NoYz? – Tinnitus

Ever since being introduced to Noyz? years back through their ear grabbing track Happy Hour In A Junkyard, a song persistently played upon the internet shows we were involved with, The RR has been patiently waiting for the first album from the Serbian band. Finally it is here and there is no let down for hopes and anticipation by Tinnitus and its collection of multi-flavoured rock bred tracks.

Formed in 2004, the Belgrade outfit lacked a truly stable period line-up wise and went on a hiatus in 2012. Three years later founder and vocalist/guitarist/songwriter Stevan ‘Sharkey’ Radoičić brought the band back and set about creating that long promised first album. Their sound is a fusion of grunge, hard rock, metal, and punk; a mix embracing unpredictability and prone to ear grabbing hooks and bold enterprise. Inspirations to the band include the likes of Nirvana, Alice In Chains, Soundgarden, Metallica, Megadeth, System Of A Down, The Offspring, and Bad Religion; a list giving a good hint to that blend in their music.

Tinnitus opens with Introbytes, a slice of metal infused punk nurtured rock immediately presenting the type of ear catching hooks the band specialises in. Despite its title it is far more than an intro, the predominately instrumental encounter a stomping invitation into the weave of sound, design, and textures shaping the album ahead with the following Pure Fucking Metal Pwnage skilfully exploiting all. The second track’s first breath is thrash like, its second a thicker mix of metallic flavouring before the band’s rock ‘n’ roll instincts emerge in the blossoming song. Sharkey’s vocals are as keen as the sounds around them, the rhythms of drummer Milan Jejina Yeqy a swinging and rousing trespass while the bass of Anja Tvrtković is a heavy throaty lure with the song itself not holding back on the imaginative twists which again provide persistent temptation across the release.

Blow Joe is next up and straight away drums tease and tempt, their beats an infectious coaxing matched by the glorious lure of the bass. Swiftly the guitar casts melodic strokes across their irresistible dark bait before the track opens up a web of hooks and grooves, a hard rock infusion erupting upon the compelling landscape.

Similarly Cold Turkey enters on appetite pleasing bait, bass and guitar entangling around vocals before the track exposes its dirtier grunge nurtured side. Grooves soon expose greater lures in the track as vocals reflect with irritability and angst. Magnetic from start to finish, the track easily hit the spot before Ein Neues Leid steps forward with its classic punk breeding. That in turn gives birth to a broader punk ‘n’’ roll roar lined with grunge and melodic rock enterprise.

The senses became entwined by guitar wires as What You May Call It rises up straight after, infectious dexterity a rich wash in its imaginative tapestry of sound and invention. Again manipulative hooks are freely sprung and greedily devoured, Noyz? sharing their dextrous conjuring of such tempting with ears grabbing unpredictability and keenly echoed in Diarrhea and in turn Dream. The first of the pair is a catchy and swiftly satisfying offering if not quite matching up to those before it for personal tastes whilst its bolder successor bears its Nirvana inspirations proudly before immersing them in Noyz? individuality, one drawing on a palette of rock.

The melodic caresses of Cherished Leader easily seduced, the relatively calm yet fiery song casting its own uncomplicated but potent hooks within melodic metal scenery, while Happy Hour In A Junkyard once more simply hit the spot with greedy accuracy. Once its familiar opening hook leaps forward there was no denying its command, bass and guitar making a potent force within the lively swings of Milan, and once that effortlessly persuasive chorus erupted , old instincts flared. Every band has a moment or a few which is their calling card and this is still easily the one for the Serbian outfit.

With the final trio of the feral punk ‘n’ roll driven, diversely flavoured and sculpted Boy/Girl, the equally untamed hard rock reared Pissoff and another host of an inimitable Noyz? hook in The Gootch leaving ears bursting with satisfaction, Tinnitus is easy to fully recommend.

There are moments which simply stole the passions and others which had us boisterously bouncing so fair to say that from start to finish the long awaited Tinnitus hit the spot.

Wrapped in the great artwork of Anja Tvrtković, Tinnitus is out now and available @ https://noyzband.bandcamp.com/album/tinnitus

https://www.facebook.com/noyzgrunge

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Uncaging the roar: in interview with Fivefold

fivefold_RingMasterReview

Formed in 2007, St Louis, Missouri hailing Fivefold has earned a strong reputation for their melody thick and emotionally rousing rock ‘n’ roll. Taking in a quartet of albums and a host of shared stages with the likes of The Offspring, Buckcherry, Redlight King, 10 Years, Switchfoot, Sick Puppies, Greek Fire, The Urge, Shamans Harvest, Broadway, Red Jumpsuit Apparatus, Memphis May Fire, Jamies Elsewhere, HURT, Cavo, among many others, the quintet is one of the fresh breaths on the current music scene. We talk to the band to get a feel of their passion and invention…

Can you introduce the band and tell us to how it all started; what brought you all together?

Ryan Cheney – vocals

Matt Amelung – guitar, vocals

Matt Benne – guitar, vocals

Coco – bass

Derrick Huskey – drums

Derrick (drums) and Matt Benne (guitar) met through our late guitar player Jesse. Derrick met Ryan (vocals) at a church camp they were both attending. After a few line-up changes, Derrick, Matt Benne and Ryan met Coco (bass) from playing shows with his Hold On.

Have you been/are involved in other bands before? If so has that had any impact on what you are doing now?

Most of us have played in local St. Louis bands before Fivefold. I think we’ve each taken elements from previous projects and applied them to what we do in Fivefold.

What inspired the band name?

At first we did what every other band does…we looked through dictionaries. Haha! But really, we decided on Fivefold because it essentially means five different units/things that come together to accomplish one goal.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We just wanted to be “good”…and to promote positivity.

fivefold4_RingMasterReviewHow would you say your sound has evolved over time?

We’ve tried to push ourselves to continually refine our sound. In our case, I think that has meant approaching our music with more pop sensibility.

Has it been more of an organic movement of sound you deliberately setting out to try new things?

A blend of both.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted on the band’s music and your personal approach to creating and playing music?

I don’t think anything one element impacts itself into our music. Rather, all of our inspirations impact our music.

Is there a process to the songwriting which generally guides the writing of songs?

Most of the time we just start jamming on a riff and take it from there.

Where do you, find inspirations to the lyrical side of your songs?

Honestly, our lyrics have no bounds. They are about anything and everything, whether it’s something one of us has been through personally or something greater than all of us.

Can you give us some background to your latest release?

Our latest release is Open Letter. We released it in December of last year and it’s the first batch of songs written with Matt Amelung on guitar.

What about its themes and premise.

Open Letter is our response/interpretation of the world around us.

Do you go into the studio with songs pretty much in their final state or have looser ideas to develop as you record?

We’ve done both over the course of our 4 albums. Both have their strengths and weaknesses.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I think it’s definitely our favorite aspect. We like to make every show bigger and better than the last.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?Fivefold2

To be honest, we don’t know the answer. We just continue to work extremely hard and push ourselves and our band.

How has the internet and social media impacted on the band to date?

The internet has enabled us to delve deeper into the life of Bruce Willis.

Find out more about Fivefold @ https://www.facebook.com/FivefoldOfficial and http://www.fivefoldband.com/

https://twitter.com/fivefoldrock

Pete RingMaster

The RingMaster Review 19/08/2016

Copyright RingMaster: MyFreeCopyright

The Brains – The Monster Within

The_Brains_Press_Picture_2013

Room for one more on the list of Album Of The Year candidates?

It may be full already but there is always a place for albums as irresistible and explosively potent as The Monster Within, the latest album from Canadian rockers The Brains. Fusing insatiable encounters of psychobilly and horror punk with straight down the line rock ‘n’ roll, the fourteen track release is one determined and virulently contagious ride before which resistance is futile, especially if the genre ignites furnaces of fire deep inside like for us.

The Monster Within is the band’s sixth album and stands before the ear to prove once again that The Brains just continue to get better and musically they are full bodied like vintage wine with each passing record. The band has lit up every corner of the world through their breath-taking live performances, which haves seen them play with the likes of Mad Sin, The Offspring, The Reverend Horton Heat, The Real McKenzies, The Creepshow and many more, no continent safe from their epidemic toxin of sound, but it might just be that their new album is their finest moment yet. Released via Sailors Grave Records and Stomp Records in Canada, its towering presence can be best described as Rezurex meets Grumpynators with Volbeat, Calabrese, and Tiger Army adding their juices to the mix. What emerges is a sound and release which is truly distinctive to The Brains and an incendiary device for the heart.

The trio of vocalist/guitarist Renè De La Muerte, bassist Collin The Dead, and drummer Pat Cadaver do not hold anything back from the Press_Cover_01opening note of the first up title track. Energy and riffs are immediately enslaving the ear with relish and hunger as a storm of rockabilly and heavy rock, from which you almost expect Lemmy to step out of, absorb the senses with the outstanding tones of De La Muerte holding court. The music embraces him in powerful and melodic enterprise, everything feeding the awakened passions before them. It is a storming mix of light and dark wrapped in an infection to which escape is impossible from song and subsequently the album as it unleashes more individual but just the same addictive alchemy.

Give It All takes over with a slightly more restrained attack though no less lethal for resistance, its anthemic chorus and full on rhythmic temptation just one of its many lures. The varied and textured mix of sound and flavours across the album ensures that every moment is ridiculously compelling and this track is no exception, in fact one of the most intensively submission ripping triumphs.

A Stray Cats tonic sprays out as Misery unveils its frenetic dance within a blaze of vibrant melodic flames, a cage of frenetic rhythms trapping the passions in a state of ardour whilst the swagger which drives the track home only lights stronger rabidity for what is to come, something which the likes of The Damned and Bleed only encourage further with their devilish teasing. The first of the pair is a smouldering melodic caress hanging onto a rapidly coursing rhythmic and energetic gait whilst its successor lays down a trail of schizophrenic beats and riffs for the melodic breeze of vocals and guitar seduction to light deeper far reaching flames. There is a heat to the song which transports the imagination to climes where sweat on the brow is a given, the same result as achieved by the driving predation of the excellent Stay Back, its uncompromising rock ‘n’ roll passion igniting another anthemic union.

There is not one moment of weakness or a lull in the flow of the album’s quality and glory, the scintillating Electrik Shock with its underlying teasing Cajun twang and the demonically tempting Rest In Pieces with its venomous narrative simply sucking greater rapture from the heart whilst the glorious surf rock instrumental Cucaracha In Leather  finds a somewhat carnivorous fascination for the senses and imagination to work with. The track is a shoe-in for a Tarantino movie somewhere surely.

Suddenly the album seems to lose focus and control…yeah as if. Both Kill Kill and Suffering And Pain seize their moment to ravage and simultaneously exhilarate the ear, their different but kindred charge of rhythmic rapacity and melodic paintwork adding another unique gloss to the emotions. The first finds a low whisper of Eastern mystique to its body whilst the second strolls confidently with a wily enchantment of those ever persuasive vocal harmonies and twisted mischievous guitar invention.

Devil In Disguise and Lies combine to ensure the album does not leave until a visit to their blood drenched sinister hop is taken, their exceptional control of the listeners limbs, voice, and energy surely meaning they are on the most wanted list of perpetrators. They leave Rolling Down to mop up the sweat soaked floor with its melodic, almost pop like croon, though all it wants to do is dance which it does successfully with guitar and drums expanding on the bass led potent diablerie.

The Monster Within is just magnificent, an album with all the majesty to be looked at as one of the true rock ‘n’ roll classics. The Brains has just become the new lust for the site, come join us.

https://www.facebook.com/TheBrainsMTL

10/10

RingMaster 06/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Black Belt KARATE – Volume 1

Building_Walls desaturated_lores

Strap in and release the hand break to your appetite and emotions as Black Belt KARATE have just given garage rock a boost of adrenaline with their debut EP Volume 1. A five track blaze of refreshing indie punk, garage rock, and a spatter of blues devilry, the release is a thrilling rampage of passionately crafted sounds and fiery intent which awakens senses and emotions with its first romp and proceeds to increasingly enslave and dazzle across subsequent ventures down its exciting road.

Hailing from Los Angeles, the quartet of vocalist Ryan Hanifl, bassist Harry Ostrem, drummer Ryan Brown, and guitarist/EP producer and engineer Jason Achilles Mezilis, came together in the summer of 2012 with Mezilis and Hanifl reuniting from their time together in Your Horrible Smile. Soon a foursome, the band whose members also feature in other bands, Mezilis in Owl and Ostrem as tour bassist for Guns n Roses’ Dizzy Reid’s band for example soon grabbed attention for their groove littered rock ‘n’ roll. Constant gigging equally built up a potent and fervour led following with the band again rapidly moving to the largest stages and festivals such as Ink-n-Iron Festival in Long Beach where they shared a stage with the likes of Iggy and The Stooges, Sublime, Bad Brains, Rocket From The Crypt, The Offspring, Dead Kennedys and many more. Self –released this past April in the US and August 19th in the UK, Volume 1 now brings all the potency and power of the band which woke up their homeland to the other side of the big pond, and it is hard not to see Black Belt KARATE seducing once again.

As soon as the throaty grizzle of the bass and the equally raw and incendiary guitar scrubbing consumes the ear in a delicious prowl the BBK REVISED - iTUNES DIGITAL BOOKLETworld narrows into just their tunnel of existence, the introduction a sizzling beckoning soon enhanced by the excellent vocals of Hanifl. Rigamortis instantly holds attention in its enterprising hands, taking a considered stroll through the ear to start working on the senses with a sultry temptation and underlying snarl reminding of Queens Of The Stone Age. There is also a wantonness that licks at the passions without ever showing all of its illicit charms, its own lure holding a touch of Eagles Of Death Metal, and only adds to the full persuasion fingering the passions from first note to last.

The following Servant saunters in with a less intensive rabidity to its core but a still predacious hunger from guitars and bass speared by the steel rhythmic punches of Brown. Once again it is hard to tear thoughts away from prime QOTSA but with the continuing to impress vocals and melodic toxicity which engulfs the heart of the song and the listener, as well as the playful devilment peeking throughout the track and release it is a fresh and magnetic proposition which only leaves a greedy appetite behind. The song is simply a straight forward slice of riled rock which despite being three minutes seems over before it has begun and demands that replay button is used.

Push cracks open a riot of agitated rhythms driving a voracious tempest of blues rock loaded with punk attitude and concentrated intensity. As with all the tracks the band does not overdo or stretch out the delicious flourishes to distraction but uses them to colour the body of the song making with the vocals a perfect temper for the almost savage and addictive growl of bass and riffs.

A Stones like tease drapes around the opening of Building Walls and continues to whisper throughout the slower tempo gaited sonic croon. Though it is not as tightly gripping as the previous tracks, the enthralling almost mesmeric hug of vocals and the persistently caressing sonic touch of the guitar takes the song right to the emotions to place its firmly in a vat of satisfaction.

Kaleidoscope is left to complete the release and does so with the best moment of the EP. A vibrant enticement of drums cages the passions from the first second and is soon given a bass sculpted warder that ensures contagion is absolute. It is a riveting and scintillating start expanded to a similarly breath-taking dance of rhythmic incitement, insatiable riffs, and a sonic tonic which adds a lingering taunt for full rapture. Strenuous and athletic, infectious and compelling, the song is blues rock n roll at its finest and the final piece of evidence in the case for declaring Volume 1 as one of the intoxicating debuts this year maybe the most electrifying.

http://www.BBKofficial.com

9/10

RingMaster 19/08/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com