Empty Lungs – Don’t Get It

Becoming the first European artist to sign with Canadian based label Hidden Pony Records, Northern Ireland hailing outfit Empty Lungs celebrate with the release of their new EP Don’t Get It. Consisting of three punk/indie/power pop blended roars, the release is a fiercely engaging and rousing proposition more than suggesting reasons why the band is so highly regarded by a great many.

Formed in 2011 by vocalist/guitarist Kev Jones, the Belfast hailing Empty Lungs has proceeded to become a potent force in their country’s live scene and make potent inroads across the UK, Europe, and the US. Along the way they have shared stages with the likes of Japandroids, Alkaline Trio, and The Subways among many and released a host of singles and EPs. In regard to Don’t Get It, Jones has described it as “by far the best 3 songs we’ve ever written”; a suggestion hard to disagree with as its songs romp through ears and capture the imagination.

The EPs title track bursts through ears first, riffs and rhythms making a commanding and forceful invitation quickly followed by vocal unity from bassist Conor Langan and drummer Mykie Rowan led by Jones. As things settle without losing that initial energy and contagious aggression, the instinctive infectiousness of the song infests its hooks and tenacious rhythms, recalling essences of bands like The Motors and The Starjets within its own fresh proposal.  With a title repeating chorus a trap impossible to resist getting involved in, the track makes a rousing start to Don’t Get It.

Next up Losing It. Finding It. ventures into more pop punk seeded territory compared to the ballsy rock ‘n’ roll of its predecessor but equally has a muscular touch and attitude to its hook lined incitement. Rhythms jab and pound as riffs growl and vocals warmly unite, tender melodies emerging from within the lively engagement of ears as the track unveils a varied and magnetic nature.

Completing the release is Fragile, a song instantly attracting an appetite for grumbling basslines with Langan’s cantankerous lure before growing into a hearty and cleverly varied blaze of sound and attitude. It mixes fiery emotion and earthy riffs with smouldering harmonies and earnest melodies, a contrasting blend creating a fluidly adventurous enticement.

It is a fine end to a richly enjoyable release, one impressing as much with the potential in its sound as the rousing prowess pleasing ears.

The Don’t Get It EP is out now through Hidden Pony Records on 7 inch vinyl and digital download through all usual retailers.

Upcoming Live Dates:

01/04 – Belfast, The Barge

07/04 – Limerick, The Loft

08/04 – Ballina, Emmets

Don’t Get It video directed by Ross Johnston at Caught In The Headlights.

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

Pete RingMaster 15/03/2017

Copyright RingMaster: MyFreeCopyright

New York Tourists – Call

NYT_RingMaster Review

Whether being described as Queens of The Stone Age meets Foals is a true colour to the New York Tourists sound we are still debating but it does hint at the rich flavour and textures within it, qualities ripe in the band’s new single Call.

cover_RingMaster Review    It is fair to say that the British alternative rock quartet has been garnering hefty praise in reviews and attention since the release of their debut EP, Thankyou & Goodnight late 2012, its track Chew Me Up, Spit Me Out, selected as one of BBC Introducing’s top 10 tracks of 2013. Its success helped lead New York Tourists to support slots for the likes of The Subways, The View, The Sunshine Underground, and Buzzcocks whilst also headlining the Alternative Stage at Blackburn Festival. Second EP Dead Man’s Leather was unveiled in 2014 via London based label Kittiwake Records, and more acclaim and attention flew their way as well as opportunities to play with band such as We Are Scientists, The Cribs, and Shed 7 soon after. Having begun recording their successful Kickstarter funded debut album earlier this year and playing Hogton Tower in Preston as the main support to Status Quo in front of 12,000 people, the foursome of vocalist/guitarist Gary Taylor, guitarist Carl Rutherford, bassist Adrian Mckenzie, and drummer Joe Mooney have had an exciting year, one only continuing with Call, the band whetting and inflaming the appetite for their album at the same time.

The single opens with the falsetto prowess of Taylor, his lofty tones backed by more earthbound hues, presumably also his own, as guitars cast their magnetic lure over ears and around the lively rhythmic frame of the song. With a scent of psych rock and post punk/new wave spice to its invitingly volatile climate and body, the track canters along with an engaging melodic character and busy energy around an impressive vocal tempting. Rhythmically the song reminds of fellow Brits The Sea, whilst its vocal and inventive heart offers a familiarity hard to pin down but certainly with seeds in more adventurous Brit Pop.

Leaving a certain want for more, Call is a potent tempter for the New York Tourists album whenever that comes along, and if its songs can match up to the single, more highly enjoyable times are afoot.

Call is released October 24th

Upcoming Live Dates:

30th October – Camden Barfly

13th November – Ferret, Preston

19th November – Wharf Chambers, Leeds

http://www.new-yorktourists.co.uk/    https://www.facebook.com/NEW-YORK-TOURISTS-188920262416/   https://twitter.com/newyorktourists

Pete RingMaster 23/10/2015

Copyright RingMaster: MyFreeCopyright

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

Two Beats Apart – Aim, Fire

Two Beats Apart Promo Shot_RingMaster Review

Two Beats Apart are no strangers to everyone but now the rest of us yet to enjoy their charms get to hug their magnetic folk rock sound through the release of their debut EP Aim, Fire. Three tracks of intimate seduction, the release is a vibrantly captivating proposition which suggests the duo of vocalist/pianist Tasha Alice and guitarist Steve Hart are ready to pierce the fullest spotlights.

It was a chance encounter between mutual friends in 2013 which provided the spark for Two Beats Apart, from there Tasha and Steve swiftly uniting their musical craft and ideas. The past year has seen the St. Albans pair work with the likes of Chrissie Hynde, Reeves Gabrels (The Cure/David Bowie), and Billy Lunn (The Subways), whilst finding their own music on the live scene acclaimed and media wise getting praise from the likes of Kerrang! and Front Magazine, earn national radio play, and be featured on Channel 4’s prime time show Hollyoaks. Fair to say there is a bit of a fuss brewing round Two Beats Apart and after Aim, Fire it is easy to see and hear why.

Two Beats Apart Cover Artwork_RingMaster Review     The EP opens with Aim, an instantly alluring fusion of voice and guitar. A gentle strum from Steve lays the canvas for the immediately enticing tones of Tasha to wrap lyrical and harmonic warmth round ears and imagination. The air of the song is enriched again by restrained but nicely melancholic strings with never impose but add more emotive colour to the blossoming heart of the encounter. Across its body, energy ebbs and flows to great effect whilst keys and compelling harmonies add to the inescapable seduction of Tasha’s voice and emotive delivery.

It is a fine start matched by the following Fire, this time vocals and piano uniting in a shadow draped yet increasingly warm serenade for the senses. Vocals again grab the attention though fingers on keys are just as poetic and descriptive whilst an outstanding harmony sculpted chorus just seems to get more potent and calmly anthemic with every round of its temptation. The song is bewitching in every quarter, a gentle but firm siren for ears before TwentyFour brings the release to an impressive close.

Its slow engaging start is quickly ripe with strings, keys, and rhythms as the tones of Tasha tempt; they backed by harmonies which float with a haunted but celestial beauty. As enthralling and enjoyable as the song is, it initially lacks the full allure of its predecessors but once the guitar of Steve explores a bluesy adventure, it breeds another wash of temptation to transfix and spark the same depth of pleasure. Another depth to the sound and songwriting is openly revealed by the EP’s finale, another source of adventure sure to be explored by band and ears ahead.

Aim, Fire is an excellent first persuasion from Two Beats Apart; a national entrance to entice fresh ears and appetites for the band’s glowing sound and a strong start to surely a certain ascent towards major things for them.

The Aim, Fire EP is available from September 18th through all digital platforms.

Pete RingMaster 18/09/2015

Copyright RingMaster: MyFreeCopyright

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

Delicate Holly – Love • Hate • Control

Delicate Holly Online Promo Shot_RingMaster Review

   Love • Hate • Control is a release which has you nodding in acknowledgement of its strong initial introduction but over time one which increasingly impresses whilst sparking the licking of lips at certain potent moments. Whether the debut EP from UK alternative rockers Delicate Holly has enough to shake the UK rock scene into attention time will tell but certainly it is a thoroughly enjoyable entrance from a band with the potential of a big future in their creative hands.

Hailing from Cheltenham, the seeds of the 2013 forming Delicate Holly began with a trio of school friends in vocalist/bassist Reuben Lovett and guitar/backing vocalists Alec Hopkins and Dougie Stokes. Already jamming together for a while, the three eventually met and enlisted drummer Toby Jones, with Delicate Holly soon blossoming in songwriting and songs, subsequently making a striking presence on the local scene in swift time. Since then the band has played numerous shows and festivals as well as supported bands such as The Subways and Coasts. Taking inspirations from the likes of The Clash, Arctic Monkeys, Royal Blood, and Nirvana into their own invention, Delicate Holly has increasingly lured attention which the release of Love • Hate • Control through Paper Label Records can only reinforce. As suggested it may not be the break-through proposition for the band but still in their early days, the band make a tasty nudge to their presence with the EP.

Delicate Holly Cover Artwork_RingMaster Review   First track is Full Body Cast, a song quickly revealing the potent union of guitar and vocal enterprise which fuels all songs. Coaxing around a rhythmic and melodic swing, feet and neck muscles are soon involved with the track’s flirtatious canter with the bass just as vocal in luring a swerve of hips and courting of the imagination. As it continues to persuade with its catchy character and the expressive and greatly alluring vocal delivery of Lovett, the song reveals no real big surprises but quite a few almost cheeky twists, a momentary hook almost echoing The B52s’ Rock Lobster one flavoursome moment. The song’s body is lean but busy, the bass of Lovett alone an increasing drama of ear courting adventure, and all elements across the song combined, it makes a strongly engaging first look at band and EP.

The following Jaws infuses even juicier melodic enterprise into a similarly cultured canvas of sound and invention but does lack the livelier spark of its predecessor. Nevertheless with its infectious guitar jangle and broody bassline, the song leaves ears content and thoughts thickly engaged before making way for the EP’s best offering, Rain-O-Rack. From the first caustic caress of guitar there is open attitude to the song, one which lines the choppy riffs, belligerent bass sound, and tenacious vocals. Simply the track has a snarl; a punk bred carriage and psychosis which lifts it above the rest with ease. There is a feel of Mojo Fury to the encounter too; a volatile air sparked by the unpredictability and aggressive flame which sizzles in ears through the song.

Lemon Man completes the line-up with its warm melodic seducing and temptation, as well as a healthy whisper of R.E.M. in its verses and bluesy tempting to its broader landscape. The track is a fiery but composed croon of rock ‘n’ roll revealing another flavour to the Delicate Holly songwriting and sound and, as the EP itself, growing bigger and more persuasive with every listen.

With the CD treating ears to a clutch of live tracks too, Love • Hate • Control is an accomplished and alluring start from the band and the anticipated beginnings of highly enjoyable times with them.

The Love • Hate • Control EP is available from August 17th via Paper Label Records.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

DELICATE HOLLY show ‘Love Hate Control’, from 17th August through Paper Label Records

Delicate Holly Online Promo Shot

South West rocksters ‘Delicate Holly’ set loose their debut EP ‘Love • Hate • Control’ through Paper Label Records on Monday 17th August.

With a glut of influences stemming from The Clash and Arctic Monkeys, through to Royal Blood and even Nirvana, Delicate Holly set loose a barrage of killer hooks, spikey rhythms and alluring guitar works that will infectiously burrow through your cranium. Delicate Holly are primed to release their own stamp of Rock ‘N Roll to the masses this Summer.

Delicate Holly were born in Cheltenham in 2013, but the seeds of the band were sown back in school when Reuben Lovett (Bass and Lead Vocals), Alec Hopkins (Guitar and Backing Vocals) and Dougie Stokes (Guitar and Backing Vocals) started to jam together, hashing out covers. When they met Toby Jones (Drums), the foursome soon solidified and began to sculpt a full length live set. The band swiftly went on to establish themselves in their local scene through concrete gigging and a string of engaging performances. The quartet have also played several festivals and sold-out shows throughout the Gloucester area, and have successfully supported the likes of The Subways and Coasts.

In 2015, Delicate Holly signed with hip indie imprint ‘Paper Label Records’. The band now deliver their debut EP, ‘Love • Hate • Control’, which is due for release this August. The record boots off with ‘Full Body Cast’, flaunting an infectious indie rock shuffle with a tight, edgy sound that perfectly complements front man Reuben’s powerful vocals. Next up is the hugely melodic and undeniably contagious ‘Jaws’, soon followed by the punk-infused vigour of ‘Rain-O-Rack’, which rattles your ears with blistering force. The EP then signs off with the epic ‘Lemon Man’; the cut takes you on a musical journey that highlights the band’s maturity which far belies their years.

-Delicate Holly release ‘Love • Hate • Control’ through Paper Label Records’ on Monday 17th August-

Reaper In Sicily – Islands

Reaper In Sicily Online Promo Shot

Listening to the debut album from Reaper In Sicily who cannot help wondering and going as far to suggest that the band has all the ability and creative strength to become Britain’s alternative to Billy Talent. Apart from strong whispers of the Canadians in sound across a lot of Islands, the quintet also has the same skill and invention in landing a mighty punch with their sound whilst seducing with melodic imagination and inciting the passions with anthemic crafted vocals and hooks. The ten track album is excellent, exceeding the promise earlier single Horizons suggested and setting the Aberdare band as one of the most exciting and promising emerging rock bands.

Reaper in Sicily began in 2009 and with a sound which has been compared to the likes of The Blackout and Rise Against and a potent and lively live show, soon became the winners of the unsigned live act in Kerrang! Magazine. Their debut single We Are The Show garnered strong responses and widespread play on TV and radio across the UK but then in 2010 guitarist Matthew Jenkins diagnosed with leukaemia taking the band on hiatus until he was able to return, which thankfully he did later the same year. Two EPs swiftly followed to continue the rise of the band as well as successful appearances at both the Reading and Leeds festivals and supporting and playing alongside the likes of Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, Hildamay and many more. Islands was recorded in the closing weeks of 2012 with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) and as mentioned the release of Horizons set up a urgent anticipation for its debut though even that hunger we would suggest did not expect such an impressive encounter.

The Prisoner sets things ablaze with dawning caresses of guitar before shrugging off any restraint to open up sinews and melodic Reaper In Sicily Album Cover Artworkpersuasion framed and veined by the firm hand of drummer Damon Miles’ beats and the rumbling tones of the bass of Mike Evans. With energy flowing freely and attention fully captured the guitars of Jenkins and Jonny Chappell carve a distinct and captivating character to the song whilst the excellent expressive tones of vocalist Rhys Bernardo drive the ride with slight squalls within his enticing delivery. The song is an immediate draw which without lighting the same depth of fire as following songs, sets the listener up to eagerly embrace what is to come.

The following 50 raises the bar again with muscular riffs and strongly beckoning grooves casting their temptation over senses and passions. The tight craft and melodic enterprise reminds of bands such as The Blackout and even Avenged Sevenfold whilst the punk snarl edges things with hardcore confrontation. Once it makes way for Down But Not Out it finds itself outplayed whilst the album continues to get better and better. The third song builds on the base of its predecessor to expel even stronger scowling venom and caustic winds within ridiculously infectious enterprise and sounds. Into its stride the track takes its recipient on a riotous dance with moments of bruising attitude and exhausting passion which again cements and accelerates the growing presence and promise.

The single Horizon still impresses as it did on its unveiling, thumping rhythms alongside the thick tones of the bass wrapped in fiery guitar washes thrilling whilst Bernardo lights another emotive heat to engage and entice things further, whilst the likes of Old Dogs and the title track romp and emotively stroll respectively to weave continuing creative textures and calls before thought and heart. It has to be said that there is a similarity to the surface sound of many of the songs but with the invention beneath and accomplished polish of its shine it is not an issue and will evolve out ahead as the band mature.

The tail of the album is its most impressive as Islands continues to get even stronger song by song. Sunnydale Sucks encloses the ear with addict forming riffs and a varied bluster of vocals, coarse and melodic, which enslave the imagination whilst the guitars bound it all in sonic teasing to set richer flames in their fire. Then Boys Will Be Boys comes in to steal top honours with its furnace of passionate vocals, virulent melodic contagion, and energetic imagination, every second a bouncing and incendiary companion uniting for a fervour crafted triumph.  Those Billy Talent references are at their most inviting at this point of the album with both The Catalina Wine Mixer and the closing Chuck Norris Got A Chainsaw making their thrilling interpretations. Both songs leave a breathless appetite rife which immediately snatches at the play button to enjoy the outstanding album all over again at their completion.

Islands should and will be a trigger to an unbridled new sea of attention and acclaim for Reaper In Sicily and it will be all deserved we can assure you. Check out the album and remove any doubts the very best way.

www.facebook.com/reaperinsicily

8.5/10

RingMaster 10/06/2013

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

Get Off My Shoes: Lets Not Rush Out And Tell The World EP

Get Off My Shoes Online Promo Picture

    With their name having already triggered a chuckling interest alone, there was keen eagerness to see if Belgium alternative rock band Get Off My Shoes could follow up with equally impacting sounds upon their debut EP Lets Not Rush Out And Tell The World. The answer emerged as yes though not without the sense that the band has much more within them and the really impressive elements within the release suggesting that this was also a missed opportunity to really thrust their name forward with startling impact despite its strong and pleasing showing. There is nothing not to like about the band, their creative sound, and the very enjoyable EP, but though it does not always quite leap out of the speakers the potential of the band is undeniable.

Hailing from Antwerp, Get Off My Shoes was founded in 2010 by chief songwriter and singer Jonas Meukens. Joined by guitarist Stijn Debontridder, bassist Glenn Van Criekingen, drummer Ziggy Van Wallendael, and Jasper Willemen on synths, the quintet from initially spending time honing their sound and songs soon made a strong presence for themselves on the live circuit with over a hundred European shows in the past couple of years, gigs which included supporting the likes of The Subways, The Get Up Kids, Joyce Manor, and Apologies I Have None, to name a few. With influences such as Bloc Party, Tokyo Police Club, Weezer, Two Door Cinema Club, and Foals impacting on their similarly flavoured melodic enterprise, the band and their Thanks But No Thanks Records first strike into the world are certainly drenched in a promise and captivating invention which only suggests a bright future for the band.

The opening title track is a short expressive instrumental which colours the imagination with aural suggestion to invite further GET OFF MY SHOES EP COVERinvestigation whilst only hinting of the musical exploits to come. The following Dead Of Night instantly engages with jangly guitars and crisp rhythms soon joined by an electro breath which sizzles upon the surface of the energetic yet restrained blaze of sound. As the song slips fully into its stride its command of feet and attention is complete as the guitars further tempt the senses and the vocals of Meukens bring their plain expression but accomplished texture to proceedings. It is a strong if in hindsight an unremarkable start in the lie of the EP but one which easily ensures a hunger to hear more.

The simple electro start of I Was Told A Lie Once with emotive vocals in tow does not exactly ignite excitement but again comes with a lure into the heart of the song which is hard to refuse. As it expands with guitar and energy the song comes alive with thrilling power, the vocals finding a rich passion to match the intermittent fury of melodic and energetic urgency. It is a big highlight of the release matched by next up Ghosts & Villains. Highly infectious and anthemic in its stance, the song is a magnetic stroll of incendiary guitar coaxing and inflammatory melodies which is just plain irresistible and one of the primes reasons why you sense a strong horizon for the band.

We’re Going Down But We Don’t Care and Autumn complete the EP, the first an enthralling track with plenty of ideas going on within its well-crafted body of inviting rhythms and further heated melodic temptation. As the EP moves through its contents the vocals seem to get more expressive and impressive to add real feeling to this particular song though on the other side there is a feeling the band could have made more of the synth and its emotive presence, something sure to evolve as the band also move forward one suspects. It is a strong song but fails to light the same fires bred by previous tracks but another which leaves good thoughts about the five-piece. The final song is another triumph though, its gentile ambience and compassionate melodic caresses scripted with finesses and emotion to translate just as potently within feelings and thoughts of the listener. Easily as impressive as Ghosts & Villains in its very individual way, it is not hard to see why the band has earned such a strong following and why we are joining them.

As mentioned in many ways Lets Not Rush Out And Tell The World does not find the depth of riches it suggests enough times to really fire up a constant passion but easily does more than enough to excite and leave a strong satisfaction as well as inspiring the hunger to hear a lot more form the band.

https://www.facebook.com/GetOffMyShoesband

7.5/10

RingMaster 30/03/2013

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