Bad Solution – The War Within

BS_RingMasterReview

A handful of weeks over two years ago, British metallers Bad Solution seriously impressed with their first EP, Self Destruct. A fiery and inventive roar, it seeded a keen anticipation for the London based band’s debut album; a hunger made to wait but now rewarded with a beast of a first full-length not only confirming that early promise but pushing their sound and writing to a whole new level.

That fresh new adventure tempers the slight disappointment of four out of the album’s ten tracks coming from that first release though such their impressive and highly enjoyable impact there is never a negative hearing them again and again. Their infusion within the brand new tracks on The War Within actually brings other previously less noticeable attributes within the quartet out to join those of their newer companions to create a fully rounded and increasingly riveting proposition.

With originally an all Polish line-up, Bad Solution was formed in 2011 by guitarists Trix and Mariusz Chojnowski. By the November of that first year, British vocalist Alex Willox came in with fellow Brit Joe Patterson replacing Mariusz Burzynski on drums two years later. With the current line-up completed by original bassist Wojtek Suberlak, Bad Solution has gone from strength to strength on the UK live scene, also sharing the stage with the likes of Gallows, The Blackout, and Soulfly across numerous festivals. The release of Self Destruct in 2015 thrust the outfit into a new richness of attention which can only be eclipsed by that generated by the outstanding exploits of The War Within.

Drowning starts things off, instantly confronting ears with rapaciously wiry grooves and hard jabbing beats. It pulls back a touch soon after, relaxing into a more controlled stroll as the guitar weaves a melodic web though still the rhythmic incitement of Suberlak and Patterson brings a bite and lively tenacity. The quickly impressing vocals of Willox are potently backed by the roars of Trix as the song develops a Clawfinger like snarl, it in turn evolving into a just as enticing melody rich cry. The carousel of the song continues to turn, increasingly engaging ears and involvement with very round whilst developing a volatility which only adds to its potency.

cover_RingMasterReviewIt is an outstanding start matched by the equally boisterous and aggressive proposal of Nothing (You don’t know me). Like a fusion of Five Finger Death Punch and Bloodsimple, it is a fiery protagonist grabbing and teasing ears with its muscular and melodically seductive enterprise, Willox again a striking and impressive presence within a maelstrom of ravenous and creatively tenacious magnetism.

Demon In My Bed then follows, beckoning the imagination with its initial Middle Eastern flavoured coaxing, a hue continuing to seduce and flourish throughout the track’s beguiling tapestry of sound and flavours. Once more there is a Clawfinger-esque feel to moments within the song but as in its predecessors, the song soon shows its own individual character in sound and writing as mellow passages beget invasive groove stoked dexterity which begets revolving flames of melodic endeavour.

The melancholic caress of the piano amidst sorrowfully ethereal keys brings Self Destruct into view next, Willox laying his plaintive tones in their arms as darker hues simmer and eventually grow. Veining them are spicy tendrils of guitar and a bass snarl which just intensifies as the song eventually erupts into greater aggressiveness bringing a Papa Roach meets Spineshank air to proceedings. Trix and Chojnowski add additional creative flames with their magnetic guitar craft, the track boiling up with every passing twist and turn for an impassioned climax taking a final bite out of the senses before the calmer presence of Echoes Of The Cry steps forward. With captivating elegance to its melodies and atmosphere, Willox similarly restrained in his tone, the track smoulders and simmers but with an increasing edge which sparks thicker flames of intensity across its lively croon. Though a slow burner compared to those around it, the song simply blossoms over time to one of the album’s truly memorable moments.

The chunky invitation of The Last Lie has ears and appetite swiftly on board whilst adding another strain of refreshing flavouring to the release with its echoes of One Minute Silence. Added to the progressive, slight seventies scented journey of the encounter, it makes for a beguiling and seriously virulent persuasion though still not as addictive as the ever manipulative exploits of Desert Rock. The star of the first EP, it seems to grow with every listen even two years on. It’s also Middle Eastern seeded temptations come backed by a rhythmic incitement which has feet bouncing within seconds. As infectious as they are though, they carry an aggressive bent which strikes almost venomously, the snarling bass matching that ferocity as those early evocative melodies continue to seduce around the addiction stoking chorus. Every band has a track which seals the deal with fans more than any other; this is Bad Solution’s and then some.

The swinging stroll of Dear Sarah follows, a flirtatious affair grabbing feet and hips with its first breath as the imagination comes under the magnetism of tangy sonic tendrils and the vocal prowess of Willox. A fusion of alternative metal and hard rock, the song is as rugged as it is graceful ensuring that the album only increases its grip on ears and pleasure; a hold tightened further by the classic/blues rock hued FOD. A fire of sound and intensity equipped with its own contagious kindling, there is no escaping its creative drama.

The War Within is completed by the equally inflamed White Washed, a track with irritability in its veins and a melodic rapacity in its heart. Suberlak’s bass is a delicious grumble within the flames, though not given enough clarity to groan for personal tastes, whilst Patterson masterfully scythes across the hungry tide of riffs and resourceful web of grooves cast by Chojnowski and Trix.

Though maybe not as impacting as those before it, the track is a fine end to a greed inspiring album. Two years back, the Self Destruct EP suggested Bad Solution were knocking on the door of major recognition. Its opening surprisingly never quite came but no worries, the quintet have just kicked it down with The War Within.

The War Within is available now from most online stores.

https://www.facebook.com/badsolution    https://twitter.com/bad_solution

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Attack The Day – Felons EP

Pic Michal Spigiel

Pic Michal Spigiel

Attack The Day is another of those bands with a sound which defeats exact tagging due to its nature and eagerness to weave in a host of diverse flavours. The Northern Ireland hailing quintet, though it might be that they have lost a member since recording their new release,  are generally classed as alternative metal/rock but as Felons shows, they have the snarl of punk, the rousing tenacity of raw metal, the swing of funk, and the unpredictable character of post rock in their invention. The band’s second EP is an ear pleasing, imagination sparking encounter which captivates more and more with every listen.

Formed in Enniskillen in County Fermanagh in early 2012, Attack The Day soon developed a hunger to play live and soon had their local scene won over. Inspirations come from the likes of Sum 41, Mallory Knox, Maximum The Hormone, Slipknot, The Blackout, Gob, and Korn which alone gives you a hint to the variety in their sound. Last year saw debut EP This Is How It Ends released, its singles finding play and support on various radio stations such as IUR FM and RTE 2XM. 2015 also saw the band touring Ireland and play support to Suddenly Human. Now it is Felons poised to stir up further attention, a success easy to assume with its creative step on from its predecessor.

ATD - _RingMasterReviewFrom its opener, the EP shows a new expansion and invention in the Attack The Day sound as We Are The Change grabs ears with a sonic clamour and a tide of group roars. From there the lead vocal of Dáithí Murphy steps forward within a busy hustle of riffs and firmly jabbing rhythms which is part punk, part heavy rock, and quickly infectious. There is no mistaking the appetite sparking attitude soaking the song, but a challenge bound in spicy grooves from guitarist Mark Cadden as Ciaran Fitzpatrick’s bass throatily prowls the intimidating beats of Shane McGovern. Not for the last time, the punkish hue to a song within the EP, hints at a Stiff Little Fingers like growl to add further temptation for ears to embrace.

It is fair to say that the first song is a relatively and enjoyably straight forward slice of raw rock ‘n’ roll, something its successor Bridges I Burn certainly embraces while revealing the more off kilter imagination of the band. Its relatively mellow start is soon a lively funk fest of grooves and energetic rhythms, but a revelry which in turn sparks vocal animosity and imposing metal bred intensity. It is a passage of invention which repeats with increasing potency, every round revealing a fresh essence and spice within the adventurous exploits.

Epidemic follows that compelling proposal, bringing its own creative captivation with elegant melodies and suggestive beauty, the instrumental a warm yet melancholic caress of the imagination and senses before Part To Play springs its irritable metal and post hardcore causticity on ears. The slightly dour tones of Murphy work a treat against the fiery nature of sound and the band’s bullish harmonies, but the unpredictable character of the song soon has ears and thoughts buzzing in other ways. Slips into ska seeded swings and atmospheric caresses are great moments matched by the contrasting and corrosive winds of sound and intent which also wash across the senses, each providing a fascinating and successful piece in the inventive jigsaw of the track.

The EP is concluded by the boisterous rock stomp of Who We Are, a song emulating the first in providing an anthemic punk ‘n’ roll charge which just hits the spot. It is a great end to a thoroughly enjoyable second encounter with Attack The Day. Fiercely agreeable on the ear, the release also highlights the potential within the band, a promise and quality hard not to see making a bigger impact on the British rock scene ahead.

The Felons EP is released 20th May, available @ https://attacktheday.bandcamp.com/releases

https://www.facebook.com/attackthedayband/   https://twitter.com/_AttackTheDay

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Elessar – Reflections EP

Elessar_RingMasterReview

With a spring tour around the UK mere days away, British alternative/pop punk band Elessar set the scene and tone with their debut EP, Reflections. It offers five tracks of infectiously appetising and thoroughly enjoyable rock ‘n’ roll which might not be bursting with major originality but certainly gives the listener a fun and rousing time; a success never to be sniffed at.

Formed last year, the Gloucestershire-based Elessar soon invited attention with video/single Arrogance that May. Its line-up consists of school friends in Ricky Powell (vocals/guitar), Alex Evans (guitar/vocals), Jack Gambling (bass) and Dan James (drums), and it is fair to say that the quartet took little time to hit and earn a potent reputation on the local live scene swiftly expanding outwards from their first steps as a band. The Reflections EP is the outcome from the band working and recording last year with Romesh Dodangoda (Funeral For A Friend, The Blackout, Kids In Glass Houses), a release seemingly a long time in the unveiling from that first single but soon revealing the rich potential of Elessar.

art_RingMasterReviewIt opens with that first single, and straight away Arrogance has ears welcoming a sturdy wall of hungry riffs and swinging rhythms. Things relax a touch as the vocals step forward though grooves still engagingly flicker and hooks bite through the guitars as those initial rhythms continue to command attention with their tenacious and weighty persuasion.  Hitting its stride in no time, the song soon offers a contagiously rousing chorus and an enticing mix of varying intensity and eventful twists; all fine elements in the anthemic proposal that body and voice cannot resist getting involved in. It is a great start and easy to see why the track made people look up last year, and a success potently backed by the following likes of My Skin and Holding Back.

The first of the two shares a more melodically tempting lead into its proposition though again bass and drums unite to create a formidable spine and thumping drive for what becomes an increasingly fiery encounter unafraid to ebb and flow in attack and raw energy. Holding Back, in comparison to the almost imposing drama of the previous track, unveils a pop catchy character to its vivacious dance with ears and imagination. Hooks and melodies leap and lure like flames in the track’s robust fire, licking at the senses rather than burning them but asking and earning attention with every enjoyable twist and turn.

On the surface a casual listen finds a similarity between the songs on the EP, but deserved focus provides the window to some stylish and emotively fired individuality. Empty Frames is a song though which needs no extra effort to see its uniqueness; punchy beats and a brooding bassline the lure into inflamed melodic enterprise and spirit arousing energy accentuated by a subsequent drop into minimalistic moments of vocal caresses within an evocative ambience.

Goodwill completes the EP with its strong and captivating presence, though it does not have the same kind of effect on personal tastes or the same level of creative drama as its predecessors even in a certainly dynamic body. All the same, the song is a fine end to a release which suggests that Elessar warrants real attention, certainly if bands such as Taking Back Sunday, You Me At Six, and Lower Than Atlantis ring your bell.

The self-released Reflections EP is out on CD and Digital Download April 22nd via iTunes and other stores.

Elessar Spring Tour:

 27.04 – Manchester, Factory

28.04 – York, Fulford Arms

29.04 – Newcastle, Space Bar

30.04 – Leeds, Eiger Studios

01.05 – Stoke, Underground

02.05 – London, Nambucca

05.05 – Cheltenham, 2 Pigs

06.05 – Cardiff, Undertone

07.05 – Truro, Charlies Bar

08.05 – Exeter, Cavern

09.05 – Birmingham, The Rainbow

10.05 – Bristol – The Louisiana

https://www.facebook.com/ElessarBandUK   http://www.twitter.com/ElessarUK  https://elessaruk.bandcamp.com

Pete RingMaster 22/10/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Diamond Days – People Change

DD_RingMasterReview

In the second half of 2015, UK alternative pop/rock band Diamond Days grabbed attention with the release of two singles in quick succession; songs which built upon the potential and success of their previous EP. Now they nudge the bar of their melody rich sound again with new track People Change; a single confirming why good, praise loaded things are constantly being said about the Liverpool band.

DD art_RingMasterReviewFormed in 2014, the quartet soon sparked keen online attention with the release of debut single Start It From The End, its release soon followed by over 60,000 views on YouTube and the luring of over 30,000 followers across social media since. Drawing on inspirations ranging from Fall Out Boy, You Me At Six, and Panic! At The Disco to Foo Fighters, Young Guns, and Lower Than Atlantis, the band’s sound has persistently evolved with each release too starting with their impressing debut EP, We’ve Come A Long Way. Live the band has equally earned a potent reputation, sharing stages with bands such as The Blackout, William Control, Metro Station, Motion City Soundtrack, Fearless Vampire Killers, and Verses along the way. Both the Love Struck Kids and I Rewind singles of last year hinted at further growth in songwriting and sound which now People Change backs with infectious charm.

An opening melodic sigh brings in the punchy beats of Mark Highdale and the enticing lures of guitarists Tom Shepherd and Alex Fearn first, the latter equally as swift in offering his strong voice and expression to the emerging song. It is a rousing start which never explodes but continues to fuel the growing harmonic and melodic roar. Darker textures are provided by the bass of Tom Jack Jackson, giving a great temper to the vibrancy which soaks the song from enterprise and craft through to the potent tones of Fearn.

There is also a great hint of new unpredictability emerging in the band’s songwriting too; a sudden twist into a calmer emotive climate without real warning one great moment in the increasingly magnetic encounter.

With a great video to accompany it, People Change looks like being the start of another strong year for Diamond Days and an enjoyable one for us.

People Change is out now.

http://www.diamonddaysmusic.com   https://www.facebook.com/DiamondDaysUK   https://www.twitter.com/diamonddaysuk

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

MORE THAN MOST UNVEIL THEIR ‘NIGHTMARES’

More Than Most Online Promo Shot_RingMaster Review

Brit alternative rock outfit More Than Most have released their new video single ‘Nightmares’, a track taken from the band’s new EP ‘Impossible Is Temporary’ which was releases on February 5th.
You can check out ‘Nightmares’ right now at https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be

Hailing out of London, the 2014 formed ‘More Than Most’ are a diverse and potent five piece originating from across the globe. The alt-rock combo consist of Leandro Leonardi (guitar) who moved from Brazil to England to pursue music, Mok Saib (bass) who journeyed from Algeria, and Cole Solem (drums) who arrived from the USA. Izzy Stylez (vocals) and Daniel Allan (guitar) are the only original UK based members. With a varied range of influences and life experiences, ‘More Than Most’ tug from their diversity and draw it down to their music. The result is both wholly captivating and all consuming.

It is fair to say that the energetic quintet hit the ground running, playing their first ever show at the start of this year in a sold out O2 Academy Islington 2 Show, supporting ‘Dirt’. From this point, the quintet has not looked back, breeding a dedicated fan-base whilst picking up slots at Takedown Festival and Camden Rocks Festival, and playing with the likes of Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch and While She Sleeps. More Than Most have gone on to sell-out another O2 Academy show, as well as impressing through a succession of pummelling shows throughout the Southern plains. As well as vigorously working on their live set, the alt rocksters have put out two videos ‘Feed The Fire’ and ‘You’re Not Alone’; both receiving extensive TV airplay with Scuzz.

Now with the release of their new video single ‘Nightmares’ (https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be) following one impressive new EP in the Justin Hill (Young Guns, Heart Of A Coward) reorded ‘Impossible Is Temporary’, it is fair to say that More Than Most have arrived.
https://www.facebook.com/morethanmostofficial  https://twitter.com/mtmukofficial

More Than Most – Impossible Is Temporary

More Than Most Promo Shot_RingMaster Review

Since forming in 2014, More Than Most has become an eagerly followed and appreciated live proposition which has lit up stages alongside bands such as Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch, and While She Sleeps as well as graced the likes of the Takedown and Camden Rocks Festivals. Now the UK quintet offers their alternative rock with electro tendencies to a broader recognition and attention with the release of debut EP Impossible Is Temporary.

The four-track encounter is a magnetic affair fuelled with passion and open emotion in an resourcefully sculpted body of melody rich sound. It is not an encounter necessarily announcing the London based band as the next big thing yet but it certainly leaves a more than contented appetite for their imaginative and lively offerings. It has a variety to its spices which alone captures ears, a diversity not too surprising given the cultural background and influences of its creators. Guitarist Leandro Leonardi comes from Brazil, moving to England to pursue music, whilst bassist Mok Saib and drummer Cole Solem are respectively Algeria and US bred. With vocalist Izzy Stylez and guitarist Daniel Allan, both UK born, completing the line-up, More Than Most create a colourful creative clamour and emotive tapestry which allows Impossible Is Temporary to shine in potency whilst giving strong enjoyment.

More Than Most Cover Artwork_RingMaster ReviewRecorded with producer Justin Hill (Young Guns, Heart Of A Coward), Impossible is Temporary quickly lures attention with opener You’re Not Alone. Straight away a melancholic keys cast melody tempts as a shadowy ambience brews around it, electronic beats soon adding to the arising drama escalated further by the alluring tones of Stylez. There is something familiar to the song but an essence which you could say is Linkin Park like which only enhances its allure as rhythms and harmonies unite with the fiery and slightly solemn flames of guitar. It is a magnetic start to the EP, a deceptively anthemic cry pungently backed up by Remember Who You Are.

The second track also enters on an electronic coaxing, this time a lively simmer of keys which soon invites bolder rhythms and tenacious sonic enterprise to invigorate an already highly agreeable incitement. There is greater energy and creative drama to the song which only whips up keen attention and a similarly eager appetite for the imagination spawned More Than Most roar. Once more familiarity does rear its tempting head as the track fuels feisty energies in itself and listener, but it only adds to the fun before Save Me From Myself emulates the mix with its own creative and melodically rowdy proposition. There is a darker hue to the shadows which line the walls of the vocally tantalising and rhythmically dynamic proposal though, their emotive tempering to the sonic flames and flowing harmonies as suggestive as the heart felt words and notes uniting in another potent persuasion.

Closing with the imposing contagion of Nightmares, a stirring song built on an irritable bassline and scything beats upon which it boils up a sonic tempest of sizzling melodies guided by the ever impressing vocals led by Stylez, Impossible Is Temporary leaves with its finest moment and impact. All songs entangle the listener in craft and appealing adventure but its finale is a roar above and alone a reason to keep a close eye on More Than Most.

Lacking a major uniqueness in identity of sound, Impossible Is Temporary is maybe not the game changer for the band though it will surely push them into new and keen spotlights. It does though make a strong and thoroughly enjoyable base to leap ahead from, and we for one are looking forward to that next step.

The Impossible Is Temporary EP is available from February 5th.

https://www.facebook.com/morethanmostofficial   https://twitter.com/mtmukofficial   http://www.morethanmostuk.com

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Go Primitive – 100 Ways EP

Pic MARIANNE HARRIS

Pic MARIANNE HARRIS

If you are looking for a slice of rousing alternative rock then taking a punt on the new Go Primitive EP would definitely be a good move. Featuring five tracks which seriously stir ears and appetite alike, the release is a sparkling offering from a UK band heading towards strong attention. Admittedly the 100 Ways EP employs many recognisable flavours within its tapestry of creative contagion, but what it lacks in major surprises it heavily makes up for in fresh adventure and creative tenacity.

Hailing from Rugby in Warwickshire, Go Primitive has been making a potent name for themselves locally and further afield, luring in an increasing horde of fans and media attention. Live the quartet of guitarists/vocalists Tomm E Williams and Adam White, bassist Dan Teale, and drummer Ben Goodwin has earned a reputation for adrenaline fuelled live performances, sharing stages with the likes of Mallory Knox, We Are The Ocean, The Subways, Lonely The Brave, Hawthorne Heights, and Yashin along the way. Now they are set to provoke national spotlights and support with the Romesh Dodangoda (Funeral For A Friend, The Blackout, Kids In Glass Houses) produced 100 Ways, a success easy to see being within its highly enjoyable persuasion.

It opens up with Breathe In, Bleed Out Go and instantly fires up ears and imagination with a rousing vocal roar against firm beats and the inflamed tempting of guitars. It is a relatively restrained but rich start quickly working on thoughts and emotions, expanding its potency as fiery melodies collude with shadowy rhythms within the persistently provocative vocal cry. References have already been made to bands such as Lower Than Atlantis, Mallory Knox, and Don Broco when talking about Go Primitive, suggestions easy to understand from the opener alone.

100_Ways_RingMaster Review   Its impressive presence is soon eclipsed by the excellent In A Band, a slice of rugged pop rock with a host of addictive hooks and tenacious enterprise around the excellent vocal union of Williams and White. The track is pure temptation; every lick of a riff, swing of a beat, and dance of a syllable virulent incitement impossible to avoid getting physically involved in let alone ignore.

The Sun Will Rise takes over next, its more fiery textures and sonic tone also a swift invitation with inescapable bait laid down by the anthemic craft and jabs of Goodwin. The bass of Teale is a darker coaxing too, it’s throaty prowl less intrusive but just as magnetic in the captivating emotive croon of the track. With a great tempestuousness to its air and touch, the song carries a volatile edge which hints at more than it realises but adds tension and attitude to the stormy music surrounding the excellent vocals.

The EP’s most virulent moment comes in the niggling hook of Save Your Self, it initiating the quickly blossoming slice of sinew crafted and melodically spicy rock ‘n’ roll. The track is another highly persuasive and anthemic stomp tempting feet and emotions with a web of nagging grooves and spidery sonic imagination, perpetually veined by an infection of rhythms and repetitious invention not forgetting that gripping first enticement.

Coming to a more than solid close with the highly flavoursome and emotively honed What You Pay For, an initial seeding of creative prowess which blossoms to greater and more riveting success with every listen, 100 Ways is a thoroughly enjoyable and exciting introduction to Go Primitive. It is hard not to imagine, as the band grows and evolves a more unique sound, that they will further come into their own and truly stand out on the crowded alternative rock landscape. More of the same next time would go down rather well too though.

The 100 Ways EP is out now @ http://goprimitive.bigcartel.com/product/100-ways-e-p

http://goprimitive.co.uk/   https://www.facebook.com/GoPrimitiveUK   https://twitter.com/goprimitive

Pete RingMaster 02/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Networks – Enough To Save Us EP

Networks_RingMaster Review

There is a bit of a buzz brewing up around UK metalcore band Networks and though we are not ready to yet add majorly enthused voices to the rising roar, intrigue and attention for the Portsmouth band has certainly been sparked thanks to their debut EP Enough To Save Us. It is a tempest of sound and ire fuelled emotion which sits easily within expectations of the genre inspiring it but dig deeper and there is an underbelly of invention and imagination which incites closer inspection and a want to know more.

Formed in 2014, Networks was soon stirring up ears and support across shows and a handful of festivals like Redfest, Edgefest and Messtival. From there opportunities to share stages with the likes of The Blackout, Slaves, and Astroid Boys have arisen, 2015 being a thick nudge of broader attention by the band. Seeing a couple of personnel changes early on this year, they set about writing new songs whilst playing with artists such as Palm Reader, Zoax, and When We Were Wolves and at the Crossroads Stage at Butserfest with HECK, Fathoms, and Shields. Now they attempt to whip up more of us with Enough To Save Us, a try easy to imagine leading the band to some potent success.

Networks ETSU EP Front Cover_RingMaster Review   Wires gets things off and running, its opening a worldly bred flavouring infused with samples and a brewing turbulence which soon drives the heart of the raw fury and enticing sonic tempting gripping the track. In no time the guitar of Joe Soar builds a web of engaging grooves and sonic enterprise, they a less hostile tempering to the heavy growling vocal antagonism of Sean Kelly and the hefty swipes of drummer Harry Fielder. The main body of the track is potent and persuasive if without springing any surprises but it is the twists of sound and imagination, at times only in slithers, which turn a good track into a keenly appetising one.

A melodic caress opens up the following End Of An Era, though soon jagged exploits from the guitar step forward in tandem with the dark menace of Josh Slade’s bass. Within a few more breaths, the track is stomping with energy and irritable emotion, though again things evolve as all the creative tendrils and facets of the excellent track collude and entwine. Once more it is fair to say that Networks are not breaking free from established metalcore scenery and hues, but with bright imagination and a good level of unpredictability, the track provides an increasingly enjoyable incitement.

The rugged and challenging Darker Truth steps up next, vocals a rasping provocation against barbarous rhythms. As the lure littered sonic weave spun by Soar breaches ears, the bass brings a great bestial voracity to the song’s tone, it all uniting in an appealing trespass on the senses with again surprises low but enjoyment thick.

The EP is completed by its title track, a proposal carrying a similar and satisfying template to its predecessor. There is an open degree of similarity across all songs in varying ways, the admittedly strong and pleasing vocals of Kelly one such area which might blossom further with a touch more diversity. More than most, the final provocation suggests this closeness but nevertheless it still enlivens the appetite whilst confirming the prowess and potency of Networks in songwriting through to sound.

Enough To Save Us suggests there is plenty of potential and quality which will see Networks emerge from the crowd in time and coax strong attention and support along the way. Fair to say that the band’s opening gambit is a strong and fiercely solid introduction providing ears with a potently enjoyable slab of confrontation, a sign of things to come we suspect.

The Enough To Save Us EP is available via on Viper Trail Records, digitally now from most online stores and as a physical copy from December 3rd when it will be launched at the EP’s release show at The Edge Of The Wedge in Portsmouth.

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

Pete RingMaster 30/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Diamond Days – Love Struck Kids/I Rewind

diamond days_RingMaster Review

UK alternative rockers Diamond Days released their new single a matter of days ago and already have its successor eagerly waiting for release in a few short weeks, so we thought we would look at both Love Struck Kids and I Rewind in one clean swoop.

Diamond Days hail from the Northwest of the UK and have already impressed and drawn good praise with their We’ve Come A Long Way EP which came out last November. Even before then debut single, Start It From The End had given a potent introduction to the Liverpool quartet, receiving over 60,000 views on YouTube and sparking over 20,000 followers for Diamond Days across the social media. As mentioned We’ve Come A Long Way ignited even stronger and eager attention from fans and indeed media, as well as a live presence which has seen the band supporting the likes of The Blackout, William Control, and Verses, and now it is the turn of their two new singles to stir up more welcome fuss.

cover_RingMaster Review   First, and released a number of days back, is the Seb Berrios and Arthur Indrikovs (Florence & the Machine, Foxes, Jon Newman, Clean Bandit) produced Love Struck Kids. Immediately hefty rhythms and keenly eager riffs are rapping ears but equally a melody built sonic persuasion is there coaxing ears too before the strong voice of Alex Fearn erupts with equal colour. It is a powerful and thickly enticing start which only grips a little tighter as the guitars of Tom Shepherd and Fearn flirt with open enterprise and the commanding rhythmic bait of bassist Tom Jack Jackson and drummer Mark Highdale sets to work.

The song soon shows a familiarity in its surging stride of sound and energy yet has a freshness and invention which turns that to merely another spice in its resourceful adventure, which subsequently brings in mellow keys around an additional reflective vocal piece portraying a deeper emotion fuelled drama. The track is soon roaring as before though to leave ears and appetite just that little greedier and without doubt more energetically pleasured.

It is an invigorating proposition understandably already getting rave responses; a result forthcoming single I Rewind will surely match. In fact it has already drawn great praise as part of the We’ve Come A Long Way EP from where it comes. Featuring Yashin vocalist Harry Radford, the song ‘tickles’ ears and expectations with an initial lure of smiling guitar, this in turn sparking healthy beats and a throaty bassline as the guitars broaden their tapestry and the vocals of Fearn, backed again impressively across band and guest, unfurl the narrative and its emotion.

With a great vocal ‘spitting’ midway and a greater snarl to its heart and nature compared to the first single, I Rewind is a formidable and anthemic incitement and remains, if not arguably the best Diamond Days song to date, certainly the biggest favourite.

Both singles only reinforce and push the reputation and growing stature of Diamond Days, a band it is easy to suspect as it evolves a richer distinct identity to its right now You Me At Six meets Lower Than Atlantis meets Fall Out Boy sound, will only get bigger and better.

Love Struck Kids is out now with I Rewind released in September 2015.

RingMaster 27/08/2015

Copyright RingMaster: MyFreeCopyright

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Bad Solution – Self Destruct EP

Photo_RingMaster Review

A juggernaut is the best way to describe the Self Destruct EP from UK band Bad Solution, a juggernaut of energy, passion, and anthemic potency, not forgetting scything rhythms and crushing riffs. Its quartet of songs also come equipped with a sonic and melodic enterprise bridging the voracious metal and inflamed heavy rock instincts which openly fuel songs and sound. The EP is a beast, a rousing introduction to a band many others have long been crowing over; a proposition easy to see forging an even more explosive and acclaimed presence within British rock ‘n’ roll ahead.

London based Bad Solution began in 2010 formed by guitarists Trix and Mariusz Chojnowski. With initially an all Polish line-up, the band recruited British vocalist Alex Willox late 2011 which was soon followed by the band making their live debut to rich acclaim a couple of months after. The current line-up, completed by bassist Wojtek Suberlak and drummer Joe Patterson, was in place by the December of 2013 and the band simply has gone from strength to strength with a live reputation to match their sound. They have shared stages with the likes of Gallows, The Blackout, Soulfly and many more along the way and released the well-received three track single Echoes of the Cry. Now the quintet is beginning to stir broader attention with Self Destruct and it is easy to see and hear why from its first roar.

cover_RingMaster Review   The EP opens with its title track and a melancholic tempting of piano amidst more sorrowfully ethereal keys. As the strong vocals of Willox join the embrace, so does a bass snarl and a spicy croon of guitar with more rigorous rhythms aligning themselves to the start soon after. It is a potent entrance becoming increasingly inflamed with every second, its volatile ambience eventually erupting into an energetic tempest of intensity and emotion. There is a definite Papa Roach air to the song, when that band was in its early prime, and equally a touch of Spineshank and fellow Brits The Self Titled to the evolving blaze of creative and impassioned ferocity. It is an immense start to the release, the band’s melodic and aggressive side resourcefully and strikingly merging in an impressive union.

To be honest, as mighty as it is, the following Nothing (You don’t know me) just outshines it with its Five Finger Death Punch/ Bloodsimple like riot. Willox quickly shows great versatility to his delivery, matching the furnace of enterprise and sound around him. Riffs chew on ears and rhythms swing lead like bait whilst the guitars stir up a maelstrom of ravenous and melodically seductive magnetism. Neck muscles are soon in allegiance to the brawling intensity, as too are ears and imagination to the heavier rock and melody hued exploits within the thick persuasion. It all results in another hellacious and compelling proposal easy to jump on board with and well before it’s reached its fiery climax.

Dear Sarah steps up next and similarly has attention and appetite eating out of its inventive hands. Though stalking the senses with their jagged tempting, riffs and rhythms carry an inviting swing to which tangy sonic tendrils wind their richly alluring endeavour. Again whispers of Spineshank and also this time 36 Crazyfists nudge thoughts but with every passing half minute, the song fluidly moves into new scenery drawn from varied metal flavours across a tenacious and imaginative landscape.

Fair to say Self Destruct just gets better and better with each proceeding track, ending on its pinnacle, the brilliant Desert Rock. A Middle Eastern spicing immediately coats the emergence of the song, traditional instrumentation colluding with predatory rhythms and antagonistic riffery before the latter takes over and sculpts a ferocious stomp of energy and sound. To this those ethnic hues add their thrilling hues from time to time, lurking and shining from within the groove stoked, rapacity lined furnace of anthemic sound and volcanic intensity. The track is glorious, an aural call to arms which no metal loving body and heart can resist, and surely the single to light the touch paper to national success and more.

Bad Solution is a band which guarantees a good, exhausting time with their music but as shown by the Self Destruct EP, they also bring inspiring energy, instinctive passion, and invigorating invention to the table. It might not be the most original EP you will come across this year, but without any doubts it will be amongst the most memorable and thrilling.

The Self Destruct EP is available now through most online stores.

http://www.facebook.com/badsolution

RingMaster 18/07/2015

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