Visualise/Colours/Stop – Projected Thoughts

visualise_colours_stop - Projected Thoughts cover

If the first single from UK trio Visualise/Colours/Stop is an indicator of things to come, then imagination and emotions are in for some thrilling and impacting incitements to come with the band. Projected Thoughts is a glorious evocation of expressive rhythms and sultry melodies aligned to compelling vocals amidst a climactic atmosphere. It embraces the senses with a tender caress initially before evolving into an almost tempestuous landscape of emotive tenacity and evocative flames. It is a formidable introduction to the band, one instantly raising keen anticipation for their horizons.

Hailing from Lincoln, Visualise/Colours/Stop consists of vocalist/guitarist Alan Kissane, bassist Gaz Bailey, and drummer Dale Hagger. Initially called Fabonacci, the trio took on the name Visualise/Colours/Stop from a friend’s defunct band, who released an album in 2011.Things are a little hazy here as to the extent of the link between the two but we suggest members maybe are shared as the accompanying promo piece suggests the new single is the band’s first yet they have a link to the older version’s album on their Facebook page. Most importantly though is the strength and stature of Projected Thoughts, a song ‘reflecting on the demise of a relationship and questioning the world with that in mind.’ Mixed live by the band on old analogue recording equipment, the single is an evolving confrontation which simultaneously serenades and wakes up thoughts as it immerses ears in a rich drama of sound.

The song opens with the melancholic groan of bass within a slight but crispy percussive coaxing. It is a slow minimalistic kiss which presses closer through the dark tones of Kissane’s vocals against small but emotive eruptions of melodic radiance. As the track slowly begins to unveil its narrative and aural canvas thoughts of Black offer comparisons whilst as the rhythmic bait of Hagger brings an unpredictable and magnetic lure aside the growing suasion of guitar and vocals, references turn to Comsat Angels and to a lesser degrees Modern English, all offering a slight eighties hint. The track is mesmeric, a tender seduction which captivates ears and attention with irresistible majesty, never losing its grip as it eventually shrugs off its restraint for a still shadowed blaze of sonic intrigue and provocative melodic hues. At this point you can add the likes of Doves to the spicing veining potently through the now dramatic stride and tenacity of the increasingly contagious song.

Leading to a fiery finale which is as riveting and tirelessly compelling as the gentle almost sombre start of the proposition, Projected Thoughts provides a dark alchemy of sound and emotion which broods longingly from its first note right through to its explosive final breath. The single is scintillating and whatever the questions about the bands past, makes their future and an impending EP something to keenly anticipate.

Projected Thoughts just might be the start of something major for British rock, it might just be one song but it is hard to imagine Visualise/Colours/Stop making anything less than a gripping impact such the quality and enthralling presence of their single. Time will as ever tell…

https://www.facebook.com/VisualiseColoursStop

9/10

RingMaster 01/07/2014

Copyright RingMaster: MyFreeCopyright

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Pillar Point – Self Titled

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    Creating an immersive melancholic waltz for feet, thoughts, and emotions, the debut self-titled album from US electronica project Pillar Point is a fascinating captivation with a persistent almost niggling seduction which encloses the imagination in an evocative and reflective embrace whilst sparking the urge to shuffle and lift limbs. It is not a release to ignite a major fire in the belly but instead it simmers and smoulders earning a lingering respect and appetite towards its open invention.

    Pillar Point is the solo project of Seattle musician Scott Reitherman, an artist already known for his involvement with indie-pop outfit Throw Me the Statue. Exploring similar electronic textures and sounds to that band, Reitherman ventures into darker shadows and deeper emotive corners, tempering it with a melodic dance of imagination upon his solo release. Uniting with long-time collaborator and producer Charlie Smith for the Polyvinyl Record Company released album, Reitherman takes Pillar Point and the listener on a fascinating soar through crystalline atmospheres and sirenesque electro embraces, an adventure equally unafraid to step into personal reflective shadows.

     The album opens with the masterful Diamond Mine, the song a weave of electronic alchemy honed into an enthralling flame of melodic enticement. From its first caress of vintage sounding synthesizer the song is seducing the imagination, the mellow falsetto leaning vocals of Reitherman adding to the warm suasion. Dark bass tones politely groan from within the flames, beats adding potent jabs to cast a little further darkness to the sunspot of a song. It is an absorbing entrance and stroll but one which shows its true toxicity with the exceptional chorus. As it hits, discord invites itself to the mesmeric party and immediately cast a dark irresistible glaze to proceedings vocally and musically. It attaches its claws like a mix of very early Ultravox and Thomas Dolby filtered through the dark intimidation of Joy Division. It is a scintillating moment in a terrific start to the album, one it never manages to emulate again.

     The following infection soaked Eyeballs and the celestial Cherry give it a strong go though, the first an eager energetic bound of guitar teasing and mischievous rhythms within an electro cloud with as much tendency to haunt and shadow emotions as it has to seduce them. Its successor washes over ears with an ethereal breath and temptation which again mixes melancholy and warmth into an emotive sailing of the imagination. Like its predecessor the song is awash with an infectious bewitchment which lingers and inspires long after its departure.

     Black Hole steps up next with its rhythmic bait poised and ready to hypnotise from its first second, the ear clipping beats a constant provocation within a tantalising electronic entrapment. Smothering and inspiring thoughts into a personal adventure, the song is a vibrant tempting which has toes and heels itching to join the mix, something which Strangers In Paradise in its noir kissed romance also achieves with a slow steady saunter. As with the opener, there is an eighties synth pop essence to the song especially in its darkest climate, bands like Felt and Comsat Angels brought to mind by the sultry elegance and rhythmic intimidation respectively of the encounter. Its unpredictability and fusion of discord spawned ingenuity with warm melodic blushes is a compelling treat and across the whole album this type of union continually provides the strongest pinnacles of the landscape.

    Both Dreamin’ and Touch expressively glow in the passions, if at times with sluggish lures that stir rather than stoke the fires, whilst the delicious tease of Curious Of You with its electro devilry and contagious harmonies incites the coals to another feverish hunger. It is a track which holds the hands and whirls you around its hazy scenery in one fluid escapade for the duration of the refreshing dance. It is a magnetic incitement matched by the closing slice of mesmerism, Echoes. As its title the song resonates and pulsates relentlessly in the psyche and imagination, another weave of electronic and melodic beauty coaxed further by the impressive tones of Reitherman.

    The song concludes in fine style a magnetic release, an encounter from Pillar Point which maybe does not cause the passions to erupt but instead invites and persuades them to linger for vast swathes of time long past its farewell…a reward which arguably is the greater and very appealing.

http://pillarpointmusic.com/

8/10

RingMaster 04/03/2014

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KingBathmat – Overcoming The Monster

KingBathmat Publicity Photo 3

The fact that Overcoming The Monster, the new album from UK progressive rockers KingBathmat, is their seventh full length release but the first time they have come to our attention really drives home the fact that we, and I suggest all of us are only scratching the surface of music and the depth of good bands, no matter how much we think we are in control and knowledgeable of what is out there. Better late than never certainly applies to this outstanding release as well as relief that they finally have ventured upon our radar, though again a mystery as to why a band this good has remained in the shadows for so long especially as going by those in the know, Overcoming The Monster is an album in a strong line of impressive releases from the Hastings quartet.

KingBathmat musically is a band wonderfully impossible to pin down. Hailed as a progressive rock band they equally employ all essences from psychedelic and alternative rock through to electronic, grunge, experimental metal and more into their unique creativity. Formed by songwriter /vocalist/guitarist John Bassett the band has unleashed a sextet of albums from debut Son of a Nun in 2003 through to the acclaimed Truth Button which came out at the start of the year. With David Georgiou (keyboards), Lee Sulsh (bass), and Bernie Smirnoff (drums) completing the line-up, KingBathmat creates a tempest of invention and imaginative adventure which is impossible to resist or escape once within its riveting clutches. Overcoming The Monster is a compelling flight of melodic fire, rhythmic provocation, and sonic beauty all wrapped in an ingenuity of craft and thought which leaves the listener quite breathless. With tracks which investigate the theme ‘of psychological obstacles (monsters of the mind) that are manufactured in our thoughts, both internally through our insecurities, externally by the outside influence of others and collectively through the mass media which uses fear as a tool to manipulate our perceptions’, the Stereohead Records album evokes and ventures into personal reflection igniting emotional dialogue with its potent premise and presence whilst all the time teasing and soaking the senses in music which is simply enthralling.

Opening track Sentinel makes a muscular entrance, riffs and rhythms claiming their piece of the senses whilst a brewing sonic Overcoming The Monster Album Covermist wraps deviously around their capture. It is an immediately gripping start which once in command from its dramatic stance, relaxes into an emotive plea of keys and the vocals which paint the thought cradling narrative. The tenderly toned weave continues to expand its call with growing keys and group harmonies whilst the bass adds shadows that menace as they lurk within and stalk the melodic blaze of sound and feeling. As the song ventures further from its strong start across an equally intense if slightly underwhelming course there is a brooding sense of something impending. This becomes a solid gripping breath as, and not for the only time on the album, the track evolves into a potent and aurally dexterous mesh of ingenuity and contagion. Just beyond midway of the near nine minute track it unleashes the bass to roam with a new raptorial hunger framed by the equally greedy rhythms of Smirnoff whilst the vocals of Bassett ride their refreshing caging with expressive might. As riffs add their ‘savagery’ for the next evolution of the song, it climbs all over the senses as sonic ropes of invention tether it securely to the passions.

Though it took a while to fully persuade the song makes an impressive start to the release which is soon surpassed by firstly Parasomnia. The haunting opening child’s toy box like charm is a breath of innocence against the disturbing ambience enveloping the senses behind it, the tones of Bassett shaping the narrative with a continuing magnetic pull. Into its full presence the shadows dissipate as melodic hues paint their caresses from guitar and keys onto the imagination. Combining flames of heavy rock, metallic angst, and melodic washes, the song captivates from start to finish with its unpredictable grandeur, thoughts of Mars Volta, ELO, King Crimson, and most definitely Horslips spawning from the shifting spicery within the scintillating song. For all its triumph it is soon eclipsed by the stunning title track, easily the best song on the towering album. The niggling sonic coaxing which introduces the song is a continual temptation throughout whilst around it the band ebb and flow in crystalline invention, infectious melodies, and multi-flavoured invention. There is a familiarity to the track which is deceiving but certainly as it unwinds its striking persuasion and mystique the likes of Muse, Comsat Angels, and Soundgarden as well as Porcupine Tree and Floyd spring to mind.

Both the layered Superfluous, with its tantalising wealth of textures and jazz bred soaring heat, and the smouldering Reality Mining lead the listener into new teasing excursions of epidemically alluring emotional and aural exploits whilst the closing Kubrick Moon reaches into absorbing space for another original baptism of progressive and psychedelic musical chemistry. The trio of songs make for a towering conclusion to one of the very best progressive releases this year, one though completely unique in voice we suggests stands easily by the side of the new releases from The Ocean and Between The Buried And Me…it is that good.

http://www.kingbathmat.com/

9.5/10

RingMaster 22/07/2013

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Watertank – Sleepwalk

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Though having graced music for ten years, the just released album Sleepwalk from Watertank is their long awaited debut full length and a monster of a release it is too. As rhythmically and dynamically intrusive as it is melodically addictive and compelling, the thirteen track album from the French quintet is a masterful conjuror of pure addiction. With muscles and intensity which ensures an intimidation of the emotions from their powerful and potent force and equally a lover’s seduction at times from a mellow resonance which is mesmeric enough to calm a raging beast, the album is a passion instigator of the purest temptation.

Formed in 2003 and hailing from Nantes, Watertank has earned strong and eager acclaim with their live presence which has seen them play alongside the likes of Torche, Kylesa, Baroness, Capricorns, Lair Of The Minotaur, and The Ocean. The EP Sub in 2004 sets things off recording wise but it was with the following six track EP Fairy Crimes five years later that there was a concentrated wider attention bred around the band. Such its appeal and the continuing strength of sound and live shows from the band, that the anticipation for their first album has arguably outstripped the hunger for most others.

The Solar Flare Records released album immediately starts gnawing on the senses with the heavy ravenous riffs of Where It All watertank-sleepwalk-2013-hdBegins. It is a towering presence with crisp rhythms matching the intimidation of the guitars and bass whilst weaving in between the excellent melodic vocals of Thomas B. caress the wounds. With a laboured sludge gait and rasping intensity the brief but heavy track opens up the ear and beyond to the suggestion of something major impending, an assumption soon realised through the likes of Giant Heads and Pro Crook. The first of the pair is a noise rock sculpted engagement with teasing sonic grooves and pulsating cavernous bass riffs whilst again the excellent vocals and harmonies press their advantage home with ease and expressive craft. The second of the songs again steadily chews upon the psyche with carnivorous riffs from bassist Vincent A. and enterprising and equally scarring guitar invention from Bojan A. and Julien G. Riding a core of post hardcore and melodic rock with a doom seeded spine, the lure of the song is total and magnetic, as is the album to this point.

There are only highlights upon Sleepwalk to be honest but at times it just excites beyond legal allowances such as with Fear Over The City. A metronomic beckoning of its percussive finger leads in riffs which are prime bestiality, their snarling seduction joined and elevated by the following caustic and twisting guitar invention all framed by the punchy beats of Jocelyn L. With a groove as insidious as it is contagious and a raw squalling edge to the vocals, the track is a brute of a track, its sinews flexing at every turn and sonic abrasion igniting the passions.

The likes of the fiery Ants In Suits with its stoner/melodic rock presence holding aloud whispers of bands such as Alice In Chains and Quicksand, and the riveting title track with its wonderfully infectious yet niggling sonic scythes of sound within another stoner/grunge flavoured expanse, only cement and push on the strength of the release whilst How Fast recruits the passions with its uncomplicated yet carefully involved persuasion. Within this clutch of songs is another pair of the loftiest pinnacles upon the album, Far From Low and Holy Tranquilizer. The first is a thrilling heavy rock soaked encounter with more than a Thin Lizzy whisper about it especially in the blazes of melody flamed crescendos and the overall anthemic call of the song. The track actually reminds of nineties UK band Skyscraper a lot and that is definitely a good thing. The second of the two is the best track on the album, though that decision does fluctuate with each listen to be fair. Entering into view with again riffs which corrode upon touch, the song steps into a sinister ambience with the bass opening up its deepest inciting shadows whilst the vocals hold sway with a haunting embrace and narrative. Before the track presses harder onto the senses and thoughts with a rapacious greed and intensity, the song has the feel and sound of the first Comsat Angels album Waiting For A Miracle. It is outstanding, a sonic animal with a siren call.

Sharp Beaks Strike Back is another exceptional piece of sonic alchemy and the closing Six Days a progressively clad kaleidoscope of beguiling and captivating invention and colour rich imagination. It is the perfect melodic flourish to a fascinating and thrilling album. Watertank is one of the most refreshing and musically ingenious bands around so let’s just hope they do not take another ten years to unveil the follow-up to Sleepwalk, though more EPs will suffice too.

http://www.facebook.com/wtrtnk

9/10

RingMaster 29/04//2013

Copyright RingMaster: MyFreeCopyright

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Broken Links: Disasters: Ways To Leave A Scene

There has been a little bit of a stir brewing around UK rock band Broken Links and after hearing their debut album Disasters: Ways To Leave A Scene a few times it is easy to see why. To be fair it only took a couple of engagements with the vibrant and compelling release to be convinced but such its magnetic and powerful pull the resistance to returning time and time again was weaker than a paper boat in a tempest.

Since forming around four years ago, the trio from Southampton has seen a slow but very solid rise with their potent mix of post punk, rock, and industrial rock with strong whispers of new wave, winning over hearts consistently along the way. Certainly locally they are one of the most talked about bands and with the release of a trio of well received EPs have built a fan base which is loyal and feisty whilst moving farther afield. Influences come from the likes of Joy Division, Depeche Mode, Nine Inch Nails, Manic Street Preachers and Bush, flavours which Broken Links evolved into their own unique sound. The result is songs which trigger all the keen responses and taste buds their inspirations ignited, whilst opening up new depths of pleasure for themselves. Their eclectic sound also makes the band an easy and effective fit with many genres which their sharing of stages alongside bands such as British Sea Power, The Boxer Rebellion, InMe, My Vitriol, 22, Official Secrets Act, Fighting with Wire, and The Xcerts shows.

Disasters: Ways To Leave A Scene brings many of the tracks which featured on those early self released EPs with a couple of new ones to create a stirring and towering expanse of emotive and melodic invention. Even though the release strikes a match to open a full magnetism towards its sounds from the start, the more impressive it becomes with time spent in its striking aural arms. Evocative and impactful, the album leaves one breathless and invigorated whilst fully charged to dive into its shadows and immense soundscapes again and again.

The release opens on the sonic simmering of Electrik, though the track soon explodes into a sonically burning sunrise of mesmeric charms.  It is impossible not to be rocked back on ones heels by the mighty vocals of guitarist Mark Lawrence and the electronic blistering which ignites the atmosphere of the song like a cascade of hot golden rain. The rhythms of drummer Phil Boulter form a magnetic frame whilst bassist Lewis Betteridge is a prowling and imaginative shadow to the synths and expressive guitar of Lawrence. The track itself is a ravenous mix of Depeche Mode, My Preserver, and Muse, though the one band which did come to mind during the song was Ultravox, the early version before John Foxx and guitars became redundant.

Within Isolation and What Are You Waiting For? Raise the temperature even higher with their thumping urgency and inventive craft. The first is a sinewy romp of energetic vocals and riffs wrapped in riotous intent and acidic sonic manipulation, a barnstormer of an affair whilst the second explores darker corners of the sound with a smouldering heavy post punk resonance and metallic sonic licking of the senses. A Joy Divison starkness combines with  barbed Comsat Angels like hooks to leave one drooling and when the atmospheric grandeur of Modern English wraps its emotive muscular arms around the song nothing but passion is apace. It is a track which reaps the riches of the eighties yet still is of the now, the band nurturing and evolving those seeds once again into something quite irresistible and distinct to themselves.

Great tracks come thick and fast, each song without fail leaving deep pleasure and ardour behind their accomplished ingenious lures. Tracks such as the brilliant electro rock/pop  triumph We’re All Paranoid, the two part grandeur that is Choice/Decay, with Part I a chilled ambient and slightly disturbing build into the stunning crescendo of Part II, and the swaggering Shelter Your Loss, just captivate and evoke more and more heated enthusiasm.

Hitting even greater pinnacles with the snarling Therapy Sessions In The Dark and potently contagious Cherno, not forgetting the gloriously inciting What Are You Addicted to?, the album expertly and skilfully explores across styles and emotions. Melancholic and reflective, warm and oozing positivity, Disasters: Ways To Leave A Scene is a true giant of a release and surely the first massive and impressive step to wide recognition for Broken Links.

http://www.brokenlinksmusic.co.uk

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright

Vertigo Steps: Surface Light

The new album from Vertigo Steps is a release that immerses itself deeply inside you as you fall within its own thick expansive atmosphere and close enveloping sounds. Surface Light forges and instigates a full union and experience that leaves the senses empowered and alive whilst searching for a deep breath with which to fall under the mesmeric towering sounds again. The album is an enterprising and formidable release which brings essences of rock, metal, and progressive rock into a compulsive sky of melancholic atmospheres and warm emotive clouds that stir and incite the emotions.

Surface Light is the third album from the Portuguese / Finnish project which was formed predominantly as a studio project in 2007 by Bruno A. (Arcane Wisdom). The project grew with Finn Niko Mankinen (ex Misery Inc.) joining to give a core duo to the band whilst they also brought in guests for recordings. A debut self titled album in 2008 drew strong attention and praise with comparisons of Katatonia and Green Carnation passed upon the music it brought forward. This was followed by equally acclaimed second album The Melancholy Hour in 2010 which again saw not only more guests alongside the duo to realise the songs but returning producer Daniel Cardoso, a man who is involved with so many impressive releases everywhere you turn, to add again brings his impressive production touch and drums skills to Surface Light.

The new album once more involves guest vocalists to bring a depth and firm variety to the songs plus Cardoso with drums and bass as well as production. For Surface Light the band has called on the striking talents of Jan Transit (In The Woods…,Transit), Patrik Karlsson (This Haven), Stein R Sordal (Green Carnation, Sordal) and Sophie (Ugarit), alongside the excellent tones of Mankinen. The combinations are majestic and enhance and flavor each song as deeply as the thoughtfully crafted music that surrounds them.

The album opens with the dark but warm Vertigo Dawn, an instrumental with soaring vocal harmonies and a desolate breath that works itself in far beyond the ear as it leads in the outstanding The Hollow. The band immediately pulls one directly into its heart as a web of voices and evocative sounds touch thoughts as they wrap themselves gently but firmly around its recipient. A melancholic ambience pervades the body alongside the stirring guitar creativity and provocative additional female vocals. It is a large yet intimate sound and one which lingers long after its final emotive note, though taking the album as a whole each song is never long in being replaced by equally impactful and full songs.

The following Silent Bliss is a vibrant and energetic track which lifts the emotions with stirring eager riffs and melodies but keeps it always personal with insightful and impassioned quiet moments of calm and restraint. The song reminds of latter Comsat Angels though it is not obvious exactly why to be honest but the atmosphere and infectiousness of the emotions invoke the comparison. As the album progresses the diversity of the album is more than apparent within its thirteen affecting compositions.

The album as a whole brings a kind of undefined theme or feeling at least with each and every luxurious yet saddened song. It is a wonderful blend of vibrancy and warmth which enthralls and uplifts whilst stemming from a darkened heart wrapped in sorrow and under a dimmed light. The wonderful Tonight I Died, Tomorrow I’ll Live with its post rock/gothic tension, the excellent melodic rock Helsinki, and the impassioned Someone (Like You) with a melody that would suit any Bond film, all burn with a heavy yet glowing heart that makes the listen a complete and deep event.

With further delights in the rousing Zeppelin On Fire, the impressive and best track Schadenfreude, a song that has a life and world all of its own, and the closing The Porcupine Dilemma which feels like a conclusion pulling all before it into a final immense release of passion, the album is a tremendous example of songwriting. It is a statement of far reaching atmospheres brought from the melding of heavy and stirring sounds with emotive and ardent dark to light feelings by the band. Released via Ethereal Sound Works, Surface Light and Vertigo Steps is manna for any who revel in the likes of Katatonia, Green Carnation, Porcupine Tree, Opeth, and Anathema or basically intense melodic and passional music.

RingMaster 26/04/2012

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Invoke : Edge Of Virtue EP

Let us start with the closing line of the review. The Edge Of Virtue EP from UK band Invoke is brilliant and you must go and get it and then bask in its glory.

The three track release really is something rather special, a refreshing and vibrant piece of songwriting, musical craft, and sound. Unaware of the band until now and having missed their previous two singles when they were unveiled which surely many others did too, the time is now to leap upon their exciting and inspiring sounds and feel the magic of what surely  will become one of the more important indie bands over the months maybe years ahead.

Formed in October 2010 the trio from Gateshead have been drawing increasing attention their way and now having heard the EP it is no surprise and that focus upon them is sure to increase over the time ahead. Consisting of Aidan Beck (vocals/guitar/ keys), Derrian Everett (bass/backing vocals/keys), and Wil Davies (drums/percussion), Invoke follow up their debut single Second Time Lucky and its successor Nothing’s Changed released January of this year and featuring on the EP, with an EP that easily sets them apart from a growing wave of new and exciting emerging bands.

What do Invoke do that makes them different? Well there is their definite skill at creating melodic and infectious music that also has a depth and feel which captures and inspires emotions and thoughts. Aligned with an invigorating enthusiasm to their sound and an energy that treats one like a long time friend and boisterous companion, the combination makes for songs that have immediacy and an eager infectious heart that captivates and seduces those of all who open the windows to their souls. Their sound has been compared to that of Muse, Red Hot Chilli Peppers, The Police and even Depeche Mode and one can see that somewhat but there are three eighties founded bands which ripple out from within the music of the band. Firstly there is the emotive and caressing sounds of Modern English that weave within Invoke and which are readily backed by the expert minimal craft and addiction melodic prowess of Comsat Angels. Thirdly there is the incisive and infectious hooks and melodic grip of The Cure from their first album time, Edge Of Virtue easily carrying the insatiable yet perfectly tailored mesmeric simplicity that formed the first release of the legends to be. I am sure this young band have only heard of the latter but whether coincidence or not the trio of flavours are perfect spicery to their sounds.

From the moment the brief addictive intro of the EP took to the ear submission was inevitable. It has a hook that acts like one of those excellent themes tunes to say The Avengers or The Persuaders, unforgettable and very addictive. This leads straight into Misfortune, the song continuing the captivation. With a great bass presence that almost croons the ear behind the incisive and sparkling guitar melodies; the song is instantaneous and delightful. The drums of Davies are pithy and persistently jabbing at the senses without laying out the surrounding graceful and appealing sounds. The song is perfectly constructed and with an ending that sets the pulse racing it is a glorious start.

The aforementioned previous single comes next. Nothing’s Changed sounds like another band from the past The Tea Set, with its picky hooks and instinctive rhythms before it emerges as a wonderfully emotive and easy flowing piece of songwriting, warm keys, invigorating rhythms and sharp yet restrained guitar play making the perfect mix.

It is impossible to pick a best song the release that impressive and consistent, but Restart with its razor sharp red hot melodies and insistent bass lines is as big a contender as the rest. The song is The Cure like, listen to the first album of that trio and see if you disagree, but always note that Invoke turn all these flavours intentionally or by luck into distinct and irresistible creativity of their very own. The song is mischievous but innocent and a joy to share time and the heart with.

Edge Of Virtue is sheer inspirational pleasure and already the anticipation of more from the band is impatient and irritable. If you only check out one band this month make it Invoke, they really are that good. Now you need simply go to www.invoke.bandcamp.com and go treat yourselves.  Go on…shoo!

Ringmaster 11/04/2012

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