Combos – Steelo

Norwegian punk has not been slow in coming forward and grabbing our eager attention over recent years and the release of Steelo introduces another band we have made room in our hungry appetite for. It is the debut album of Trondheim-based punk/noise rock quintet Combos, a band which springs a voracious roar as animated and lively as it is defiantly antagonistic.

Emerging at the tail end of 2018, Combos was founded by guitarist/song writer Thomas Antonsen, vocalist Axel Møller Olsen, and drummer Andreas Kjøl Berg. Forging a rapaciously catchy sound from a fusion of punk and noise rock, the trio soon hooked praise and attention at home. Now with bassist Jørgen Wassvik and guitarist Terje Bjørndahl in their ranks, the quintet is setting their sights on bigger borders to arouse; a mission the Loyal Blood Records released Steelo openly shows the creative armoury to achieve.

Combos’ sound has something of a Shelter meets Swound! accosted by Bokassa to it. It is immediately infectious, just as swiftly aggressive and invasive, and an incitement of manipulation we could find few defences to. EP opener Boom Shakalaka tells you all you need to know about the holler and addictive nature of their creative stomping. Instantly rhythms are forcibly jabbing at the senses as riffs nag on punk instincts, their united incitement enough to have limbs punching even before the highly virulent encouragement of vocals and swinging rhythms. As shown across previous tracks, the band cast choruses which feed on one’s inner yell, easy to leap upon and share moments one’s own riotous body and roaring tones with. All the same, if not as bold as elsewhere upon the EP, twists and turns bring imagination and stirring enterprise, every second of the song listener orchestration.

Kjøl Berg’s dexterous beats are a potent essence within Steelo and an immediately compelling introduction to next up Meme Supreme. His rhythms demand attention, continuing to direct proceedings as guitars and vocals jump on his creative animation. Eventually the track bursts into a noisy clamour retaining a catchiness increasingly escalated by the drummer’s gripping rhythmic athletics which only continues within Mad Beef and its niggling irritability amidst physical tenacity. The delicious growl of Wassvik’s bass had us quickly hooked as too the sonic web cast by the guitars before it all descends into a smog like trespass, this only bringing greater focus on factors behind it when clearing.

Nerdz is a spiral of grooves and rhythmic fingering from its first breath, a song sharing a broader flavouring of sound as post punk and hardcore essences collude with its noise bred instincts while Make Money Take Money is a pandemonium of styles and temptation which is chained by melodic restraint until bursting upon ears in another commotion of a chorus. That post punk hue again enjoyably tainted the raucous spirit of the trespass and again both tracks left us greedy for more which All About The Wex heartily fed. A slice of feral rock ‘n’ roll, it teases with its initial distant baiting before leaping upon ears with noise bound audacity and physical dexterity; it all coated in a garage bed rascality.

The EP is completed by Bro In Pain and its title track; the first also laying down its addiction through ravenous beats before reaping its subservient rewards through vocal and melodic shenanigans. There is a touch of Shevils to the song in certain moments but as throughout the release belongs distinctly to Combos as too the second of the pair, the magnificent Steelo again entangling noise and post punk lures to viral contagion and inescapable manipulation.

The word was that Combos is one of the most promising up-and coming Norwegian bands; well they are here face to face with the world with Steelo, both refusing to be ignored and more than living up to that suggestion.

Steelo is out now through Loyal Blood Records.

https://www.facebook.com/combosofficial

Pete RingMaster 19/05/2020

Copyright RingMasterReview

TV Coma – Body Negativity

If you can imagine the results of Weezer and Swound! musically cavorting with Jan and Dean alongside Blur with a punk nurtured revelry you can get a whiff of the sound of TV Coma though not necessarily the individual mischief and enterprise rampaging through their debut EP, Body Negativity. It offers six tracks of unbridled fun and boisterous deeds amongst cleverly manipulative creative antics and is simply one of the most enjoyable exploits we are sure to indulge in this year.

Emerging from the songwriting revelry of brothers Leo and Max Troy, St Albans hailing TV Coma is a foursome by bassist Jamie Rider and drummer Robert Clark. They also seemingly embrace the punk DIY ethics of yesterday with their first release recorded in Max’s bedroom who then mixed the tracks himself before passing them over to Alan Douches (Ben Folds Five, Converge, Sufjan Stephens, Mastodon) to add his professional gleam to things. The result is an encounter which has an organic roar and an instinctive devilry and one which eagerly gets under the skin with unbridled fun in close quarter.

Have A Party kicks things off and rises up from an encroaching sonic lure with big scythes of guitar and matching rhythms. Everything is an intriguing tease leading to the first vocal rally cry before things settle again into a calm stroll and reflection. It in turn invites ears and listeners to its subsequent chant loaded bellow and a finale which the body, if not already bouncing, can no longer escape. Seriously contagious with a great rock muscularity and edge to it, the track is a glorious invitation into the waiting fiendish clutches of EP and band.

There is no escaping thrusting a Weezer likeness to the following Digital Girl, the LA band one of the major inspirations for the brothers. Even so, the track is ablaze with raw pop punk zeal as it is pop rock catchiness and swiftly inciting physical and vocal participation with its rousing holler before Trudy latches on to its infectious antics for its own particular weave of viral contagion. Something akin to Weezer meets We Are the Physics with Asylums in close attendance, the track just saunters along spilling grooves and hooks like confetti as rhythms cast their own manipulative incitement. Surf pop harmonies escalate the fun and listener’s involvement with a track which never leaves a moment void of creative rascality.

A sonic clamour announces next up Unemployable; a short but attention stalking roar of angst and noise around more of the hooks and enterprising taunts the band seem to instinctively breed. The track instantly and effortlessly leads into inhibition losing shenanigans, reactions even more escalated with Football Song, a Blur meets Television Personalities howl which could easily be adopted by the sport’s fans or haters.

Grow Up completes the line-up of plaintive ejaculations. From its initial vocal wail to the punk rock soaked blaze of sound, the track is a zealously waving finger at immaturity and irresponsible fun whilst creatively providing both.

With each track sparked by traits within modern life, Body Negativity is one spirit rousing adventure. It might not be the best thing you will come across in 2019, though it very well could be too, but there will be few as memorable and even fewer as relentlessly enjoyable.

Body Negativity is out May 31st through Wiretap Records and @ https://tvcomamusic.bandcamp.com/releases

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

Pete RingMaster 30/05/2019

Copyright RingMaster: MyFreeCopyright

Never too late for Vain Galen and Salt The Snail

Though we may be a little tardy in relation to their release dates, we have a couple of singles worth attention anytime of the day and year which we suggest need checking out.

First up is March Of The Walkers from UK trio Vain Galen. Formed in 2012, the West London band has increasingly impressed and lured acclaim through their releases, songs like Galen’s Cage and Biography of a Stickman especially drawing plaudits. Recently the threesome of vocalist/guitarist Wayne Houchin, bassist Carl Tiedt, and drummer John Mcshee uncaged their new encounter, song which pretty much eclipses all the goodness already escaping the band’s imagination.

It is enjoyable not too easy to pin down the band’s music, March Of The Walkers alone a web of alternative metal, punk, grunge and hard rock. It makes for a temptation as unpredictable as it is rousing, the new single stocked with proof of both. Instantly the rhythmic prowess of Mcshee asks for and gets attention, ears rewarded with the rousing exploits of guitar and bass. Already that multi-flavoured hue to the band’s sound is at play, only blossoming as Houchin’s potent tones join the creative affray.

The song continues to entice with skilful hooks and crafty aggression, its fury creating an anthemic climate which the track simply relishes the further it evolves in melodic and imaginative twists, at times teasing with an almost PiL like devilry as it declares itself the best moment in the Vain Galen arsenal yet.

The other track demanding attention is from Salt the Snail, another British band which has already stirred the passions especially through their deviously mischievous previous single Spanish Announce Table. It carried a devilment which had lips grinning and bad habits rising, success boisterously continued by its successor Lazer Quest.

The band writes songs inspired by their own passions; their debut single Coffee was sparked by a love of the obvious, its already mentioned follow-up by wrestling and horses. Lazer Quest unsurprisingly springs from their appetite for lasers and dancing, pleasures shared through the band’s unique fusion of noise, punk, and indie dissonance. Mike Rogers’ guitar grazes the senses initially but only inviting attention to the waiting stomp driven by the swinging sticks of drummer Tom Ashley and The Baron’s throaty bass groove. Once vocalist Krystian Hudson strides in with his equally magnetic attack, the track is in full revelry, twisting and turning only to escalate its delicious antics and enterprise. Something akin to a hardcore infested Swound! meets Asylums meets Houdini bled bedlam, the track is feral manna to any noise loving ears.

Check out both bands further at…

http://www.vaingalen.com/    https://www.facebook.com/vaingalen/

https://saltthesnailband.bandcamp.com/ https://www.facebook.com/SalttheSnailORIGINAL/   https://twitter.com/SalttheSnailUK

Pete RingMaster 16/11/2018

Copyright RingMaster: MyFreeCopyright

Wax Futures – The Museum of Everything

Photo by Jonathan Dadds.

UK band Wax Futures to our mind has never fully fitted their post hardcore tag with their flavoursome sound but it has never been less applicable than with the bands new mini album The Museum of Everything. Boasting a virulent contagion of sound as indie, post punk, and new wave as it is math and punk rock, the release is a refreshing and inimitable slice of rock ‘n’ roll revelling in the new maturity and imagination fuelling the trio’s songwriting and music.

Formed in the final breaths of 2011, the Telford hailing band soon made their mark on the local live scene. With a growing support and reputation they released the Breadcrumbs EP in 2013, before tempting bigger attention with debut album A History of Things to Come; it like its successor a seven track offering with a more post hardcore heart to its enterprise. With their live presence taking in the UK, sharing stages with the likes of Limp Bizkit, Bear Makes Ninja, &U&I, Tall Ships, Alpha Male Tea Party, Castrovalva, Bad Grammar, The JCQ, and Idles along the way, the band have spent their time working on The Museum of Everything, evolving and pushing their creativity simultaneously. It was a concentrated effort now easily and swiftly heard in the album and greedily enjoyed twist by turn.

Recorded with Ryan Pinson (God Damn, Bad Grammar), produced and mastered by Tom Woodhead (ex-¡Forward, Russia!), The Museum of Everything gets down to infectious business straight away as a lone riff squirrels itself in ears, a lure soon joined by a vocal count and controlled swipes from Simon’s sticks. As they all enjoyably collude, Sandcastles in the Snow comes alive, a scuzzy hook reaching out as rhythms slip into a controlled canter while vocals further capture ears in tandem with the groove escaping Graham’s guitar. With the easy going meander of Kieran’s bass teasing feet, the song becomes busier, heading into an equally undemanding but inescapably catchy chorus. Never quite igniting but with a neat whiff of early Kaiser Chiefs to its subsequent enticement, the song is a compelling start to the album setting out an appetising canvas of invention soon taken to bigger and bolder heights.

Demographics is next and instantly with its opening melody alone, brings a Young Knives feel into play, one only accentuated by the vocals and the subsequent web of sonic intrigue and infectious collaboration across the threesome. Hooks grab attention throughout, littering the aural drama and flirtatious energy combining like a mix of At the Drive-In and Swound! but only creating its own distinct adventure. A constant nag on body and pleasure, the song makes way for the just as impressive (My Body is a) Landfill. Instantly, more boisterous in energy and just as enticing in contagious endeavour as its predecessors, the track strolls along with a knowing and inventive swagger; its hands on receptive hips and tenacious feet teasing and taunting them into action with its creative zeal. As all tracks there is also a meatier, raucous edge and air which coats it all, the band’s punk instincts adding to the increasingly tenacious and imposing treat.

From one major highlight to another and Wreck of the Hesperus. As soon as it lays down its first line of bait, the song becomes a tapestry of seductive espionage woven from deceptive hooks and devious grooves, neither seemingly as intrusive and enslaving as they really are. With every passing second, the band’s rock ‘n’ roll heart becomes bolder, closing in on a volatile, increasingly menacing psychosis of a finale to leave an appetite hungry for more.

That heavier, irritable essence is still hanging round as next up The 90s Called, It Wants Yr Misspent Youth Back rumbles in ears. It is a ravenous bordering on rabid incitement from which a smiling groove and teasing stroll breaks free. Now with its relaxed but irresistible swing wrapped ingenuity fondling the senses, the song simply traps and chains the passions with something akin to We Are The Physics meets The Futureheads.

The cosmic twittering of { } leads in the evocative pastures of closing track Brittle Bones and an epic and increasingly dense rapture of melodic suggestion and angular jangles around rhythmic trespass. Holding its own lively groove led saunter, the song sees Wax Futures push their emotive intensity and creative designing yet again; both intensifying as the song brews and boils up into a powder keg of sonic turbulence eventually sending the album off into spatial unknowns leaving the listener lingering on keen anticipation for what comes next from the band.

The Museum of Everything is Wax Futures upon a new lofty plateau in songwriting and sound. At times it might not ignite as it hints it will and maybe lacks a final bite to its most agitated moments but only announces the band as a real player within the UK rock scene and a stalwart in the passions of certainly our personal soundtracks, something hard to imagine being alone in.

The Museum of Everything is out now @ https://waxfutures.bandcamp.com/

 

https://www.facebook.com/waxfutures    https://twitter.com/waxfuturesuk

Pete RingMaster 05/04/2017

Copyright RingMaster: MyFreeCopyright

Tirade – Self-Titled EP

tirade_RingMasterReview

With its virulent pop swing, it is hard to say that the Tirade sound lives up to the fierce tone of the band’s name, but certainly it makes a sizeable, attention grabbing impact going by their richly enjoyable debut EP.  Consisting of seven eventful and resourceful tracks, the self-titled release is a feisty and bubbling fusion of alternative rock and pop punk which employs familiar strains and textures in something potently fresh and increasingly enjoyable.

Hailing from Manchester, the quartet of lead vocalist/bassist Jake Tilley, vocalists/guitarists Josh Pearl and Alex Young, and drummer Stevo Somerset draw on inspirations ranging from Lower Than Atlantis, Press To Meco, and Don Broco to We Are Carnivores and Reuben for their praise luring sound and songs. Formed last year, Tirade are becoming the eager whisper on an ever growing wave of lips, a secret we expect soon becoming an open and loud shout as their EP nudges national awareness.

With moments of really striking moments, the EP is a consistently enjoyable encounter opening up with a band. Snakes and Social Ladders quickly has ears and appetite engaged as jabbing beats and nagging riffs collude. Soon the song is boldly romping, springing sonic intrigue and tasty hooks all the while across its body. It does hold its full energy in relative restraint, turning it into a gripping infectiousness as the guitars create a repertoire of sinewy, melodically endowed enterprise further coloured by Tilley’s impressive vocals and equally strong harmonies.

tirade-tirade-front-cover_RingMasterReviewThe great start is soon eclipsed by the following theatre of Punch?, a song which is as unpredictable as it is catchy. From its first breath sing-a-long vocals unite with sonic espionage as the guitars twist and turn with technical revelry and math rock spiced invention. The rhythms of Tilly and Somerset drive the song relentlessly, adding to its infection as the imagination of the band, not always as forceful elsewhere, has a field day.

Knives In Your Eyes entangles ears in another flavoursome hook within seconds, its spice surrounded by fiery suggestiveness before the song settles into a calmer stroll expelling that initial heated drama throughout. As with the last song, there are essences which spark thoughts of Swound!, a spiky invention aligned to the melodic prowess of Jimmy Eat World/ Lower Than Atlantis. From start to finish, the track hits the spot with ease as too its successor We’re Having Fun. As rhythms punch, harmonies shine with a trio of voices that blend perfectly across another slice of real catchiness. Even with its contagious instincts though, there is a bite to the Tirade sound, a creative snarl as bold as anything within this tenaciously captivating stomp of a song.

For personal tastes, the sparks which help its previous songs spark a lusty appetite for the release are less prominent from hereon in upon the EP though there is no doubting the appeal and enjoyment found in Travel Agent for Guilt Trips and the following, increasingly compelling Optimism. Again both tracks are a marriage of thumping rhythms and harmonic warmth bound in ear pleasing dynamics but lacking the stronger inventiveness and snap of their predecessors.

The EP concludes with The World Isn’t On Your Side, another highlight closing the release as impressively and raucously as Snakes and Social Ladders opened it. Cantankerously bold, the outstanding track is the heaviest moment of the release, almost predacious as Tirade reveals another string to their creative bow.

It is hard not to think Tirade as a band on a certain rise after this fine release, and once the potential shown here is realised as something truly distinct and unique in sound and songwriting, that loud whisper just might become a raging roar.

The Tirade EP is out now @ https://tiradeuk.bandcamp.com/album/tirade

https://www.facebook.com/TIRADEbanduk    https://twitter.com/tiradeband?lang=en-gb

Check out the video for We’re Having Fun @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Abandcalledboy – George Best In Show / Paul Simon’s Daily Routine

cover

You know when you are on to a winner when you realise your feet have already joined in the devilry before thoughts and emotions have caught on. In such cases there is an instinctive lure which digs into the primal essence of what incites personal tastes and musical passions, and so it is with the new single from Belfast noise/indie rock band Abandcalledboy. The two track bewitchment simply took over the body, then the imagination and emotions. It did not ask for permission or make an initial request but just stole its booty whilst providing a seriously compelling and contagious introduction to its creators.

Though our first meeting with them, Abandcalledboy has been making a stir in the Irish music scene for a while, spreading it around the UK at times. 2014 saw the release of their self-titled debut EP which earned the band keen attention across the Irish music press whilst the self-produced video for the song Cliff Richard captured strong interest and praise from Therapy? guitarist/vocalist Andy Cairns. Shows with the likes of Rolo Tomassi, And So I Watch You From Afar, and The Futureheads amongst many has only reinforced the emergence and growing stature of the band but now it is the turn of their new single to nudge a new and broader awareness and appetite for their sounds, and it is fair to say that already George Best In Show / Paul Simon’s Daily Routine has made one new conquest.

Abandcalledboy - George Best - Paul Simon - ABCB 2015 Promo 2The single is the first release from Abandcalledboy as a quartet and shows a shift in direction of sound from the foursome of Ryan Burrowes, Adam Smith, Mark Finnegan, and newest member Chris Ryan. George Best In Show is the first to step forward and in the matter of two breaths has ears and appetite enslaved with its almost voracious rhythmic shuffle. The swinging beats border on salacious and are irresistibly inviting as the surrounding tempting of guitar brings a B-52s like teasing to its melodic mischief. It is not the only thing worming away under the skin and into the psyche though, a sonic bluster erodes the senses with its caustic noise whilst a dark menacing bass tone simply adds to the addictive tempest. It sounds like it is a threatening start but it is the complete opposite, in fact it is a gloriously captivating stirring up of air and listener which levels out into a more stable though still agitated landscape once warm vocals join the affair. The song continues to impress and inescapably seduce, slowly raising its intensity and sonic causticity again towards a blistering finale. There seems to be hints of bands like XTC, Baddies, and Swound! in the song but spices in something predominantly unique.

Second track Paul Simon’s Daily Routine is a more emotionally and physically settled proposition, though again its rhythmic side comes with a volatile nature, especially in the drums. The raw radiance of keys and guitars is a flirtatious dance bridging the dark hues of bass and the agitated beats of Ryan to the harmonic caresses of the vocals and acidic melodies. Fuzzy and mesmeric, noisy and transfixing, the song explores a different kind of chaotic adventure compared to its openly twisted companion, a more temperate brew bristling with sonic enterprise within an imagination lit climate.

Abandcalledboy might have escaped attention from a great many of us until now but that slow awakening will surely change for everyone else with the unveiling of George Best In Show / Paul Simon’s Daily Routine. It thrusts the band onto the widest noise rock map with forceful energy and invention whilst suggesting there is even greater, template shaping things to come. We cannot wait!

George Best In Show / Paul Simon’s Daily Routine is available now as a name your price download at http://abandcalledboymusic.bandcamp.com

https://www.facebook.com/abandcalledboy

RingMaster 21/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Centre Excuse – Generation Z EP

Having missed their previous singles and well received EP All Systems Go, but aware of the growing acclaim around the band, it was with strong anticipation we went into the new release from Centre Excuse, the Generation Z EP.  The earlier single from the six track release Don’t Let Go certainly fired up the keenness to hear more and the EP definitely does not disappoint, its vibrant and well crafted electro rock sounds only reinforcing and building on the promise the song offered.

Formed in 2010, the Rutland (in the sleepy rural village of Empingham) based trio of brothers Jamie (backing vocals / lead & bass guitar) and Alex (drums) Rush alongside Teddy Lewis (lead vocals / keyboards / guitar and programming), have earned a rapidly growing fan base and respect for their impressive blend of eighties electronic pop and modern pop rock. Their music is a fusion which is far more expansive than that simple description but at the end of the day it is indie pop of the highest and most enthralling nature. With massive views on Youtube, the video to their debut single Last 3 Days alone last year receiving over 30,000 YouTube plays in its first month, and exciting energetic shows the band is a loud whisper on a growing wave of lips which the new EP should bring to a crescendo. With strongly successful performances at the likes of the Riverside Festival and support slots to Texan band A Sky Jet Black and I am Giant from New Zealand in recent weeks to add to their own dynamic shows, Centre Excuse are at the point of mass recognition, the EP possibly sending things over the edge.

Once the Generation Z EP gets its claws into you it is impossible not to be captivated and that contagion is immediate with Don’t Let Go, a song of crystalline melodies and pulsating heart. Like a meeting of Depeche Mode and the poppier side of Enter Shikari, the song resonates with a warm and energetic presence. Its melodic caress and mellow atmosphere is cored by a steely intent from the drums and guitars to add further depth to the already expressive vocals and breath of the song. It is easy to see why the song has been the doorway into the band for a great many though arguably there are more infectious and compelling songs on the release.

Stop Drop & Roll and Where Do We Go are two examples of an even greater irresistibility to the ear. The first opens with an ambience sizzling electronic touch slowly building to another eighties electro kiss. Into its stride with again a feistier gait alongside the Daniel Miller like sonic skill and Fad Gadget sounding shadows, the song can only ignite the senses. Do not mistake this for retro sounding though, the song and release very much of the now with elements of bands such as Swound! and the Bravery to what is overall something original. Whereas the first is an openly anthemic song the second is a brooding encounter with the same impactful results. It is an expansive song with the keys wrapping their heated arms around the senses whilst sonic spotlights sweep across its soundscape. The infection is a slow consumption but by its end the song is swirling around the head, the strong vocals and beguiling keys a remaining companion and memory.

MTV Generation is a plaintive rock song, its flight a muscular provocation even in its reflective moments. Again an anthemic joy but it comes through its intensity and inciteful voice, the track a mighty thrust of passion. The guitars flame up the skies of the song with sharp and precise sonic expulsions whilst the dramatic punk breath of the song brings The Psychedelic Furs to mind. If not the best song on the EP it is easily the favourite.

The remaining songs on the release, It’s Okay and Live It All Up, bring another flavour to the table, the first a pop punk riot reminding of bands like Stay Okay! and the other a New Order/Fall Out Boy like mesh, both continuing the high quality pleasure as easily as what came before.

Generation Z is an excellent release which feels like the trigger to shoot in Centre Excuse, a truly exciting band with still plenty of promise to be realised, around the world.

http://www.centre-excuse.com/

RingMaster 29/09/2012

Copyright RingMaster: MyFreeCopyright

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