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 damnn 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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Dirt Box Disco – I don’t want anything for Christmas

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Going hand in hand with every Christmas we get overtired squabbling brats, unwanted guests, and the worst clothing since MC Hammer was causing blindness with his flashy pantaloons and their movements. The worst import in the festive season though is the Christmas single, a disease which with few, very few, exceptions turns skilled and accomplished musicians into creatively retarded festive jumper wearing disasters. There are the occasional successes which buck the trend, though right now only Jona Lewie’s Stop the Cavalry comes to mind and that is debatable if it truly qualifies. To that positive list you can now add UK punk ‘n’ rollers Dirt Box Disco and their single I don’t want anything for Christmas.

They have not totally escaped the curse it is fair to say, the song not their finest moment, but the band does what Dirt Box Disco does best with the single and that is unleash mischievously stomping rock ‘n’ roll. Whether it will be a song which remains as potent and favourably welcomed over repeated plays as it is right now, time will tell but the Burton on Trent certainly provides an evocative tease which borders on maudlin but escapes through its infectious and smile inducing revelry.

From its first breath the track is declaring its intent and almost self-pitying premise through vocals and simple but fiery riffs. The chorus opens up proceedings, a simple repetition of the song’s FRONTtitle primarily before slipping into a more relaxed stroll with the vocals of WEAB.I.AM and Spunk Volcano entwining for the track’s narrative. It is a straight forward offering of the band’s distinct sound which ignites more strikingly with the sizzling sonic enterprise unveiled by the guitars of Danny Fingers and Spunk, whilst throughout the rhythmic probing of bassist Deadbeatz Chris and drummer Maff Fazzo keeps it all compelling and contagious. It is fair to say that there is nothing out of the Dirt Box Disco ordinary going on but that alone ensures the track will surpass any other Xmas offering this year, even though they do insist in having infernal sleigh bells to accompany its end.

Accompanying I don’t want anything for Christmas the band offers Punk By Numbers, a raw and belligerent slab of old school punk with a healthy soaking of The Ramones and The Dead Boys to its riot. It is a brilliant rock ‘n’ roll threat which again is the band revelling in creative devilry proving what it is that sets them apart from the crowd with consummate ease. Even without the second song the single would be very worthy of attention but it adds the icing on the flavoursome Christmas cake.

I don’t want anything for Christmas will not dramatically change views on Christmas singles but it does make one very palatable helping which will ensure one year has a beacon of hope and a gift which you think you might not want but will greedily devour. Now just have to convince Granny that it is really Cliff Richard bursting from the speakers over the festive pudding.’

I don’t want anything for Christmas is available now via STP Records/Deadfly Recordings digitally and on CD @ http://dirtboxdisco.bigcartel.com/product/dirt-box-disco-i-don-t-want-anything-for-christmas-cd

Dirt Box Disco live dates over Christmas:

DEC 13 – The Bridge inn, Rotherham

DEC 20 – Star And Garter, Manchester

DEC 27 – ZOMBIE HUT, CORBY

DEC 28 – The Maze. Nottingham

DEC 30 – Adam & Eve, Birmingham

http://www.dirtboxdisco.co.uk

RingMaster 17/11/2014

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The Art of Amputation – Distorted Pop Song/ Californian English

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Listening to Distorted Pop Song, one half of the new AA-sided single from UK progressive rock band The Art of Amputation, is like being wrapped up in a warm duvet against a squalling wind. It is a thick haze of melodic and sonic enterprise which gives you a fuzzy feeling in the senses warding off shadows and at times reality. Aligned to the more tenacious and incendiary Californian English, song and single is a captivating offering from the London quintet, not a startling one but an encounter which though an instant enjoyment takes its time truly seducing the emotions.

Formed when Hugh Fox (drums, programming, percussion) and Allan Harrod (vocals, guitar, keyboards) linked up as a duo after the break-up of a previous band, The Art of Amputation soon Picture 172became a trio as the pair began writing and recording their debut EP. Realising they needed another guitarist to realise their explorations inspired by the likes of Weezer, Pixies, The Beatles, and David Bowie, they recruited Mark Hyden (guitars, vocals). Next Freddy de Lord (keyboards, vocals, saxophone) was enlisted with subsequently their acclaimed self-titled EP unveiled in April this year. With a line-up now completed by Tim Harrod (vocals, percussion), the band unveil their new single, a release which as mentioned does not take the listener by the scruff of the neck but as it smoulders vibrantly, leads them into a sultrily twisted seduction which in turn recruits a keen appetite.

Distorted Pop Song emerges from a distant horizon, keys and sonic endeavour light smog which spreads as the song nears and mellow vocals glides resourcefully across the senses. In full view the song becomes a rich and thick tapestry of emotive vocal hues and evocative melodic colour immersing a heavier rhythmic and shadowed enticement. It ebbs and flows with bulging waves of sound and enterprising textures to toy with the imagination whilst its blustery climate and provocative embrace comes superbly lit by voice, keys, and exotic flames of sax.

Its companion Californian English has a more indie rock essence to its breath and presence, thoughts of Editors coming to the fore as the song opens up a persuasion of jangling guitars and flowing keys around a great varied vocal enticement. Again there is a rich and dense atmosphere to the song, psychedelic breezes colluding with jazz and rock intrigue for an enthralling weave of sound. With slightly more bite to its presence, the song is the peak of the pair but both tracks of the single standout and raise a hunger to know and hear more from the band.

Alongside the darkly enchanting EP, The Art of Amputation’s feistier new single reinforces their impressive emergence whilst showing further adventure and character to their songwriting and sound. The single is not the spark to a fire in passion’s belly but definitely a richly satisfying stoking of their embers from one of the more exciting prospects within the British scene.

Distorted Pop Song/ Californian English is available digitally now via Ruby Music @ http://www.rubymusic.ie/

https://www.facebook.com/TheArtOfAmputation

RingMaster 17/11/2014

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Kicking Harold – Kill You

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Ahead of new album Red Light District which is scheduled to unveil its suggested fascination next year, US alternative rockers Kicking Harold unleash its first single, the rigorously infectious Kill You. A song which originally appeared on the band’s 1995/6 debut album Ugly & Festering, the track has been updated, fired up, and re-recorded to make a potent teaser for the impending full-length.

Formed in the mid-nineties, the Californian band are no strangers to acclaim and a feverish following as they proceeded to release three further albums with the last Zombies, Cars & Evil Guitars whipping up keen attention in 2010. The years have been equally up and down too, the band going through a lull after the release of third album Space Age Breakdown with members leaving and other projects consuming the attention of band founder and vocalist/guitarist Tim David Kelly. The success of the song Gasoline from that album though ignited another wave of enthusiasm and energy within the project, especially with its placing on auto makeover reality shows Overhaulin’. A 2006 re-release for its source album was a success as was the following Zombies, Cars & Evil Guitars 4 years later. Earlier this year the band re-issued second album Return Of The Bulbmen to strong responses for its rare presence and now with bassist Bret Domrose and drummer Peter Burke alongside Kelly, the band is looking keenly ahead with Kill You their next spicy offering.

The song makes a potent entrance with bulging riffs and fiery melodies surrounding punchy beats. It is an attention grabbing start which suddenly relaxes with slightly lesser impact as Kelly opens up his delivery and the song’s narrative. It is not because of his presence but just a making room for his voice that brings a minor dip but there is still plenty to fire up the appetite and intrigue, it’s gentler coaxing only the early step in the build up to a ridiculously compelling and anthemic chorus. That moment swiftly lures assistance from the listener’s voice, irresistibly tempting with its brief but pungent contagion, an infectiousness which spills into the following gentler sonic embraces and rhythmic shuffle. The choruses are crescendos which only spark and continually influence the drama and passion of the increasingly impressive and persuasive encounter.

It is easy to see why the song is a lingering fan favourite since its initial appearance way back in time, and if the new material destined to flavour the new album lives up to its majestic temptation and addictiveness, Kicking Harold might well be the name on excited lips once again.

Kill You is available now for info on this and the band check out www.kickingharold.com

RingMaster 12/11/2014

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Rivertairs – Jack

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Flirting with the imagination like a mix of Common Tongues, Tankus The Henge, and Johnny Foreigner, the debut single from UK band Rivertairs is an introduction which does not instantly make your mind up about their presence but certainly ensures there is an appetite to hear more of their obvious potential. Carrying a flavoursome blend of varied rock spices as dramatic hues of folk rock and indie pop enterprise add their lures to the aural shuffle, Jack is a captivating and seriously intriguing proposition.

Hailing from Manchester, Rivertairs first explored their expressive and expansive design of sound with the 2013 three-track demo, Fool’s Parade. It was supported and followed by numerous shows across the north of England which included sharing stages with bands like Space. Now ready to break into a broader spotlight the band is releasing their first single, a “tongue-in-cheek vignette on the infamous Jack the Ripper”.

Jack opens with swarthy strikes of guitar which in turn are joined by a dark bassline and crisp beats. There is an instant creative and striding swagger to the song which grows in boldness as the vocals begin unveiling the song’s narrative and melodic flames wrap around the infectious enterprise. There are essences of folk and indie pop to the rock based offering and even more varied colour to the imagination spicing up every tenacious sway and seductive caress on show.

The track almost prowls with its adventure and has a theatrical relish to its inventive mischief which keeps ears and imagination gripped and intrigue greedy. As mentioned one song is never enough to decide if a band is for the long-term in thoughts and emotions but Jack has plenty to make Rivertairs a prospect needing thorough exploration ahead and an enjoyable companion right now.

Jack is available as a free download from www.rivertairs.com now!

RingMaster 11/11/2014

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Silhouettes – Sacrifice

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Following the success of their acclaimed debut album and recent UK shows, British indie/electro band Silhouettes release their new single Sacrifice on November 10th as a free download. Taken from the Ever Moving Happiness Machines full-length, the track is an inescapable temptation and weave of the imaginative electronic and indie pop revelry the band has swiftly become renowned for. It is a treat for ears and unashamedly seduces with every vocal caress and melodic kiss.

Formed in 2008, the Wolverhampton quintet of Nathan Till (vocals, guitars), Jay Cuthill (guitars, samples, keyboards, production), Ben Blewitt (keyboards), Ben Dargue (drums), and Jay Roberts (bass) has increasingly earned a potent following and attention for their sounds and live performances. Early EPs awoke many to their impressing emergence but it was the single Gold Tag which on a wave of new invention and evolution in the band’s sound sparked a broader spotlight, one subsequently pushed much further by Ever Moving Happiness Machines. It was an album which instantly lit a fire of attention which is bound to be stoked again by the release of Sacrifice.

Opening on a wash of warm and magnetic keys veined by resonating beats and pulsating shadows, the song brings an Orchestral Manoeuvres in the Dark air to its celestial blaze of electronic colour. It is a dramatic coaxing elevated once the celestial tones of Till merges with the sultry climate. His delivery shows it is unafraid to mix things up as the vocalist subsequently adds a little post punk shadow to his narrative. Haunting and bracing with a golden stream of sun fuelled melodic endeavour across its transfixing atmosphere, the song is as unpredictable and keenly inventive as it is persistently warm and mesmeric.

If Silhouettes’ album has evaded your attention until now there is no finer a gateway into its majesty than Sacrifice. It is a potent taste of what is in store within Ever Moving Happiness Machines but only a hint of its rich adventure.

Sacrifice is available as a free download from November 10th @ https://soundcloud.com/integrityrecords/silhouettes-sacrifice-single-edit

http://silhouettesmusic.net/

RingMaster 10/11/2014

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Billy Momo – I’ve Got You

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Making a rather tasty teaser for their forthcoming album Drunktalk, which is scheduled for release next February, Swedish urban-folk collective Billy Momo are releasing new single I’ve Got You to whet the appetite. The song is a magnetic flight of modern folk pop wrapped in melodic expression and rhythmic tenacity which in turn courts a vocal vivacity and creative fascination; simply it is a song which swiftly grips the imagination. The Stockholm band has brewed healthy attention and fervour in their homeland and with I Got You and live shows as bait, it is easy to expect the septet of Tomas Juto, Oskar Hovell, Tony Lind, Mårten Forssman, Oscar Harryson, Christopher Anderzon, and Andreas Prybil to start stirring up UK emotions for the arrival of their full-length.

Keys and guitars entangle their melodic enterprise straight away as the single opens its warm embrace. Strings are soon joining the elegant and evocative caress as the song’s landscape broadens and finds an emotive colour to its potent lure. It is an imagination awakening start but catches fire once it slips into a pungent shadow and light clasped stroll. Scything strings and dual vocals provide a rich colour of sound and expression to the emerging adventure, whilst keys and melodies add their own climate of drama and creative theatre as the track increasingly seduces second by second.

There is a baroque pop air to the song alongside its folkish revelry and orchestral elegance which only adds to the contagion upon ears and thoughts, whilst a persistent swirl of strings and notes under the Juto led vocals just mesmeric and tantalising in equal measure. The song is glorious and impresses more and more with every listen as its invention and melody enriched charm captures body and emotions.

Written by Juto and Hovell, the band’s founding members when it emerged as a duo, I’ve Got You is a striking and compelling introduction to British ears and the world in general to a band you are likely to hear plenty more of and from, especially when Billy Momo unveils Drunktalk next year.

I’ve Got You is available from November 10th

https://www.facebook.com/billymomomusic

RingMaster 10/11/2014

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