the senses with romantic melodies as sonic suggestiveness warms with celestial hues. Again there is heaviness and intensity involved which sublimely tempers the bright air and only increases the potency on ears and imagination.

Through the rapacious directness and melodic meanderings of Floating Past You and the gentle yet intrusive and slightly melancholic croon of Fader, the album transfixes with ease while their successors, the sonically incendiary Shards and the heavy metal hued Oneirica only tighten the pull of one increasingly engaging encounter. The latter is another song which fizzes with infectious vitality and a rhythmic boisterousness which seems to inspire all the other elements making up the outstanding and seriously enjoyable multi-flavoured track.

Shrimp caresses the senses with its melodic and vocal gossamer next; a golden kiss on ears with a fiercer underbelly. it is an irresistible calling on appetite and emotions before Felt In Reverse coaxes the senses with magnetic reverberation into another sonically flaming and vocally seductive fire of sound and imagination. As at times across the album, surface elements of the song seem a touch similar to that of other tracks but with closer focus and each subsequent play, the song reveals its own mesmeric and often wonderfully volatile character of craft and invention.

Concluded by Heaviest Heart and its mix of irritable predatory riffs and airy almost diaphanous melodies and harmonies, Oneiric is pure temptation in your speakers. As suggested, the album simply grows and further entangles the listener with every listen, unveiling plenty to satisfy fans of rock music from psych and melodic rock to shoegaze and grunge.

Oneiric is out now via Mascot Label Group / Mascot Records and available across most online stores and @ http://www.mascotlabelgroup.com/big-jesus/

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Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Gavin Chappell-Bates – We Are The Ones

GCB_RingMasterReview

The beginning of the year saw British singer songwriter/guitarist, Gavin Chappell-Bates unveil the video for new track Refugees. It was an ear catching offering also providing a teaser for the Cambridge musician’s forthcoming debut album. Now the release of We Are The Ones is upon us and fair to say if that earlier proposition spiced up the tastes buds there is plenty more highly flavoursome goodness to be found and feasted upon in the thoroughly enjoyable album.

The musical desire and devotion of Chappell-Bates is said to go back to the age of eleven and being inspired by Sgt. Pepper, an ‘awakening’ backed by “ his musical friends and a few early lessons by Ezio’s Booga.” Learning his craft playing in various local bands  which included Bokaata, The Deadlines, We Are Godzilla, and Up & Atom , Chappell-Bates decided to pursue a solo career in 2014, drawing on influences listed as The Beatles, Feeder, Aerosmith, Buddy Holly, The Bee Gees, Smashing Pumpkins, Our Lady Peace, and majorly Manic Street Preachers for his own creative adventures. The following year saw first EP, Black Holes released. Its attention provoking presence was followed by the singles 95 and We Are The Ones, each luring more eager ears the way of his emergence. Equally live he has been sparking strong praise and support around the UK, playing venues such as Bury St. Edmunds’ The Hunter Club, The Rescue Rooms in Nottingham, and in London the likes of Hoxton Bar and Sebright Arms.

Already earning strong radios play on BBC Introducing, BBC 6 Music, and XFM among many others and being was nominated for Best Male Solo Artist in the 2015 NMG Awards, Chappell-Bates is looking to now spark national awareness, something We Are The Ones certainly has the potential to give a potent nudge to. Produced by James Coppolaro, who with drummer Rob Gibiaqui (Sergey Lazarev, The Pinker Tones) plays alongside Chappell-Bates on the release, the album swiftly has ears keenly attentive with opener Church Of Rock ‘N’ Roll. A rousing and contagious slice of sound boisterously living up to its title, the song springs punk riffs and spicy hooks on ears as Chappell-Bates’ vocals lead its lively anthemic pull. It is a punchy and infectious start setting up an eagerness to hear more which the following All Ways more than satisfies.

Art_RingMasterReviewThe second song equally has an infectious swing to its presence whilst pursuing a more melodic/alternative rock imagination in its energetic persuasion. As with many songs there is a familiarity to the sound and nature of the song but equally a fresh essence that highlights Chappell-Bates’ own invention, the following 95 another example. It carries an air of the decade of rock spawning its title yet casts a vibrant pop ‘n’ roll flavouring which has the catchiness of modern rock pop flirtation. Its pleasing presence is matched in success by Refugee next, its initial gentle melodic caress growing in weight and intensity as keys shimmer in the background. Soon that brewing intent erupts in a fiery crescendo and chorus before repeating the cycle to engaging effect with Chappell-Bates’ vocals again a potent hue to his songwriting and its colourful realisation. A more subtle but increasingly provocative texture is provided by guest violinist Prue Ward and cellist Anna Scott, their evocative and here melancholic imagination a great spicing colouring a handful of tracks hereon in.

The album’s title track is another; its melodically reflective balladry evolving into a warm and inescapably catchy rock pop canter framed and steered by a robust and tenacious web of beats before making way for the acoustic tempting of Writing In The Sand and in turn the delicious spirit sparking incitement of Black Holes. The first of the songs has a sunny air to its infectious gait and a smouldering intimacy to its vocal and lyrical embrace whilst the second immediately has ears and imagination gripped with its opening throaty bassline and subsequent tone. A Nirvana-esque feel coats the beginning of the song whilst its emerging virulent stroll lies somewhere between Weezer and The Presidents of the United States of America, all essences combining to colour an encounter whipping hips and voice into eager involvement as it takes favourite song accolades on the album.

Dead End Disco Streets brings a great electronic spicing to its magnetic and physically buoyant temptation, indie and electro pop flavours uniting to embrace and dance with the equally spirited vocals before Follow The Light unveils its own animated serenade which dances with ears rather than laying sentimentally upon them though it is certainly emotively shaped and fuelled. As if any more proof was needed, the song is further evidence that Chappell-Bates knows how to write pop and rock songs which simply stir attention, proof swiftly backed by The Finest Hour and its Big Country like landscape of melodic and folkish hues.

The album concludes with firstly Last Angel, an emotionally intense country spiced ballad featuring the guest vocals of Kathryn James and keys of Jamie Brooks, and finally the acoustic/folk pop sparkle of Starlight. Both songs have brightness to their sentiment loaded proposals, especially the last which with a hug of strings is edgy and provocative as the best pop ballads always are.

Certainly some songs ignited more lusty reactions than others, but from its first note to last syllable, We Are The Ones is a proposition that can only be enjoyed from an artist with the potential to made big strides in the UK rock/pop scene.

We Are The Ones is released April 8th through R*E*P*E*A*T Records and @ https://gavinchappellbates.bandcamp.com/album/we-are-the-ones

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Pete RingMaster 07/04/2016

Copyright RingMaster: MyFreeCopyright

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Supersonic Blues Machine – West of Flushing South of Frisco

Photo By Alex Solca

Photo By Alex Solca

Not so much a super group but a collective of irresistible talent, Supersonic Blues Machine release their debut album, West of Flushing South of Frisco, this February and a collection of blues fuelled tracks which leave ears glowing with satisfaction. Centred around the trio of bassist/producer Fabrizio Grossi, guitarist/singer Lance Lopez, and drummer Kenny Aronoff, band and release provide a tapestry of craft and heart fuelled enterprise which, even if blues is not the prime source of your musical tastes, simply stirs up an eager appetite with its tenacious rock ‘n’ roll.

The beginnings of the band began in 2012 with Lopez, when planning a visit to Los Angeles to record a new album, arranging to hook up with Grossi, who has worked with some of the finest musicians from Steve Vai to Tina Arena, Nina Hagen to Alice Cooper as well as Glenn Hughes, Dave Navarro, George Clinton, Joe Bonamassa, Leslie West, Zakk Wylde, Ice T, Slash, and Paul Stanley to name a few. Their plan to knock around new ideas led to a trio of tracks which became the foundation of an exciting new project to which ZZ Top’s Billy F. Gibbons added fuel to the creative fire by suggesting the pair, who he both knew, “should seriously consider working on something together.” Aronoff who has worked with the likes of John Mellencamp, Smashing Pumpkins, Meat Loaf, Brandon Flowers, John Fogerty, Red Hot Chili Peppers and Joe Cocker, was then subsequently recruited, thanks to Toto’s Steve Lukather, to complete the heart of the new adventure.

Rushing forward to now and it is fair to say that West of Flushing South of Frisco is already making a stir from the glimpses of tracks offered as teasers and from the band of musical brothers brought in to give each song its individual and impressive character of sound and persuasion. It opens up with Miracle Man and a coaxing caress of acoustic guitar aligned to enticing sonic tendrils around sand textured vocals. Those sultry strands of blues guitar continue to wind around the moodier tones of bass and the great grain textured vocals of Lopez, even as an infectious saunter breaks free from the more reserved start to lead feet and hips into an eager southern spiced jaunt around the dance-floor.

artwork_RingMaster ReviewIt is a great start more than backed by I Ain’t Fallin’ Again with its punchy rhythms and climactic air of wiry grooves and spicy enterprise. As the first, it too develops an infectious canter which easily coaxes involvement in its anthemic funk lined revelry and continues the album’s rousing star before Running Whiskey turns up the heat again with its rock ‘n’ roll blaze. Featuring Billy F. Gibbons, the song aligns shimmering keys with classic rock ‘n’ roll with a very gentle scent of Thin Lizzy to it.

Remedy mellows the adrenaline running through veins next, though the song with Warren Haynes (Gov’t Mule/Allman Bros Band) adding his provocative craft has ears and enjoyment firmly gripped with its smouldering Americana. Fair to say though, it is quickly replaced in the attention of personal tastes by the outstanding Bone Bucket Blues. Gnarly and cantankerous in riffs alone, the track is a liquor scented stomp with the vocals of Lopez as much galvanic bait as the feverish grooves and tenaciously writhing textures around them. It is led by a brooding bassline which reoccurs in a less imposing manner within the emotive croon of Let It Be. Even within is sweltering climate of emotional intensity, the song has a sway and infectious manner that makes easy pickings of ears.

Equally as fiery and expressive in word and sonic invention is next up That’s My Way with Chris Duarte joining the trio for its catchy rock ‘n’ blues persuasion whilst Ain’t No Love (In The Heart Of The City) is a tantalising engaging cover of the Bobby ‘Blue’ Bland classic. Smoky in air, galvanic in a group loaded chorus, it is easy to suspect that the song has an emotional involvement with one or more of the trio such its impassioned rendering, though that kind of potency is fuel to the album as a whole and in evidence within the Eric Gales enhanced Nightmares And Dreams. Inspired by a dream, the song is a haunting yet inviting roar of voice and emotion draped in the guitar imagination which veins the whole of the album in an array of stirring tapestries.

Walter Trout brings his distinct touch to the lingering temptation of Can’t Take It No More where the pairing of Lopez and Trout‘s vocals alone are worth the price if the ticket whilst after Whiskey Time, a spicy track described as the extended ending to earlier proposal Running Whiskey, the mellow charm of Let’s Call It A Day sees Robben Ford helping create a piano led, guitar shaped serenade which provocatively smooches with ears with a gentle and at times more intensive touch.

Closing with the funky throes of Watchagonnado, the Supersonic Blues Machine debut keeps pleasure full and a hope for more of its band of brothers like rock ‘n’ roll to come. It is fair to say that we are no blues experts but we know what we like and West of Flushing South of Frisco easily fits the bill.

West of Flushing South of Frisco is released February 26th via Provogue/Mascot Label Group @ http://www.mascotlabelgroup.com/supersonic-blues-machine-west-of-flushing-cd.html

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Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

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This Burning Age – Desolation

this-burning-age-ep3-desolation-band-photo-5th-day-records-2015_RingMaster Review

It has taken a while to get here but now inciting ears and emotions, Desolation proves the wait was more than worth it. The new EP from British electro rockers This Burning Age is the third in a four EP cycle which began last year. The three track encounter is a rousing and forcibly provocative proposition proving that whatever has happened and evolved in the time between releases, the This Burning Age songwriting and sound has potently grown through it.

The EP’s songs feel physically and emotionally fiercer than ever but equally more inventively woven from the depth of sound and flavours which have always marked the band’s sound and releases. Originally a solo project for vocalist/songwriter/guitarist Friday, the Birmingham band emerged on the live scene as a full line-up after the release of debut album A Muzzle for the Masses. Wanting to take its heart and success to live venues, Friday enlisted guitarist/keyboardist Jon Farrington-Smith, bassist Davey Bennett, and drummer Christian Jerromes (since replaced by Jack Josypenko) to the band, with the years since seeing This Burning Age play with the likes of Fearless Vampire Killers, William Control, Heights, and Hundred Reasons amongst many.

this-burning-age-ep3-desolation-5th-day-records-2015_RingMaster Review   The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.

First song up on Desolation is Tatterdemalion, a quickly voracious and rousing proposal but one just as quickly slipping through an unpredictable and tempestuous landscape of intensity and creative resourcefulness. From its initial fuzzy flame of riffs, imposing rhythms stir the blood with just as potent scything grooves getting involved. The song hits a commanding stroll before relaxing into a prowling gait lit by a great steely twang of the bass. This ‘restful’ passage in turn welcomes the distinctive tones of Friday, his expression and emotion as open as ever as keys glow with simmering but bright temptation around him. Fiery expulsions of energy and heart then drive the soon to break chorus, its ferocity lingering to add richer hues to subsequent melodic and slightly restrained moments. For the main though, the track is a cauldron of inventive twists and turns, an array of styles colluding in a striking blaze which at times pokes thoughts of bands like Joy Division, in others of the likes of Pitchshifter and Smashing Pumpkins or Trent Reznor and Anti-Clone.

The outstanding start makes way for Drown In Silence, a song which leans more or certainly quicker to its industrial and electronic rock side as lively cascades of punchy rhythms and suggestive synths fall upon ears before dissipating for the emotive reflection of voice and atmospheric melodies. Calm before the storm, the track is a furnace of emotive energy and heart but again thick intense shafts which share time and the imagination with increasingly volatile and ferocious crescendos, all these keen essences uniting in an explosive and dynamic climax to another increasingly contagious persuasion.

As striking and irresistible as they are, the first two songs are slightly over shadowed by the closing Ab Aeterno (From Forever), a mesmeric introspective unveiling from Friday in voice and emotion. A crystalline twinkle of keys light a creeping mist of evocative melodies from the song’s first breath, the vocals emotionally raw as guitars and stirring beats add their weight to the unfolding intimate drama. Like a mix of Bauhaus and very early U2 embraced by the dark ethereal craft of Nine Inch Nails, the song glows with charm and shadows, eventually igniting in a searing fire of sound and suggestiveness.

It is a transfixing end to a breath-taking release from This Burning Age, the band’s finest hour without doubt though you get the feeling even now that we have seen nothing yet.

The Desolation EP is out now via 5th Day Records @ http://thisburningage.bigcartel.com/

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Pete RingMaster 05/10/2015

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Circle Of Reason: A Favour For A Stranger EP

Circle Of Reason Promo shot

From just the initial listens of A Favour For A Stranger, the new EP from alternative rockers Circle Of Reason you can feel this is a band with all the promise and ingredients to be a big force certainly in the UK rock scene ahead. The three track release is a compulsive slice of well-crafted melodic rock and boisterous energy honed with a fine progressive intent. The band has been compared to the likes of Smashing Pumpkins, Silverchair, Muse, and Queens of The Stone Age, in varying ways to which you can easily add Biffy Clyro and Inme. Circle Of Reason have their own template of sound though which sets them apart from the majority of similarly gaited bands and leaves a sense of excitement for their future whilst giving plenty of pleasure in the now.

The Southampton band was formed in 2009 and has made a steady progress building a strong presence in the South West of England also reaching further afield. Renowned for their live shows which has seen them alongside bands such as Girlschool, Fighting with Wire, Freeze the Atlantic, Landscapes, Idiom, Rumer, and The Smoking Hearts across the UK, the quartet of vocalist/guitarist Simon Osman, guitarist Gary Slade, bassist Sam Cogher, and drummer Andy Milwain, have now set down a marker with the new release which has to be the platform for them to go forth and seize major recognition. It is an impressive aural base camp to venture forward with further invention from, exploration of headier heights in their own evolving creative hands.

The release consists of two previous video singles, which have garnered good play and attention from the likes of Kerrang! TV, Circle Of Reason Cover ArtworkScuzz, and Lava TV, and a third track which is their new video single released to coincide with the EP. Chasing the Sun starts things off with big riffs and dazzling guitar play, a major feature of all three songs. Into its stride the song relaxes into a slightly reserved air as vocalist Osman joins the already intriguing song. He is a strong vocalist who especially excels when raising his vocal energies, though less striking when keeping it low key. He was also the cause of ignoring the majority of the song and release during the first couple of plays, as concentration could only be focused on who he sounded like. It is one of those frustrations which have to be alleviated with an answer before moving on, and thankfully, eventually it revealed itself. I have read him compared to Kurt Cobain (?) but actually he is a dead ringer for Paul Marsh from eighties band The Mighty Lemon Drops; of course that will mean nothing to most but just had to bring relief and closure to the ‘problem’. The song fires up throughout into strong melodic flames musically and in mass harmonies which leave the senses smouldering with contentment and glowing from the outstanding and precise guitar invention. Arguably still the weakness track on the release the excellent song is a deeply engaging piece of enterprise.

     Sea Of Voices is a feistier proposition, striking sinewy riffs grabbing eager attention whilst Osman sweeps through the song vocally nicely backed up by the rest of the band with group harmonies. The song is a thumping stomp with the rhythms of Milwain forming a formidable frame for the basslines of Cogher to badger and guitars of Osman and Slade to incite and dazzle. The progressive intent of the band is at its creative fullness on the track with a wonderful though brief magnetically whispering aside of peaceful melodic grandeur stepping forward before the fiery climax. Everything is in perfect proportion in the songs, the riotous riffs, impacting rhythms, and emotive melodic beauty finding a seamless place in the overall impressive energetic contagion without bleeding into or overwhelming their companions, this song the thrilling example.

The release is completed by the latest single Silver Scene, a track which alone shows why the band is being talked so highly of. Again blending the sturdiest rock and metal riffs with a bruising intensity and infectious melodic invention all brought with unmistakable skill, the song is an irresistible weave of imagination and thoughtful songwriting. From first note to last it is an inventive lure for the passions and inciter of emotions, a mischievous conveyor of barbed hooks and impossible to refuse rock n roll. Other than an opening few seconds where the levels feel smothered compared to the rest of the song, it is a near perfect treat and like the other songs the basis for great anticipation of big things ahead for the band.

A Favour For A Stranger is an excellent EP which just gets better and better with every listen whilst raising hopes that Circle Of Reason has an album in the works for the near future. This is a band you should treat yourselves too very soon.

https://www.facebook.com/circleofreason

RingMaster 01/12/2012

Copyright RingMaster: MyFreeCopyright