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New shows confirmed for Seething Akira!

Seething Akira

Pompey’s crazy men and all round lovely geezers have just been confirmed for some stomping supports to LA’s Crazy Town, The One Hundred and Cabin Boy Jumped Ship over the next couple of months.

Having stormed Brighton’s Breakout Festival with their electronic rap metal Beastie Boys stylings, inciting rowing, a metal conga and a bouncy castle blitz, these guys are really on the rise and their live show is something rather special, exceptionally lively & always baking hot, but special!

If you’d like to come along to review/photograph, please let me know and I’ll get that sorted, cheers, x Judith

Upcoming shows:
November 27th, Joiners in Southampton supporting LA’s Crazy Town
December 16th, The Anvil, Bournemouth supporting The One Hundred, Our Hollow Our Home
December 22nd, Talking Heads in Southampton supporting Cabin Boy Jumped Ship
27th February
, Wheatsheaf, Banbury supported by Thirteen Shots, Bear Mountain
10th -13th March, HAMMERFEST, Wales with Qemists, Cradle Of Filth, Cypher 16 etc

“This quartet breathes new life into an increasingly growing underground scene….. hooking beats like The Prodigy and a unique style like Enter Shikari, this band create something personal but show the ability of becoming front runners in an ever growing popular genre!”
Soundscape Magazine

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Evil Scarecrow’s ‘Boldly Going Anywhere!’ tour continues

Boldly Going Anywhere‘ Tour!

Following on from their two SOLD OUT Wednesday 13 shows at the Garage, Islington over Halloween, Evil Scarecrow gear up to hit the road for their ‘Boldly Going Anywhere‘ tour and will be taking their unique brand of metal, mayhem and madness across the UK and Ireland. It’s going to be a very busy end of year for the guys & gal and without doubt it’s going to be fun and chaos in equal measures! Bring party poppers!!

If you’d like to come along to review/photograph any of these shows please let me know. The band are also available for interviews throughout the tour.

Boldly Going Anywhere‘ Tour!
19th  Waterfront, Norwich
20th  Craufurd Arms, Milton Keynes (supporting Kvelertak)
21st  The Scholar, Leicester
26th  The Parish, Huddersfield
27th  The Temple, Birmingham
28th  Sound Control, Manchester
29th  Corporation, Sheffield
2nd  Yardbirds, Grimsby
28th  The Underworld, London
29th  Slade Rooms, Wolverhampton
30th  Rock City, Nottingham

Tickets available from Live Nation, Ticketmaster & all usual online vendors
Ticket prices £10 except for Southampton £5, Dublin 15 Euros, Grimsby £8, London £12.50, Milton Keynes tbc

Evil Scarecrow stunned the people of Download Festival with one of the most memorable, genius sets we’ve ever seen
….is probably the most fun heavy metal band to grace the Maverick Stage…”
Gigwise, best moments of Download 2015
Evil Scarecrow…find themselves on the brink of being a genuinely significant concern on the British scene….”
Dom Lawson, Metal Hammer

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Another great review of Stormbringer’s album ‘Blood And Rust’

Stormbringer – Blood And Rust

Stormbringer _RingMaster Review

Scratching around for a powerhouse of rock ‘n’ roll to get down and dirty with? Then UK rockers Stormbringer and new album Blood And Rust should undoubtedly be your next port of call. The eleven track stomp is a thrillingly explosive and inventive blaze of heavy metal and riff fuelled rock, a creative ferocity weaving elements of enticing familiarity into broad roars fresh and distinct to the Northampton quintet. Most of all though, Blood And Rust is one thickly invigorating triumph from a band ready to stand alongside and indeed outshine the big boys.

The beginning of Stormbringer goes back to 2011 with members of Deadeye, Nekkrosis, and Viking Skull meeting for beers and music talk. Soon guitarists Ash Smith and Dom Wallacewere recruiting drummer Jon Paul Quantrill and bassist Darren McCullagh to their new project, and from jamming and writing to recording had within a year created enough songs to fill an album. Now a vocalist was needed and in the winter of 2012 Mike Stockley joined the band, he soon laying down the vocals for debut album MMXIII, which was released the following July. The next years saw the band playing reputation building and acclaim earning shows which included appearances at Download and Bloodstock on its main stage. Due other commitments, Stockley had to eventually leave Stormbringer with his replacement subsequently coming in the shape of ex-Burn City Burn frontman Jimi Brown. Skipping forward over a haul of months, and we have the release of second album Blood and Rust, an encounter announcing Stormbringer as a valid protagonist to lead muscular British rock ‘n’ roll.

small_cover_RingMaster Review   Blood & Rust opens with its title track, a brief emotive instrumental hinting at the imagination with its winding melodies and eventually climatic air. Building tension and drama, the piece evolves into the tempest ofNo Redemption, a rampaging devilry of swinging grooves and thumping rhythms aligned to rousing riffery and the instantly impressing tones of Brown. It is an adrenaline fuelled incitement empowered further by the appetite coaxing craft of the guitars; they courted by the rousing quality of rhythms and vocals. Already neck muscles and eager attention are subservient to the release, Risetightening the chains with its predatory yet inviting mix of tenacious riffing and a rugged confrontation of grouchy bass and sinew driven drums. A shadowy backing vocal adds to the lure of the song too, adding great shade to Brown’s delivery and the virulent contagion gripping ears from within the magnetic storm.

The following Bad Blood has a slightly more even temper to its character, though it does not skimp on creative aggression and muscle honed infection under the thick lure of Brown, he backed by great band shouts. It is fair to say that every song within Blood And Rust is an anthem in their own particular way, with this fourth track one of the most vocal and inescapable persuasions on body and voice of the listener before it makes way for the darker hues of Unto Me. The sound of McCullagh’s bass is almost bestial in tone, an early tempting still holding the keenest of attention as the guitars spin their web of imposing riffs and spicy grooves. Less forceful than its predecessors in urgency and energy, the song builds its own brand of intensity veined by rich melodic enterprise and imagination bringing more classic rock essences to light up its body.

Ashamed uncages a more boisterous and heavy intent next, its body still under a rein energy wise but making up for it with an invasive weight of sound lined with jagged scenery of riffs and beats. Brown again excels as impressively in voice as the music crowding his delivery, its ravenous intent and stalking gait a perpetual maze of invention and imaginative twists culminating in a superbly addictive finale. The track is outstanding, overshadowing its successor No Return, though it too is soon sparking full enjoyment and involvement with a somewhat familiar if indefinable design to its chorus and grooves, a success matched by Off the Edge straight after. Another track which prowls the senses, even with its elevated energy, it casts a maze of stirring endeavour and fiery catchiness that simply means involvement in its cause is instinctive. With a highly pleasing drift into a melodically haunting passage skirted by almost rabidly hued rhythms and riffs, the song enthrals and whips up the passions, a success even more intensive in Cross to Bear. The track is pure rock ‘n’ roll; from its first breath slavery of wiry grooves and punchy beats held in the grip of Brown’s vocals. Smith and Wallace transfix with their whirling tendrils of craft whilst Quantrill has senses reeling with his wicked strikes, every element of the song woven into a leviathan of an anthem infused with sonic seducing and melodic invention.

As if drawing on all the fascinating qualities within the songs before it, the seven minute croon of Voice of Demons is Stormbringer revealing all their variety of sound and resourceful imagination in one potent temptation. Catchy and reflective, melodically gentle and physically robust, the song is a glorious roar epitomising the band’s skill and invention whilst expanding the impact and depth of Blood And Rust yet again.

The song would have made the perfect high to end on but Stormbringer have one final treat in a cover of Talking Heads classic Psychokiller. A well covered song with let us be honest, only a few having been able to do it justice in their own style before, Stormbringer join that small number of real successes with a grouchier and far more fiery interpretation. They give it a full-on rock ‘n’ roll makeover without losing the core psychosis which has made the song a major inspiration, coming up with one mouth-watering version as a result.

Blood And Rust is Stormbringer at another new level of sound and presence which in turn ignites a new fire in the UK rock/metal scene for the year. It is a gem and really there is no excuse for any fan of either flavour not to go treat themselves with it.

Blood And Rust is out now digitally and on CD via Attic Records @

Pete RingMaster 28/10/2105

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Fabulous review of the new Jac Dalton album ‘Powderkeg’

Jac Dalton – Powderkeg


From the reverberating synth-line, full band build up and burst of six-string soloing within the first few bars of opening number ‘Powderkeg,’ you’d be forgiven for thinking you knew exactly where the title track of Jac Dalton’s latest release was leading the album – straight to the heart of hard melodic rock with all the power, swagger and clichés the 21st century variant of the genre can bring.

If that’s what heavily and melodically rocks your world, you’re going to love what the big voiced Australian (Dalton was born and raised in North Carolina before calling Adelaide home) delivers on the welcome-to-the-show styled number, from the full-on sonics, unfettered guitar lines, big chorus vocals and the “set to explode…
like a powderkeg!” punch-line.

But while ‘Powderkeg’ the song certainly makes an impact it doesn’t tell the whole story of Powderkeg the album.
Jac Dalton’s third solo offering may follow in the musical footsteps of predecessor Icarus but it’s making its own tracks by carrying a lot more light, shade and hefty chunks of contemporary rock across its eleven songs than the opening number’s chest pounding anthem to heavy melodic rock would suggest.

‘Blow Me Away’ and ‘Roll with the Punches’ fuse heavy AOR with contemporary hard rock (as well as delivering simple but effective choruses) while ‘Can’t UnRock Me’ is a swaggering big slice of bluesy-styled rock that complements both the melodically injected but similarly weighted ‘Let it Go’ and the slower, heavy blues of ‘When I’m Alone With You.’

‘Just Enough to Believe’ is Jac Dalton and band in modern-era Journey territory, but lyrically and retrospectively nodding to fellow Oz rocker Rick Springfield while setting themselves firmly in melodic rock airplay mode.
For fans of classic rock there’s a fairly faithful to the original cover of Aerosmith’s ‘Sweet Emotion,’ the latter a great fit for the guitar-led rock tone of the album and Dalton’s voice.

For change of pace there’s the cry for freedom power of the semi-anthemic ‘One Heart / One Land,’ a song that is revisited at the end of the album as a Bonus Track entitled ‘Chloe’s Song’ (an acoustic take of ‘One Heart / One Land’ that retains the almost gospel-styled vocal backings).

All of which means Powderkeg is an explosive little album – and Jac Dalton’s best album to date.

Ross Muir

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