The Inkhearts – Temper Temper/Uptight

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Formed in 2010, UK rock band The Inkhearts has a mature sound which belies the ‘immaturity’ of its creator’s ages. With the quartet aged eighteen or nineteen across its line-up, the West Lancashire band casts a sonic proposition which lies somewhere between The Libertines and fellow youngsters The Jacques, whilst vocally there is a regional twang which hints of ‘county rivals’ Arctic Monkeys. It is a healthy mix finding its own individuality through, on the evidence of the band’s new single, potential flooded indie pop songs.

The union of Temper Temper/Uptight is a magnetic lure of raw textures and creative imagination which simply intrigues and excites whilst brewing up a certain appetite for more. As mentioned formed around four years ago, The Inkhearts’ seeds began at a music tuition initiative at The Engine Rooms in the band’s hometown of Skelmersdale. Meeting for the first time there, a seven piece emerged but it was with the departure of three of the founder members that the band found its natural sound and direction. Taking inspirations from the likes of The Vaccines, Two Door Cinema Club, and The Libertines into their writing and music, the four-piece roused up an eager following for their live performances and focus in the media through previous single Keeping Up. With its recent release, Temper Temper / Uptight is poised to spark another surge in attention and hunger, whilst suggesting rigorously that The Inkhearts is one band all should be keeping a close eye on.

Temper Temper instantly holds ears in a melodic jangle and sultry caress, the guitars of Lauren Shaw and Ryan Ward a swift expressive temptation. Equally the voice of Shaw makes an Picture 37immediate persuasion, her tones distinct and flavoursome within the spicy melodic web cast by both guitars. Framed and driven by the pungent basslines of Ben Warburton and punchy beats of Matthew Wright, the song rattles along with a confident stride and virulent infectiousness, hooks and vocals a contagious lure in the lively enterprise of feet and imagination igniting revelry.

Uptight is more subdued in comparison to its companion, yet with another tangy tease of guitar and shadowed toned bass enticing, the track is an easy going and richly satisfying proposition. It reveals more of the inventiveness within the songwriting and craft of the band and though it is lacking the spark of Temper Temper its golden harmonies and great unpredictable twists of gait and energy ensures the song nudges another wave of hunger for more.

With a single this promising and potent from a band so young that you still assume they still get Mum to do their washing, the future looks rather rosy if they carry on and evolving like this. Remember the name, The Inkhearts.

Temper Temper/Uptight is available now @ https://itunes.apple.com/gb/artist/the-inkhearts/id792653411

https://www.facebook.com/TheInkhearts

RingMaster 11/12/2014

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The Reverse – No, I Don’t Want to See Your Stupid F**king Band

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Hailing from London, UK band The Reverse showed themselves quite handy at crafting strongly persuasive and magnetic songs with the release of their Kind Words For Cruel Times album around a year ago. Merging the drama of folk with indie inventiveness, the band’s sound is a gentle and welcoming tempting which does not startle but certainly entices keen attention. Now the band returns with new single, No, I Don’t Want to See Your Stupid F**king Band, providing more of the same charming enterprise which lit their full-length but with even greater colour and potency to its creative flame.

Formed by vocalist/guitarist Nathan Loughran and drummer Jason Moran, The Reverse was eventually completed by guitarist/backing vocalist Sam Hartley and after a previous bassist, James McKeown (ex-lead singer of The Great Divide and The Colours). A triplet of well-received EPs from debut A Clean Incision in 2006 through to Shutterspeed the following year, and in 2008 My Lifelong Psychological Experiment, reinforced the band’s emerging live reputation. It was the Graham Dominy (The Rifles, Razorlight, Ray Davies, Supergrass) recorded and mixed Kind Words For Cruel Times which opened up a broader attention, its success matched by shows with the likes of Klaxons, The Wave Pictures, Lupen Crook, Sgt Buzfuz, and Carina Round. The new single shows another engaging step forward for the quartet and you suspect with a similarly blossoming reaction.fucking_band_front

No, I Don’t Want to See Your Stupid F**king Band opens on a coaxing acoustic strum, the guitar casting a welcoming melody as Loughran begins the narrative bred from experiences and obstacles all emerging bands come up against. With lively yet controlled beats courting magnetic keys and harmonies, the song shuffles and tempts with a radiant weave of melodic prowess as bass and guitar lay down their own highly persuasive bait, the whole mix a gentle and unassuming song musically, compared to the lyrical altercation, but textured with refined and resourceful enterprise to spark the senses.

No, I Don’t Want to See Your Stupid F**king Band is a soothing seduction with a snapping title and lyrical premise, a song which reconfirms The Reverse as a band to keep good attention upon. It is not going to set your world on fire but the track is certainly going to give it a satisfying glow.

No, I Don’t Want to See Your Stupid F**king Band is available now @ https://thereverse1.bandcamp.com/track/no-i-dont-want-to-see-your-stupid-f-king-band

www.thereverse.co.uk

RingMaster 09/12/2014

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Deer Johnson – Another Day

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Seductively melancholic yet inescapably bracing and at times anthemically uplifting, Another Day the new single from Swiss duo Deer Johnson is a magnetic captivation luring attention time and time again. Consisting of Philip Deer and Toby Johnson, two friends on the evidence of their new single capturing a fresh vibrancy and creative energy to acoustic music with their creative presence, Deer Johnson are about to take their sound around the UK in a series of headlining dates and shows supporting folksters Moulettes. The single is released to coincide with the tour and the perfect taster of shows and introduction to the band.

Another Day opens on a caress of guitar, a coaxing unveiling an immediately evocative melody with more than a shadowed quality of The Cure to it. Vocals swiftly join the emotive drama with an expressive tone as suggestive in hue as the colourful intimacy of the guitars now courting its emerging narrative. With subdued yet pungent beats and a wonderful dark bass tone to the encounter, the song croons and seduces with elegant mystery and emotional expression. With both guitars and voices entwining their distinctive but superbly blended flavoursome qualities, Another Day simply mesmerises as it sparks ears and imagination. All the time there is an underlying almost anthemic essence to the song too which in turn only has thoughts and emotions fully roused.

If Another Day is anything to go by, British audiences are in for a real treat this December as Deer Johnson hit the British roads, and the band itself destined to a very healthy reception.

Another Day is available now.

Deer Johnson Tour dates:

10th Dec                   Wolverhampton – Robin 2 (Supporting)

11th Dec                   Wakefield – Unity Hall (Supporting Moulettes)

12th Dec                   Liverpool – Lomax

13th Dec                   Bury – The Met (Supporting Moulettes)

14th Dec                   Sheffield – South Sea Live

https://www.facebook.com/deerjohnsonmusic

RingMaster 08/12/2014

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The Slow Readers Club – Forever In Your Debt

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With two imagination and emotion gripping singles already thrilling 2014 and being inspired by the fevered success of the last Don’t Mind, UK indie/electro rock band The Slow Readers Club keep the persuasion intensive with the re-release of fan favourite Forever In Your Debt. It is a darkly evocative and relentlessly tempting proposition, cinematic in its air and engrossingly flirtatious in its drama, and alongside live album Live at Central Library also released this week, superbly reinforces the potent emergence and rise of the band.

The Manchester quartet of vocalist/keyboardist Aaron Starkie, vocalist/guitarist Kurtis Starkie, bassist James Ryan, and drummer David Whitworth, take little time in gripping hunger and emotion with Forever In Your Debt. An opening noir clad bassline alongside expressive vocals is the first virulent bait, a lure soaked in great eighties indie/post punk enticing but equally as Picture 31fresh and seductive as the bubbling notes of the guitar which join the dark persuasion. Firm beats frame it all whilst provocatively visual keys colour the immersive atmosphere before providing a broader texture and emotive depth to their drama. For all its almost sinister seduction, the song is also sublimely catchy and energetic which ensures that the body is as engaged as thoughts and emotions.

The Slow Readers Club are showing themselves to be masters at creating songs thick with emotional shadows and reflective depths but also as contagious and addictive as a first kiss, the proof is right here with Forever In Your Debt and it’s also masterful accompanying track Days Like This Will Break Your Heart.

The Slow Readers Club with songs like this make it so easy to declare them one of the great breakthroughs of 2014 and you sense we have till only scratched their surface.

Forever In Your Debt is available now digitally at most stores and on vinyl @ http://theslowreadersclub.bandcamp.com/album/forever-in-your-debt

www.theslowreadersclub.co.uk

RingMaster 01/12/2014

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Sylvia – Wolvey, Ansty

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Ahead of their highly anticipated new album, British trio Sylvia release new single Wolvey, Ansty, and it is hard to imagine a more potent and irresistible lure to raise the appetite for their next full-length. The song is a seductive glaze of melodic enchantment and provocative drama impossible to ignore and easy to devour greedily.

From Moseley, Birmingham, the trio of Daniel Sweeney, Phill Ward, and Russell Collins drew decent attention critically and with fans through their self-produced debut album Rathea in 2011. It is a release still earning new appetites for the band, a lure which new single Wolvey, Ansty should kick up numerous gears as the band leads into its next album.

The single sidles up to ears with a melodic jangle and swiftly eager rhythms, the chattering melody of keys offering a southern air to their temptation and expressive colour to the emergence of the song. It is a provocative lure accentuated by a glorious soar of harmony soaked vocals, their delivery ethereal but also slightly haunting. Around the delicious radiance guitars and rhythms are constantly building up their potency and drama, erupting in a contagious crescendo before magnetically starting the process all over again.

There is thickness and richness to the song which belies the slimmer but vivaciously persuasive textures, it all aligning to create the elegant winds blowing across the senses. As it nears its climax, the track seems to get busier and creatively concussive, voice and sound entangling for a melodic roar and emotive blaze.

Wolvey, Ansty suggests that the impending album from Sylvia is going to be striking in the very least and we suspect, thanks to the single, that anticipations around the country are soon going to shift into hunger mode.

Wolvey, Ansty is available now via Regent Street Records @ https://itunes.apple.com/gb/album/wolvey-ansty-radio-edit/id931592367?i=931592368

http://thisissylvia.com/

RingMaster 01/12/2014

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Boyracer/Hulaboy/The Safe Distance

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For a change we are clubbing together a trio of releases to look at in one go, the reason for this being the common denominator of musician/songwriter Stewart Anderson. The 7” releases from Boyracer, Hulaboy, and The Safe Distance are three early propositions of new indie label Emotional Response formed by Anderson and wife Jen Turrell. Having also run 555 Records and Red Square over the past couple of decades, the pair set up their new project with the intent of recording and releasing new music with friends, the outcomes limited in availability, produced on coloured vinyl, and only available right now through their website http://jenandstew.com/.

With their first release coming in 1991, Boyracer has been a constant source of excited punk pop, releasing over 800 songs since that first exploit with records unleashed through labels such as Boyracer 1Sarah, Slumberland, Blackbean, and Placenta. Coming off a four year hiatus, the Anderson founded proposition offers the Pete Shelley EP as their final release, with Turrell and Sarah Records era guitarist Matt Green joining Anderson for four irrepressible pop escapades. The EP opens with its title track, a bass and guitar drama with jabbing beats and expressive vocals. The song is lightly stomping from the off, beats punchy in a weave of politely jangling guitars and potently alluring hooks. It is not much more than a breath over a minute in length but provides pure contagious revelry for feet and imagination to greedily devour.

The following 3nd Wave Mod is similarly parading a fleet of inescapable hooks and quaint melodies within this time a rawer frame of rhythms and chords. As infectious as the first and with a great concussive crescendo in its middle, the song provides a tasty alternative pop adventure which the following The Kind Of Man You Really Are emulates with its tangy melodic clang and the brilliant Jump surpasses with its twee pop devilry. Led vocally by Turrell this time, the fourth song swiftly reminds of seventies UK bands like The Chefs and Girls At Our Best. Bouncing with a mischievous melodic grin enhanced by the summery caress of keys, and a rhythmic incitement which again has feet instantly engaged, the song is an anthem for the passions. The release comes with two bonus tracks which were not on our promo but it is hard to imagine them being any less thrilling than the four songs already treating ears.

Hulaboy BW     The Hulaboy EP, He’s making violent love to me, mother, is the celebration of a twenty year friendship between Anderson and Eric M. Stoess, a three track vinyl offering which plays ears with melodic charm and citrus sonic flavouring. As shown by first track Exes and Enemies, there is a sharp tone to the melodies which caress the senses but comes wrapped in a mellow and engaging elegance which is almost whimsical in its breath and temptation. Rhythms are firm though, giving the endeavour depth and muscle in all the right places and through the quirkily enterprising croon of the song.

Napalm Heart flares with lo-fi tenacity and melodic flaming from the first second, its undiluted catchiness and crispy resonance like a blend of The Freshies with a more cheerful Josef K, which for a minute and a half has ears inflamed and emotions wrapped up in sonic devilment. The flirtatious track is followed by Kids Under Stars, a raw blaze of sonic rapacity and garage rock causticity soaked in sixties pop colouring. The blistering encounter completes the impressive vinyl version of the single whilst the download comes with an additional seven tracks, with I find your topsiders and beard amusing and a great cover of Echo and the Bunnymen’s The Cutter particular standout moments.

Final release, the Songs EP from The Safe Distance, is the global link up of American Anderson on bass and organ with vocalist/guitarist Crayola Sarandon (Sarandon / A Witness) from the UK and Australian drummer David Nichols (Cannanes / Huon). Casting quirky dark pop clad in gripping shadows and brought with rippling sinews, the band uncage four tracks for the vinyl release of their EP. Hey you sets things off, probing beats aligned to guitar jangles and great monotone delivered vocals the initial delicious bait. The song proceeds to roam with a predatory glint in its sonic eye and bracing flames to its melodic hue, the imposition tempered by the flowery charm of keys and the addictive lure of the vocals. The song isSafe Distance Songs Insert 1 pure drama and quite infectious, a description also suiting the more restlessly contagious Soap. Tastily scuzzy but retaining a warm glow to its raw sound and invention, the track swiftly has thoughts and appetite gripped, whilst A bigger splash with its sultry smouldering of melodies and keys takes a little longer to draw a healthy dose of satisfaction but has ears and imagination fully involved by the time of its final fuzzy note.

The punkish Sandpit concludes the quartet of tracks, its bluesy roar and caustic energy colluding for a thoroughly thrilling slice of dirty rock ‘n’ roll, keys and guitars especially kicking up a dust storm with their sonic voracity. Completing the vinyl version, it is just part of another four original tracks on the download as well as a trio of covers featuring Hawkwind’s Silver Machine, Adam and the Ants’ Young Parisians, and the excellent take of Bogshed’s Fat lad exam failure.

Perfectly diverse but united in the songwriting prowess of Anderson and others involved, all the singles make an impressive entrance into the independent and underground scene by Emotional Response Records.

The releases from Boyracer, Hulaboy, and The Safe Distance are all available on coloured 7” vinyl and digitally now via Emotional Response Records @ http://jenandstew.com/

RingMaster 27/11/2014

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Dedwardians – Love Sick/ Like An Animal

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Crawling the senses and imagination with mausoleum bred romance and a sound as carnal as it is predatory, UK garage punk/psyche rockers Dedwardians unleash new AA-sided single Love Sick/ Like An Animal, an encounter unleashing the beast in the passions. The release is a raw and primal proposition, a caustically bracing protagonist providing modern rock ‘n’ roll with an older devious seduction.

The new encounter follows last years acclaimed single Bang Bang Die/Stop Destroy, an attention grabbing release igniting a feverish following which Love Sick/ Like An Animal will only inflame further. The London based Dedwardians expand their songs from a fifties rock ‘n’ roll inspired core, drawing in the darkest essences and warped delights of psychobilly, garage punk, psyche rock and more. The best way to describe their sound is the ravenous punk of The Cramps colluding with the fuzzabilly devilment of Eighteen Nightmares at the Lux to engage in illicit unions with the psyche dementia of The Dropper’s Neck and the gothic rockabilly charm of The Orson Family. It is a concoction which as mentioned made a gripping infestation for the first shadow cloaked swoop of the band and rises to even greater infernal irreverence and beauty with the new single.

Love Sick opens with an instantly addictive and tangy groove, the fiery enticing from guitarist Gaff almost insidious in its lure and reminding of Damn Vandals in tone and inescapable temptation. Jabbing beats from Dan Bridle skirt the image001toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.

The accompanying Like An Animal is no different, an organically lo-fi persuasion with its own unique and epidemically driven infestation of sound and hungry passion. The track simmers with a sonic coaxing initially before again grooves lay the first tasty bait, it all subsequently joined by a persistent and intimidating shuffle of drums and harsh scythes of guitar. The track is a riveting tempest, hooks and splices of melodic acidity spearing the tempestuous prowl of the song whilst Gautrey like a barker from the darkest depths, leads and directs the incitement with his expressive tones, backed by the rest of the band in rockabilly style. The track as its companion is pure temptation, from the bulging basslines to the hoarse vocal and sonic squalls, as well as the scorching melodic expulsions of inventive manna, simply irresistible.

The track having reinforced those references in sound mentioned before, also holds a potent breath of The Eighties Matchbox B-Line Disaster, and in many ways is probably the closest comparison to Dedwardians. For all like us who still mourn the end of that great band, we have a new contender to fill that gaping gap in British music. Do not be deceived though, Dedwardians is and has a sound unique to themselves and with the release of the new single will surely turn the ripe buzz around them into a full blaze of attention and ardour, especially as you are not likely to have heard many singles matching its brilliance let alone surpassing it this year.

Love Sick/ Like An Animal is available on Nov 24th @ https://itunes.apple.com/gb/album/love-sick/id935793228?i=935793244&ign-mpt=uo%3D4

https://www.dedwardians.com/

RingMaster 22/11/2014

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