Scout Killers – Deception

Being a band we have had a close ear on for a handful of years now, we can suggest that the Scout Killers sound has now all grown up as it fuels one sizeable treat in the shape of their new EP. Deception offers four tracks of infectious alternative rock with a snarl in their heart and imagination in their nature. It is easily the UK quintet’s most striking and accomplished proposal yet and the moment far bigger spotlights could wake up to their presence.

Previous single Rip Me Apart hinted at a coming of age of their sound last year but now is shown to have been just another step in the growth bursting out within Deception. Since emerging in 2009, Scout Killers has become an established and eagerly supported presence within the British underground scene. Nudging attention with their debut EP We Cage The Storm and making a stronger impact with their self-titled first album, the Bath based outfit has increasingly blossomed in creativity and reputation as a live proposition, sharing stages with the likes of Fearless Vampire Killers, The Computers, F.O.E.S, and No Devotion among many, and through further releases like the Stand Your Ground EP of 2014 and the previously mentioned impressive single.

Deception takes things to a whole new ball park on all levels, the release quickly gripping ears and stirring the imagination with opener Freak Show. A lone guitar melody winds itself around ears first, soon being joined by the rousing tones of vocalist Scott Cox and the imposing yet inviting beats of Chris Phillips. There is instant muscle in the rising sound of the song, tension in its vocal and sonic drama, all bound in an infectiousness which fuels the attack of the forceful web of sound. The dark hues of Tom Graham-Hibbs’ bass are a throbbing grounding to the fiery textures cast by guitarists Beau Stevens and Julien Morrez, the union of the five a theatre of craft and imagination.

The seriously impressing start is followed by the mellower air of Keep Telling Me Lies though it too has a tempestuous edge with gives bite to its riffs and emotion. Bouncy rhythms temper the melancholic hue of melodies, bass and vocals bringing their individual shadows to the plaintive voice of the song. A Pearl Jam meets Alter Bridge washes over ears though as its predecessor, the track emerges as something distinct to Scout Killers, an individuality which has also come alive more dramatically with the EP.

Let It All Go hits the plateau of the opener, melodies and rhythms coming together for a suggestive start which soon becomes a more imposing proposal as Cox’s vocals once more grip attention with some superb backing from others within the band. A slice of meaty rock ‘n’ roll with a controlled attack which adds to its weight, the song truly hits the spot before You Have It All brings things to an equally heady conclusion. The final track flirts with ears initially, a guitar teasing and coaxing before being quickly joined by the rapier swings of Phillips and the growling bait of Graham-Hibbs’ bass. As catchy as it is an intensive roar, the song twists and turns with a resourceful fluidity and craft, leaving on a senses scorching stomp of a finale which demands a swift dive back into the EP’s depths.

Like many others, we have has a soft spot for Scout Killers though after Deception it has just become a touch lustier, the EP a wake-up call for national attention and beyond.

The Deception EP is out across most online stores July 7th

http://www.scoutkillers.com/    https://www.facebook.com/scoutkillers/    https://twitter.com/scoutkillers

Pete RingMaster 05/07/2017

Copyright RingMaster: MyFreeCopyright

All Ears Avow – Edge Of This

As voices and words gain momentum in offering attention and praise to All Ears Avow, the UK rockers add fuel to the rising fire with their new EP Edge Of This. Six tracks of melody wrapped, riff driven alternative rock, the release is a fresh and appetising slice of rock ‘n’ roll sure to reinforce if not give new impetus to their growing reputation.

Since emerging in 2013, the Swindon quartet has released a pair of increasingly well-received EPs, in the shape of Home (2013) and Reach (2016), and nurtured an eager following and praise for a live presence taking in shows with the likes of Decade, The Computers, Empire, Verses, Jonah Matranga (Far), and Milk Teeth among many, as well as successful slots at festivals such as Wychwood and Gloucester Guildhall’s Underground Festival amidst their own successful UK tours. Edge Of This points to the band being ready to attract even keener and bigger spotlights whilst carrying the potential of even bolder and unique exploits ahead.

The band has drawn comparisons to the likes of Muse, Don Broco, and Biffy Clyro with their sound, references easy to understand as EP opener Caged instantly demands and commands attention; Lower Than Atlantis coming to mind too. As a blurred background assembles, a wiry hook taunts; its intriguing bait soon joined by the potent tones of vocalist/guitarist Claire Sutton. In no time it all comes to a focus driven by the fiercely punchy beats of Sean Ivens. That initial hook still makes a rich lure, even as just as tasty riffs and chords between Sutton and fellow guitarist Jake Willcock collude. By this time Sutton’s voice is seizing a fair share of attention, her tones swiftly impressive alongside that lingering and still deliciously grouchy hook. The track is superb, a mighty way to kick things off and for personal tastes never equalled across the remainder of the highly enjoyable release.

The song is pure hungry rock ‘n’ roll setting a lofty bar which next up Gone certainly has a keen go at rivalling. With its angular but warm melody, the song is a much mellower proposal carrying steel in its presence and attitude rather than the kind of snarl fuelling its predecessor. The dark basslines of Joe Bishop add a great contrast to the lighter but thickly emotive aspects whilst Iven’s swings again have an imposing weight even if showing more restraint than before. With Sutton again pure enticement as melodic flames are ignited by the guitars, the track has ears and imagination hooked before new single Hurricane saunters in with a confident smile to its character and an infectious swagger to its swinging grooving. With unbridled catchiness shaping its rousing chorus and indeed instrumental asides, the song hits the spot dead centre.

Earlier single Just For Me comes next, showing with its muscular body and dark shadows why it alone sparked strong anticipation for the EP. Almost nagging ears with its array of hooks and temptation, the song provides a meaty piece of emotion soaked pop ‘n’ roll with a good spicing of electronic goodness while the following EP title track delves even deeper into the band’s pop natured creativity. The song still has a heavy essence and stubbornness to its physical skeleton but within a melody woven balladry with its own catchy captivation.

Completed by the similarly emotional power ballad of The Middle, a song like the last needing a touch more time to spark the same level of pleasure as those before but undoubtedly getting there with ease, Edge Of This is a potent next step in the ascent of All Ears Avow. As suggested, it does feel like a step in the way to something bigger and finer from the foursome whilst offering a relentlessly enjoyable outing easily outshining a great many similar genre based releases heard this year so far; suggesting there are big times ahead for All Ears Avow.

Edge Of This is out now and available through http://www.allearsavow.bigcartel.com/ and https://allearsavow.bandcamp.com/

http://www.allearsavow.com/    https://www.facebook.com/allearsavowband    https://twitter.com/AEAOfficial

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

Dirty Jane – Boogie Monster

There is a new hypnotic rumble brewing in the belly of the Birmingham underground scene and it goes by the name of Dirty Jane. This salaciously flirtatious garage punk ‘n’ roll filly is not exactly brand new, the British trio emerging in 2014 but they have just made their national introduction with debut single Boogie Monster, a track with a primal swagger which simply infests body and spirit.

Consisting of vocalist/guitarist Jack Brown, bassist John Beadsmore, and drummer Elliot Morris, Dirty Jane has become an eagerly supported and talked about proposition within the Midlands music scene; earning a fine reputation for their energetic live presence amidst shows alongside the likes of The Strypes, The Sherlocks, The Computers, The Dirty Nil and most recently Hvmm. As mentioned, Boogie Monster is the band’s first fingering of national attention and surely lustful reactions such the infectious devilry breeding the single.

Fusing garage punk and punk rock with fifties rock ‘n’ roll, the Dirty Jane sound prowls ears and psyche like a fusion of The Cramps, The Phantom, Dick Venom and The Terrortones, and Eighteen Nightmares At the Lux; a creative breed of temptation which instantly has ears and appetite inflamed as the single sonically and vocally shatters the silence. Within another breath, rhythms are prowling the senses with a lively almost predacious gait casting catchy menace for Brown to vocally embrace. With insatiable hooks equally grabbing ears all along his guitar’s swarthy grooves, a delicious grumble to Beadsmore’s bass alongside, and the whole of the band courting thick involvement with their vocal roars, the song demands lusty participation, Morris’ tenaciously swinging beats extra incentive.

Produced by Gavin Monaghan, Boogie Monster is quite simply irresistible; its psych rock essences icing on the diablerie escaping the band and if a sign of things to come, the beginning of major mischief and adventure for and from Dirty Jane.

Boogie Monster is out now on 7” from the Magic Garden Vinyl @ http://magicgardenvinyl.uk/Store/ and digitally through iTunes.

http://www.dirtyjane.co.uk/    https://www.facebook.com/Dirtyjanemusic/   https://twitter.com/dirtyjaneuk

Pete RingMaster 04/04/2017

Copyright RingMaster: MyFreeCopyright

The Break Out – New Barbarians EP

The Break Out Press Photo

What can we tell you about UK Hardcore band The Break Out…well not much really except they are a quintet from Bristol which formed in 2011 taking influences from the likes of The Bronx, The Ghost Of A Thousand, Propagandhi , The (International) Noise Conspiracy, and The Computers into their own intent, and most importantly recently released their second EP, the ferocious and uncompromising New Barbarians.

Bristol is a hot bed of talent right now, the wealth of diverse and impressive bands coming from there and surrounding areas never seeming to end, and you can add this bruising encounter of a band to the list. Following their self-titled EP of last year, New Barbarians is a brawl which though like most releases is not flawless it seeps potent promise and rich satisfaction from every track and confrontational sound. The five tracks making up the release take no prisoners especially in the vocal department but offer a fire of passion and invention which is impossible to pass over or not enthuse about.

The EP opens with the instantly abrasive Black Eyes, a fusion of punk and hardcore which grazes the senses through the vocals of Rich Thomas ably aided by another of the band. Around them though the guitars offer a restrained but potent groove within the acidic riffing, both Nath Fiction and Craig Wilkes taking little time to develop adventure to their attack and imagination to the off shooting flames they unveil. It is nevertheless a riot which demands and commands attention, the bass of Mikey Emson purring throatily from within the harsh energy and the rhythms of drummer Tom Vincer slapping the ear with the craft and spite of a middleweight. Across its length there is plenty to intrigue and keep attention enthralled even if it may take a few plays to discover all.

The following Beggars On A Golden Throne unloads a strong rock groove inspiring the slabs of riffs to join it before combining both for another appealing and accomplished rage of rock ‘n’ roll. As with the first it is fair to say there are no elements which call out with the most potent of persuasions but together combine to create a riveting and incendiary confrontation leaving no one short on satisfaction.

The title track rounds up the senses and emotions with a rally of beckoning drum instructions before the guitars and bass add their lures to the emerging tempest which is in no rush to show its full declaration, but when it does it is an excellent blues veined punk rampage. As on all songs there is never a moment where things are left without a drenching of imagination and aggressive energy ensuring the seeds of hunger for the band are sonically watered from start to finish again though their call is not always initially loud. The best track on the EP, it shows that though arguably The Break Out still have yet to define a unique voice in the genre they are not far away.

With You Wouldn’t Catch Han Solo In A Fucking Call Centre continuing the impressive presence of band and release there is to temper things just a touch of a yearning for some more variety to the vocals, especially with this song the only one to try and expand that area a little to show the others up in that area. Thomas squalls impressively but across all songs it is an exhausting wash without any diversity which for many could deflect from the creative enterprise going on musically. It is a small niggle though to be honest and this track alone triggers the unreserved intent to keep the EP on regular rotation.

The closing Good News For The Modern Man leaves things on a high if without finding the same heights as its predecessors, though once more the guitars bring a weave of adventurous and flaming rock before the ear. If looking for an emerging still evolving fresh voice to your hardcore needs, than the New Barbarians EP is well worth a visit. The Break Out is not there yet with an individual stance but our money is on that happening in the near future.

https://www.facebook.com/TheBreakOutOfficial

7.5/10

RingMaster 06/06/2013

Copyright RingMaster: MyFreeCopyright

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