Of Kings and Captains – Ain’t Got The Heart

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Swiftly proving they are no one hit wonders, British pop rockers Of Kings and Captains follow up the rousing exploits and success of recent single Jack My Boy with another spirit stoking, body exciting exploit going by the name of Ain’t Got The Heart. As its predecessor, the new single is taken from the equally impressing Give ‘Em Hell Son EP, itself evidence that the Stourbridge outfit’s sound is loaded with infectious hooks and instinctive imagination.

Sprung and driven by the enterprise of lead vocalist/guitarist Luke Wassell, guitarist JD Lomas, and bassist Dean Greatbatch, Ain’t Got The Heart quickly entangles ears in its opening melody, it the seed to an energetic and accomplished stroll ripe with power pop energy and indie pop hookery. Recorded with producers Gavin Monaghan (The Twang, Editors, Nizlopi) and Joseph Murray, the song swiftly has feet shuffling, hips swinging, and ears hungry as its Fall Out Boy meets The Fratellis revelry consumes all before.

The song continues to infest and thrill body and spirit, cementing the promise and growing uniqueness of a sound which has quickly come over as a freshly discovered old friend with each and every song, especially in the two singles from Of Kings and Captains providing 2016 with two of its brightest moments.

With new sounds in the works and an appearance at Glastonbudget   2017 confirmed, it is easy to suggest that Of Kings and Captains are about to really explode upon the Uk rock scene.

Ain’t Got The Heart is out now.

https://www.facebook.com/ofkingsandcaptains    http://ofkingsandcaptains.com/    https://twitter.com/ofkingsandcaps

Pete RingMaster 06/12/2016

Copyright RingMaster: MyFreeCopyright

Of Kings and Captains – Jack My Boy

of-kings-and-captains-pic_RingMasterReview

Ahead of their new EP Give ’em Hell Son, British pop rockers Of Kings and Captains have released new single Jack My Boy, a mercilessly infectious slice of robust rock ‘n’ roll lying somewhere between The Pirates, Eddie and the Hot Rods, and The Wildhearts. It is hard to imagine that the Black Country hailing band could have found a more rousing teaser for their new EP, the new single taken from it one of those proposals which instinctively grips ears, voice, and bodies easily enlisting their eager involvement in short time.

Stourbridge bred, Of Kings and Captains released their debut album in 2015 to eager reactions; its success backed up by a potent live reputation which has seen the band share stages with the likes of McFly and Kids in Glass Houses among many and recently undertake a five date stadium tour with Bon Jovi. The foursome of vocalist/rhythm guitarist Luke Wassell, lead guitarist Joshua Lomas, bassist Dean Greatbatch, and drummer Kieran Lock linked up with producer Gavin Monaghan (The Twang, Editors, Niplozi) and Joseph Murray for Give ’em Hell Son and if Jack My Boy is anything to go by, with thrilling success.

A song according to Wassell which is “…about self-confidence and defying people who doubt you! it’s all about sticking to your guns and being yourself regardless of how people might put you down. It’s about being individual and kicking back against the norm“, Jack My Boy has all attention leaning its way from the initial lure of drum enticement. Lock’s magnetic rhythms are quickly joined by an anthemic bassline and eager twang loaded riffs, they in turn turning to an array of fifties seeded hooks as Wassell’s tones whips up even more infectious bait to the already catchy encounter. From there the track continues to lead the listener, drawing them towards seriously virulent choruses, they irresistible peaks in one, from start to finish, spirit arousing stomp.

It takes just one listen to be firmly involved in the song with every encounter after drawing keen and full participation. If Jack My Body is a sign of things to come with Give ’em Hell Son, the EP is a must.

Jack My Boy is out now with the Give ’em Hell Son EP available for download from all good digital retailers September 9th.

Upcoming Gig Dates:

Sept 9th – Katie Fitzgerald’s – Stourbridge (Acoustic Show)

Sept 29th – RiverRooms – Stourbridge

Sept 30th – The Shed – Leicester

Oct 15th Wulfrun Hall ­‐ Wolverhampton

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Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

The Sherlocks – Last Night

The Sherlocks_RingMasterReview

Last year saw The Sherlocks release a pair of magnetically catchy and accomplished singles, two very well-received proposals waking up another flock of eager ears to their presence. Hoping to continue that success, the UK quartet is set to release new track Last Night, another single which has feet and hips as involved as ears and enjoyment.

The Sherlocks Last NIght art_RingMasterReviewHailing from Sheffield, the band came about after the Davidson brothers, Josh (guitar) and Andy (bass), moved in next door to the grandparents of another set of siblings, Kiaran (vocals/guitar) and Brandon Crook (drums). A bond over football and music alongside mutual inspiration taken from the likes of Arctic Monkeys, The Beatles, Libertines, Oasis, and The Jam amongst many, led to the creation of The Sherlocks late 2010. Previous singles and the First Bite Of The Apple EP have all marked the band out for attention , as too a potent live presence which has seen them share stages with the likes of The Enemy, JAMES, Simple Minds, Scouting For Girls, Reverend and The Makers, Buzzcocks, The Twang, CAST, The Beat and Starsailor amongst many.

Escapade and Heart of Gold helped push the band into keener spotlights in 2015; two tenaciously infectious and enterprising singles now matched in potency by Last Night. The song is arguably less imposing and dramatic with its virulence and energy compared to its predecessors, but straight away a swinging and inescapable catchiness is offered by rhythms and the lively gait of voice and melodies. The rumble of bass is especially enticing in that initial bait too, matched by the firm beats and a jangle of chords and hooks eager to get their claws into the psyche.

A subsequent sonic shimmer adds to the pull of the song whilst its contagious chorus is temptation only leading to listener involvement. Though for personal tastes not quite matching Escapade and Heart of Gold in impact, Last Night still only leaves pleasure in its wake and a reminder that The Sherlocks are becoming one of the bright lights of the British indie/rock scene.

Last Night is released March 4th @ https://itunes.apple.com/gb/album/last-night-single/id1076703980?i=1076703984

http://thesherlocksmusic.co.uk   https://www.facebook.com/TheSherlocksOfficial   https://twitter.com/TheSherlocksUK

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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Sittin’ Pretty – Twenty Four Seven / Hopeless Annie

Sittin Pretty_RingMaster Review

Sittin’ Pretty is an alternative/blues rock band from the North West of England and a proposition, if their new single is a sign of things to come, we are all going to hear a lot more about in coming months and years. There is booziness to the band’s sound, an intoxicating essence which entices and seduces certainly on the evidence of their double A-sided single Twenty Four Seven / Hopeless Annie. The release enthrals from the start, worming it way into the psyche to linger long after its songs have departed. Admittedly its first touch is potent without seemingly lighting a blaze in the passions, yet once it is not there tantalising ears it still haunts the imagination to pleasing effect.

Sittin Pretty artwork_RingMaster ReviewHailing from Manchester and Bolton, Sittin’ Pretty consists of vocalist Conor Wilde, guitarists Lewis Grounds and Cameron Gavin, bassist George Brown, and drummer Sayon Beaufort-Harwood. It is a young quintet blessed with the ability to fuse classic and modern hues into their own adventurously provocative sound. Produced by Steven Wilson Jnr and engineered by Gary Hadfield (The Courteeners, Elbow, The Stereophonics, The Twang, Justin Timberlake), the band’s introduction to the world is a compelling persuasion needing little time to make an impact.

Twenty Four Seven embraces ears with voice and a low key caress of keys initially, the croon of Wilde imposing and inviting bait leading the listener into the quickly broadening landscape and heart of the song. Subsequently ears are entangled in spicy guitar grooves and prowling bass tempting, each a flirty mix of blues/ jazz tenacity around the increasingly potent vocals of Wilde and band. The whole temperature of the song continues to increase with every sweep of guitar and swinging groove, their sonic fire aligned to the emotive flames breaking out as the track heads to a sizzling climax as pungent and individual as its melancholically suggestive start.

Hopeless Annie opens with strokes of fuzz lined guitar, a raw coaxing soon joined by another pulsating bass lure from Brown amidst potent sonic mistiness. The strength of the vocals again demand focus upon entering the sultry yet volatile smooch of bluesy tempting, but quickly sharing the limelight with the craft escaping all members of the band. Though the track is a spark or two less stirring than the roar made by Twenty Four Seven, it equally leaves ears and pleasure full, and an appetite for more, hungrier.

It might be only two songs but already anticipation of bigger and bolder things has been awakened by the single; just up to Sittin’ Pretty to deliver now.

Twenty Four Seven / Hopeless Annie is out now @ https://itunes.apple.com/gb/album/24-7-single/id1048301732

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Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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Towns – Get By

Towns promo

When the opening track Get Me There from Towns’ debut album Get By hit the ear it must be admitted that the defences rose up just a touch as a mesh seemingly bred from the world of Madchester consumed the ears. It was not an abhorrent proposition but seemingly recalling a scene happily left lonely in our thoughts many years ago. It has to be said though that through time, even within the first encounter with the release, the Bristol based band’s first album has seduced doubts and resistance to emerge as a rather riveting proposition. It has not defused all reservations but standing as a unique proposition in sound even with its heavy essences of The Stone Roses, the Charlatans, and a Shaun Ryder-esque swoon, the album is a magnetic call within which certainly extra additives of The House Of Love and My Bloody Valentine help the persuasion.

Formed by childhood friends, Towns has had a shed load of experiences since forming to test any band’s perseverance and confidence. From being declared as the best new band of 2011 by NME after just a pair of demos and no live shows, the band endured a former booking agent running off with over £1000 of the their money to almost bring the band to a stop and after having the high of working with Owen Morris (Oasis, Verve), seeing the label paying the costs being swallowed up by a major to their detriment. It seems to have made Towns only stronger though as they continue to draw acclaim and attention. Live their performances, which have seen them alongside the likes of Paul Weller, Spiritualized, The Twang, Toy, and Eagulls, has only enhanced their presence and emergence something expectations assume Get By will accelerate.

The first impressive thing about the Towns sound and release, is the wall of scuzz seeded sound which glazes every note and imaginative Towns_-_Get_By_-_Artworkswell within their songs. It makes for an almost mesmeric wash which the smooth smouldering vocals accentuate and blossoms within, something which definitely shines from within opener Get Me There. Emerging from a sonic mist with a grinning bassline and fiery guitars, there is an immediate swagger to the song, its rhythmic shoulders swinging and confidence almost arrogant within distorted melodies. It is an appealing lure but sounding so close to earlier bands mentioned and holding a Happy Monday’s like irreverence that it lies dormant against personal appetites even if winning over attention easily. To be honest the song does become more potent and enticing over time but always there is something stopping a full recruitment to its charms as subsequently achieved by other tracks. Nevertheless with its eager gait and thick breath of sound it makes a welcoming lead into the following Marbles.

The second song springs from a scythe of feedback with a percussive shake and acidic guitar flames before settling into a tender coaxing. It is smouldering lure which erupts into climactic expulsions of intensity and raw guitar enterprise as vocals simmer and glide with mellow countenance. The bass as with the first song stands out, this time with a rapacious edge whilst the guitars scorch air and senses with impressive endeavour which a cavernous production cannot deflate. It is an intriguing and gripping track which flows seamlessly into the throaty prowl of Trip Over. Like a blend of its predecessors, the song strides with sureness in attitude and sound which worms away under the skin, the album already at this point causing a reassessment of earlier thoughts. There is causticity to the song as in the previous one, which brings thoughts of Birdland to the surface.

Both Gone Are The Days and Just Everything add new raucous invention to the album, the first unveiling a blues toxicity which permeates every riff and flaring of guitar sculpting to great effect, whilst the second brings a sultry twang to its melodic bait again to carve an engagingly infectious persuasion. The surface feel and touch of Town’s songs do carry a too familiar edge amongst themselves and to other bands previously mentioned, but in their belly a cauldron of enterprise and instinctive invention is diversely at work, you just have to look closer.

Too Tired emerges from a crystalline resonance soaked sky to sway and swirl over the senses, its body a temptress and voice a spellbinding waltz which caresses with elegant expression and warm invasive melodies before making way for the thrilling Young At Heart. Its opening tasty groove is irresistible and again has that Birdland like lilt to captivate from its first intensive note. From there the song discovers a harmonious sixties beauty to its enticing which in turn coaxes a greater richness in vocals and sonic colour from within the song. The album is at its pinnacle in its middle as evidenced by this pair and Heads Off with its delicious gnarly riffs aligned to floating melodies and vocal harmonies. In full stroll the song is a raw and abrasing treat which its soothing twists revitalise for another hungry devouring of the caustic rub of the excellent track.

The emotive call of Mirror Ghost slowly envelopes ears and thoughts next, its loud provocative whisper casting a melancholic smile which tantalises the imagination and to a lesser degree emotions. It is a slow burner which convinces in proportion to its creative growth especially the further it drifts into a sonic antagonism, and though it lacks the spark of previous songs it is impossible to not find a good appetite for it.

The final two tracks just do not have the same reach and success, Everyone’s Out which features Robin Stewart (The Naturals), Dom Mitchison (Velcro Hooks), and Richard Clarke (Scarlett Rascal) feeding rather than exciting expectations and the reflective part acoustic, part sonically messy title track, a disappointing end to what turned out to be a rather thrilling and enjoyable encounter. The last two songs will easily please other appetites though whilst Get By as a whole is a release it is fair to say brings a slice of fiery sun to anyone’s day.

Get By is available on limited 12” vinyl (100) and cd from Howling Owl Records as well as digitally from online retailers now!

https://www.facebook.com/townsband

8/10

RingMaster 02/06/2014

Copyright RingMaster: MyFreeCopyright

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theLights – Dust and Stone

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Whisked from the forthcoming successor to their acclaimed debut album Teenager Of The Century, UK melodic alternative pop band theLights begin tempting anticipation with new song Dust and Stone. Building on the sound and presence established and keenly received by media and fans alike with their previous album, the Birmingham quintet make a rather potent and captivating invitation to check out their impending arrival with the single. It is not a song which leaves you breathless or reeling from something exceptionally unique but with a sound which is distinctly theLights and a rich infectious breath to its full bodied melodic colour and structure, it is an invitation which lays down a bait simply impossible to ignore.

The band has returned to the studio for the single and upcoming album with renowned producer Gavin Monaghan (Bloc Party, The 1378147_10151925055689793_265662188_nTwang, Kings Of Leon) who also worked on its predecessor. The result with Dust and Stone is a song which makes easy work of drawing full attention and inspiring up strong intrigue for what the band has in store. From its opening seconds the track dances gently with ears and thoughts, the guitars of Dan Tombs and Shaun Kelly weaving an elegant pattern around the expressive vocals of Kelly backed by the smouldering vocals of Liz Sheils. The rhythm section upon the track is respectful and generous to the woven melodic beauty and though relatively understated veins the adventure with evocative dark lines and firm beats from Gaz Worton and Woz Meadows respectively. There is a country rock tease to the song throughout which adds to the rich hues of the song but equally the guitar invention and enticement provides a sense of Lightning Seeds and in little ways, The Farmers Boys which only enhances the flirtation with the passions.

Dust and Stone is an extremely satisfying track which though it does not spark the passions into any rigorous activity, enjoyably simmers away inspiring a keen appetite for the arrival of theLights’ new album. If you are looking for some folk seeded melodic pop which is a little different and beautifully crafted this single is a gateway to a new melodic exploit to get very excited over and it is hard to imagine the band providing anything less with their sophomore full length ahead.

https://www.facebook.com/theLightsUK

http://www.thelights.co.uk

7.5/10

RingMaster 25/10/2013

Copyright RingMaster: MyFreeCopyright

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Holocene – Flaws In Us All

holocene pic

With a fine line in jangly guitars and melodic persuasion Flaws In Us All, the new single from UK indie rock band Holocene makes a solid and appetising persuasion as to why we should keep a firm eye on this Birmingham quartet. The single does not leap at the ear and demand attention, preferring to seduce and smoulder on the senses and thoughts until the same intent is earned, but it is a captivating release that sparks a definite appetite for more of the appealing sound.

Formed in the September of 2011 and taking inspirations from the likes of Bloc Party, Arctic Monkeys and Kings of Leon into their invention, Holocene took no time in securing a strong and eagerly growing fanbase through their constant gigging, their debut coming at the 02 Academy in Birmingham. Their sound has also brought support from not only local press and radio stations but people such as Carl Barat and Gary Powell of the Libertines. It is a strong base the quartet of Bishan Davies (vocals and rhythm guitar), Marcello Sanzari (lead guitarist), Aaron Barnett (bass), and Benedict Campbell (drums and backing vocals) look to build upon and certainly the two tracks, which were recorded with Gavin Monaghan (Editors/ The Twang), that make up the single will only add to their growing presence.

Flaws In Us All opens with a deep throaty bassline, its lone call instantly tempting as it opens up the ear for the following melodic course of guitars and vocals. Immediately there is a post punk feel to the track, essences of Joy Division and Flesh For Lulu whispering richly, though once into its stride and the melodic coaxing is at full sway the one reference which calls out is China Crisis. For all of that though the sound has a unique flavour to its voice which is bred solely from Holocene and offers a persistent temptation across the warm and discord skirting intrigue. The vocals of Davies are strong whilst blending perfectly into the caressing intent of the song and the backing vocals, though arguably lacking a needed bite, serve as a pleasing companion. It is a track which takes ear and thoughts in a tender but energetic embrace and stokes up the emotions to want to know and hear more from the band.

The accompanying song serves one of those needs right away and only adds to the lure of the release. Grab My Coat from the start lays down irresistible bait through the guitar before it is joined by the rest of the band in a mix of power pop/indie rock, a romp of infectious hooks and melodies veined by contagious rhythms. There is a familiar air to the track which again turns back time for thoughts and makes an easy to access climb on board its addictive dance. Like with the title song there is debatably a snarl to the sound needed to lift it above the heads of the pack, a nip or acidic shadow which brings an edge, but they feel on course to achieving a distinct stance going by these two songs alone.

Holocene is a band well worth keeping a close eye on and Flaws In Us All a single certainly worth adding to your playlists.

https://twitter.com/#!/HoloceneUK

https://www.facebook.com/holoceneuk

7.5/10

RingMaster 22/06/2013

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