Gifted Kings – Lose What Makes You

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    It is hard to say that Lose What Makes You, the debut album from Scottish rockers Gifted Kings, ignited a fire in the passions for their accomplished and soulful sound, but certainly the 2012 formed band sparked an appetite and satisfaction with their enjoyable release which many emerging bands can only dream of. Consisting of eleven impressively crafted and expressive songs, the release makes a potent and promising introduction to a band we are sure to hear and enjoy a lot more of in the future.

    Hailing from Glasgow and consisting of two sets of brothers, Derek (guitar/vocals) and Andy Murray (lead guitar) alongside Gary (drums) and Paul Smith (bass), Gifted Kings build on the undeniable potential and presence of first single Dead End Road, which has just received its video release also, in fine attention grabbing style with the album. It is not unfair to say that the band’s sound has a rich familiarity to its presence right now, not of any specific band but in general which defuses some of its ability to surprise and stoke those emotional flames, but there is little else to raise a quizzical and disapproving eyebrow over. Recorded with producer Nick Brine (Oasis, The Darkness, Bruce Springsteen) at the same studio which housed the making of Oasis’ What’s the Story Morning Glory and Queen’s Bohemian Rhapsody, and mastered by Pete Maher (U2, Depeche Mode), the album proves its case with a stirring presence and potency which easily awakes positive reactions and attention to match that already brewing as far afield as Russia, Ukraine, Thailand, and India over the band. With their music already gracing several shows on Channel 4, S4C, ITV1, and Sky Sport as well as being adopted for advertising campaigns by Ripcurl and O’Neill Sports targeting the USA, Australia, and Asia, the quartet are on a rapid visible ascent which What Makes You Lose has all the qualities to accelerate.

     The album makes an instantly engaging and gripping start with Rains Will Come, its opening a sonic intrigue of guitar which expands with a rhythmic jabbing and fiery melodic glaze as company. It is not a startling entrance but one which secures full focus especially as the expressive vocals of Derek Murray joins the already pulsating lure of the song. Thoughts of Bristol band Mind Museum offer a suggestion whilst essences of Placebo also hint throughout the increasing emotive brewing of the track; all to a positive effect. The only strange thing about the song is that it never explodes, just simmers as if an intro to the album rather than a stand-alone proposition. Nevertheless it is a great start matched right away by The Last Time. A heavy throaty bass sound and imposing rhythms make the initial temptation as the guitar’s thoughts crowd around in a sonic breeze before making inviting weaves of melodic endeavour around the incoming vocals. Again there is something recognisable about the encounter, though it just makes it an easier ride to immerse within, which with its especially persuasive rhythmic enticement just infects.

     Both No One Knows and Drive keep the album bubbling in thoughts and emotions if missing the heights of the previous pair. The first is embraced by powerful emotive melodies and crescendo like rises in energy and passion as melodic veining arguably inspired by the previously mentioned Mancunians works away, whilst the second strolls with a reserved and enticing alternative rock weight and texture to draw in the imagination. Neither sets sparks to tease the passions into major action but definitely each provides a healthy offering for the appetite to chew over and enjoy, as equally does Dead End Road with its alluring and richly expressive narrative and sound. Though definitely not the best song on the album it is still easy to see why it has drawn such eager responses the band’s way since being released as the first single from the album.

     The following pair of Tell Me Something and Fortune In The City return the release to the commanding and contagious levels it started on, controlling rhythms and rich melodic fire rigorously and anthemically tempting the senses within the first whilst its successor explores another evocative climate with an inventively gripping groove and an infection clad chorus within an unpredictable exploratory landscape. Both tracks alone reveal the depth and potential of the band in sound and songwriting, reach easily lighting keen anticipation for future endeavours.

   From the pleasing and very decent creative exploits of Last Trace Of The Sun and the sonically colourful, not forgetting contagious Wait, the album’s best moment is brought with Neon, a song built on addictive nagging riffs and crisp rhythms which persist until full submission is given for their vivacious bait. Once more the band casts a virulent infection over the ears and imagination which is impossible not to find a lingering hunger for, it’s dramatic touches and blues kissed strikes quite irresistible. Alongside the closing and strong if underwhelming in comparison Written On The Wall, the pair bring Lose What Makes You to a thoroughly entertaining conclusion.

     Gifted Kings has laid the strongest base with their debut, the first of many potent and impressing encounters ahead you suspect.

http://www.giftedkings.com/

8/10

RingMaster 23/02/2014

 Copyright RingMaster: MyFreeCopyright

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Strobegirl and D’Jaly – How Are You? EP

 

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    Having been seduced by The Strawberry Sessions EP a few years back, we have always had time and dreams over the melodic crafting and tones of its creator, UK singer/songwriter Strobegirl.  Weaving a mix of pop, indie, and folk spices in a host of sultry embraces, the Croydon girl is one of Britain’s musical secrets. With the release of new EP How Are You? may be that hiding place will be under threat through its magnetic temptation. The release sees Strobegirl, better known to her stalkers as Heather-Jane, team up with fellow Croydon based artist D’Jaly. It is a tantalising union as evidenced by the seven track release, a collaboration which sets the new EP alongside the acclaimed Strawberry Sessions in temptation and imagination.

     Strobegirl is no stranger to collaborations, having worked closely with producer Roger Fife (Cyndi Lauper, Anthony and The Johnsons, The Orphans) on her successful debut EP and subsequently the likes of UK Industrial band Illustrial as well as other artists on individual songs. Marked by dreamy shoegaze kissed textures to her music and vocals, Heather-Jane won indie artist of the year on Somojo radio in 2010 as well as being heavily played and promoted on various radio shows, especially the champions of independent music Audioburger. Her partner in invention upon the How Are You? EP and better known to his family as Jon Daly, has been emerging as an artist/producer through his infusions of electropop, house, and deep house. Originally called Unknown Tone with an electronic/dance flavouring to his creativity, Daly first released debut album the Fourth Dimension under his own name in 2008 before unleashing robotic dance machine 4000 in 2010 as Unknown Tone. Now the two artists have combined to craft a tantalising offering which joins both their styles in one electro pop persuasion, an encounter which leaves ears alive and passions feasted.

    You Can’t Stop Me Now starts things off and immediately cloaks the ear in a melodic coaxing aligned to sultry keys all aided by a brassy temptation. It is a smouldering mix of funk and jazz within an elegant pop embrace, piano and the appealing vocals of Strobegirl casting an emotive allure which only accentuates the beauty of the melodies which brew, merge, and erupt with evocative flames across the song. It is a magnetic persuasion which soon recruits thoughts and hunger towards its impressive invitation into the release.

     The following Nothing Else Counts Now unveils an electronic wash of grandeur and crystalline beckoning to make its entrance. Its initial coaxing is strong but arguably not as reassuring as to what will follow as the hinting found at the start of its predecessor. Those doubts are soon pushed aside though as the track twists its body to release a striking flame of Depeche Mode like melodic caressing littered with startling electro pulses and splurges of sound to shake up the song and expectations. Slight whispers of industrial and dubstep mischievously play their part in the bait of the song too and though the more general electronic course of the track is less inspiring than those elements, it is a refreshingly enterprising and imaginative eccentric dance within melodic witchery holding an almost spellbinding call.

    Next You and My Heart steps forward with its own distinctive fusion of electronic eccentricity and electro pop bewitchment, the song another which comes with a devilry to offset and taunt the raging melodies and ever appealing vocals. Production wise the track does want a little, the clashing electro scatterings and climatic orchestral bred melodies often suffocating and overpowering the vocals, though to be fair it does also help a haunting breath to wash the piece which does the song no harm. Overall though despite the smothering it is a lingering wash of melodic persuasion which adds extra to the release if less potently as elsewhere.

     The best two songs on the release come next, firstly Wake Up which admittedly we have a soft spot for having heard it in its early stages a while back. A summer wind of folk seeded pop placing the acoustic skills and vocal enchantment of Strobegirl in a rich electronic stimulus, the track is a warm stroll through evocative aural sorcery. Again the production is a touch claustrophobic but cannot derail a quite delicious croon of shoegaze revelry. With a chorus I dare you not to join in by its second tempting the song is one irresistible romance.

     The title track is equally infectious in its individual way and passion conjuring character. With almost sinister shadows flitting in and out of the song as the keys play with light and dark intermittently within a flame hued melodic narrative, vocals and lyrics adding another bloom of passionate colour and imagination to the picture. The best track on the release if not quite the favourite, it is a thoroughly captivating incantation of Siouxsie and the Banshees mystique filtered through a restrained Propaganda sculpted beauty.

   Completed by the Monster Electro Mix of You Can’t Stop Me Now and lastly the Deep House Mix of Nothing Else Counts, How Are You? is a delightful enveloping of the imagination and emotions, a release which might finally push Strobegirl and indeed D’Jaly in a new deserved spotlight.

The How Are You? EP is available as a buy now name your price download @ http://strobegirl-djaly.bandcamp.com/

https://www.facebook.com/StrobegirlUK

https://www.facebook.com/djaly0

8/10

RingMaster 22/01/2014

 Copyright RingMaster: MyFreeCopyright

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Public Domain Resource – Dead Surface

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     Until the arrival of their debut album it is probably not too far-fetched to assume a great many like us were not aware of Public Domain Resource and their magnetically crafted contagious sound. The recently release of Dead Surface has certainly addressed that lapse and such the potency of the synth pop bred waltz marking this fifteen track temptation the only recommendation is for you to go immerse yourself in this band. It is an album which ebbs and flows at times to both intrigue the imagination and occasionally leave the appetite wanting a little more from particular moments but taken as one radiant proposition the album is a riveting and vibrantly refreshing slice of electronic adventure.

     The Bergamo based project consists of Pietro Oliveri (music, synths, programming, vocals) and Ugo Crescini (vocals) though founded in 2012 it was initially a solo venture for Oliveri before Crescini linked up with him in March of last year. The band’s first year saw the appearance of Under The Ground, a track which reached 3rd place in the Industrial Music chart on Soundclick.com. Its successor Nemesis-The Third Day and the following The Hang were no less eagerly received either with the two songs riding high in IBM charts and all three now appearing upon the Space Race Records released Dead Surface. Combining a weave of sounds and flavours from eighties synth pop to EBM and varied electronic spicery, it is an encounter which warrants plenty of encounters to discover all its little nuances and seductive essences but one which constantly rewards with those unveilings. Whether the album will rival your all-time favourites time will tell but certainly it will earn and deserve a regular feature on your adrenaline cast playlists.

   The album starts with its best track, a title Ideals never relinquishes despite the strong challenges to come. Opening with a Dead Surface Coverdelicious bassline right out of early songbook of The Cure, the track immediately has interest hungry and eager to learn more. Tantalising electronic strokes soon join the persuasion alongside energetic rhythms and roving synth temptation but it is the excellent vocals of assumedly Crescini which seal the deal. It is hard to know who provides vocals actually each voice clearly distinguishable but only if you know which belongs to whom, something we could not find out in time. A more than healthy Depeche Mode feel evolves to wash through the song as it expands its lures and enterprise as well as a sturdy rock element to the vocals especially, it all adding to a masterful infection clad synth pop triumph.

    The following Red Lines has a more tempered energy to its candescent electro glow aligned to shimmering enticements and also has little difficulty in seducing ears and thoughts. There is a rich emotive breath to the track from its opening note and first lyrical syllable and though as it progresses and builds a rich intensity in its melodic colouring and emotional depth the pervading shadows within never waiver or lessen their evocative call. Its successor Under the Ground is a similarly crafted blaze of melodically hued imagination, different in sound and delivery but as provocatively expressive and built with dark edges to provoke the imagination. Both tracks continue the impressive start to the album before passing over to another pair of pinnacles on the release.

    The title track from an arguably predictable opening dips enthrallingly into a darker climate of voice and sound which brings thoughts of New Order to the fore. It is when the song takes a breath and puffs out its melodic chest and rhythmic muscles around a pulsating nagging electro core that it ignites a virulent fascination of sound and shadowed seduction. The melodic groove which laps at the heart of the song alongside impassioned piano strokes only go to accentuate a Heaven 17 like bait fuelling the outstanding track, its success straight away matched by Fiat Lux. Admittedly the song took a little linger to fully convince but evolved into a strong favourite. Like those before, it has a unique character seeded in familiar yet fresh seeds. Once more thoughts drift to the eighties, this time from the chilled atmosphere which reminds at times of post punk band The Passage and a discord kissed vocal delivery which persuades like the haunted expression of that band’s creator Dick Witts crossed with the wily tones of Fatima Mansion’s frontman Cathal Coughlan. It is a ravenously addictive slice of electronic tempting adding further depth to the album.

    After such a strong passage maybe it was inevitable that the release would wander a little in potency which it does with the slightly predictable Negative Fields and the unsurprising Nemesis – The Third Day, though both are undeniably enjoyable and conjured by accomplished craft as they sandwich the arresting electronic landscape of Always Prey for Them – The Reich’s Station. Their enjoyable presences are soon lost to thought as the minimalistic beauty of Mishima San and the impossibly addictive Your Blood Is Mine combine to ignite the passions all over again; the first an elegant stimulation of melodic mesmerism and sultry synth pop engagement which is as epidemically contagious as any full on virus and its successor a multi-spiced electronic web which hustles and imposes its grandeur on the senses whilst holding them in a warm atmospheric embrace. Both tracks are irresistibly memorable, something you can say about the majority of the album as proven by The Hang. Heavy in texture and similarly weighty in infectiousness the song is a slow burning rousing of the imagination which needs longer than some to fully convince but does so without reservation before The Second Day takes its swipe at winning over emotions, its inevitable success going on what has gone before soon confirmed by its resourceful and skilful electronic maze of adventure.

    Completed by two more than decent remixes by Tourdeforce (Red Lines) and Retrogramme (Under the Ground) as well as the Magnetic Fields edit of Mishima San, the thrilling Dead Surface is an exhilarating incitement of a united dancefloor and individual passions. Increasingly more impressive with each romp through its insatiably addictive and inventive body the album marks Public Domain Resource out as a new protagonist in exploratory synth pop, a band draped in shadows for not much longer you suspect.

http://www.publicdomainresource.net/

http://ekproduct.bandcamp.com/album/dead-surface

8.5/10

RingMaster 10/01/2014

Copyright RingMaster: MyFreeCopyright

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Cynical Existence – Erase, Evolve and Rebuild

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It only took a minute of the opening track to Erase, Evolve and Rebuild to hear and feel something has stirred and evolved within Cynical Existence. The band’s second album it is a riveting collection of distinct and diverse soundscapes soaked in a maturity and craft which sees the project at a level only hinted at previously. It is a hypnotic web of invention and exploration which embraces the darkest shadows but also the most acidic and caustic light, the result a release which stalks, rampages through, and dances with senses and thoughts whilst seducing the emotions, though not always in that permutation.

Formed by Fredrik Croona (ex- Project Rotten/ Menschdefekt) as a solo project, Cynical Existence as evolved into a startling and formidable beast which has continued to impress across EPs and earlier this year the project’s debut album Come Out And Play, not long after followed by the Beholder EP. For most bands this frequency of releases leads to the occasional less than endearing or potent encounters but this is definitely not the case with Croona and co, in fact it has to be said that Erase, Evolve and Rebuild leaves much of what came before pale in its company despite their also impressive declarations. The depth and strength unleashed by the new album suggests that maybe the other recent releases have consisted of older written material or simply the striking evolution sculpted by Croona and Steve Alton of UK project System:FX who joined the band late last year, the pair now joined by third member George Klontzas of Pre Emptive Strike 0.1, is that dramatic a sudden leap. Erase, Evolve and Rebuild certainly does nothing to diminish the sizeable impression and quality forged by A Familiar Kind of Pain, Come Out And Play, etc. though instead it just breeds another wave of striking accomplishment by Cynical Existence.

Released via Belgium label Alfa Matrix, Erase, Evolve and Rebuild has little problem in having feet and thoughts in eager frontmovement through opener Something Strange. Synths instantly cast a festivity of sound over the ears, an ambience which is welcoming and almost devilish especially with the darker feisty electro stomp which keenly joys the invitation. The vocals of Croona squall with the caustic breath and malevolent lure which we have come to know and enjoy but the song also shows the appetite to infuse a cleaner darker gothic tone to the narrative which only excites. There is a lighter essence and buoyancy to the track compared to certainly the Beholder EP, but shadows and dark menaces still have room to toy with the listeners thoughts. A track sure to add fire to the dancefloor, it makes a compelling start to the album.

The following Erase Me is equally as potent and effective in rousing up the passions, its electro caress of a dawning soon a bulbous beckoning moving into an electro punk confrontation through the guitar of Alton. A riotous snarl coats the song from vocals through to the causticity breeding an irresistible temptation and wrapped in another waltz of electronic sedition which invites limbs and a voracious hunger to enlist in the track’s insatiable incitement, it is a rivetingly sculpted pinnacle of the album and further evidence of the evolution at work.

    My Decadence, Your Sins which features Rave the Reqviem has an absorbing eighties temptation to its thrilling landscape, a scenery which is like Depeche Mode does industrial at times and at other moments like Celldweller on a distinct mission to taunt the songbook of Fad Gadget. Despite those thoughts the track is still uniquely Cynical Existence in its stance and enterprise with the fact that the three minutes plus are over far too soon the only niggle. The feast of invention continues the scintillating presence of the album with ease, passing its heady presence on to the magnetic searing electro quickstep of Imperfect followed by the evocatively hued The Divine. Elegant classically wrapped keys open up the second of the two songs, its gentle radiant coaxing leading thoughts into the haunting melancholic caresses at the heart of the track. It is a masterful provocation of emotion and shadow cloaked climes, the gravelly vocals as on all songs that rasping texture which tempers and compliments the clean delivery and the melodic rays of sonic beauty.

The album from this point on immerses in even darker wells of malevolent rapture and predacious intent. The imagination consuming Falling with its thumping heartbeat the centre of a tempestuous emotional cloud and the pulsating heavy booted yet still irresistibly charming Deus Ex Complex are both unafraid to stalk the blackest corners within especially in the second of the two, shards of irrepressible electro romping whilst Our Bright Future is a twisted riotous incendiary tango of sound and energy which is prone to long breaths and pleasing unpredictability. This new energised character of a dance also reaps and offers its rewards through Sins Of Your Flesh and though the trio of songs maybe lack the final knock-out punch of their predecessors all leave satisfaction full.

The Endless Stride has a structure and contagion which feels closely akin to the first album without any definition as to why or to which offering whilst the effulgence of An Eternity Stuck On Repeat bewitches from its first glassy elegant touch, seducing with a wantonness which is refined yet brazenly uncompromising. The songs bring more open variation to the album as does the guitar grazing company of No Compromise and the industrialised rapacious crowding of the senses from Transformation (a search for change), both tracks successful conspirators in a slavery of the passions.

Completed by the outstanding smouldering cinematic instrumental of At the end (Outro), Cynical Existence has thrust themselves to the very fore of electro/industrial mastery with the transfixing Erase, Evolve and Rebuild. Arguably top heavy with its first selection of tracks a more vigorous exploit for feet and energy though the latter is no less an accomplished instigator of darker emotions and realms, the album takes the existing successes and sounds of the band into new breath-taking adventures of imagination and craft.

https://www.facebook.com/cynical.existence.official

9/10

RingMaster 21/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Tactical Module – Into Exile

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Having been seduced by previous album World Through My Sight from UK industrial band Tactical Module, there was a definite anticipation and expectation upon its successor Into Exile. The new release’s predecessor was a slow burner of a persuasion but one which made the securest potent convert of the passions for its aggressive symphony of electro enterprise, punk attitude, and industrial intensity. Into Exile is no different except that it makes a more immediate impact and its core ingredients and invention comes with a greater intensive snarl and uncompromising confrontation. It is an enthralling and challenging release which has reaped the impressive seeds of earlier releases and sounds to hungrily explore their sonic blossoming with greater craft and imagination.

Hailing from Poole, Tactical Module is the solo project of Michael Davis, a musician who since creating the band to unleash his creative imagination within has earned and garnered strong constantly deepening praise and acclaim through his releases. Using inspirations from the likes of Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode in his invention, Davis after numerous EPs and remixes made his first strong wide mark with the Dead Zone EP of 2012. The release triggered greater awareness and appetite for his sounds which were soon feasting greedily upon the single Where Angels Rise and earlier this year the impressive expanse of World Through My Sight and the Resurrection EP. Receiving its first CD release with Into Exile, Tactical Module has sculpted an album which is more diverse and adventurous than the previous releases, and they were no slouches in experimentation, and an encounter which employs decades of industrial/electronic whispers into one invigorating magnetic incitement.

Released via Juggernaut Media, Into Exile takes little time in bringing attention and imagination to bear on opener Awaken, its emergence through a sizzling sonic haze chilling yet thoroughly tempting. Brewing up a greater menace to its climate, the song has complete control of thoughts and senses, especially when the predacious guitar tone unveils its metal spawned restrained yet voracious causticity, matched by the confronting vocals of Davis. A definite Gary Numan spice glazes the invention whilst organic beats cage the fired up passions further, herding them into the fierce electro embrace. It is an excellent gripping start not quite matched by the following title track. The song is certainly alluring; its ebm breath stalked by a great electro twang which spears the evocative ambience but there is a spark missing compared to the first which debatably might be down to the track evading the metal bred antagonism. Nevertheless it is a pleasing continuation of the strong start and evidence of the variety of ideas and sound upon the release.

Outer City Limits soon picks up the earlier baton of strength with its instrumentally stalking flight of coarse textures and electro beauty, both combining for a voracious journey through dramatic and suggestive climes. From providing the imagination with a sinew clad impacting plaything, Into Exile then reveals more of its emotive heart with Breathless. The song is a fizzing electro plaintive with angst drawn vocals cursing agony over the acidic sounds. Like the second song it takes a firm hand on ear and thoughts without challenging other tracks on the album for the passions but all the time deceptively it is working away and though face to face impact is less startling it is a moment which returns at will even away from the release.

Both Cypher 2.0 and Downpour urge limbs and emotions to take part in their electro waltz, the first with a pulsating veining of jabbing rhythms. A real plus for the song and album is the use of live drums which brings an organic pulse and frame to the album setting it apart from most others instantly, and with the crystalline fire spawned electronic pulses and stabs from around the ever satisfying and shifting vocal delivery here an irresistible instigator. Its companion is a rhythmic raptor, beats prowling and stomping with ever switching rabidity whilst the electronic teases and kisses come with their own sense of menace and salaciousness. There is a punk essence too which is a mere hint, as on other songs, but there waiting and probing vocally and musically alongside a Pitchshifter like primal suasion. The thrilling duo are backed up by the more than decent Hellfire, a cantankerous fire which merges moments of slightly underwhelming electronic bait with addictively thrilling aggressive almost corrosive metal and guitar voracity. That punk element is back here, a Spizzenergi nag pleasing thoughts whilst, and not for the first time, the electro calls bring Fad Gadget into the mind, and in even greater potency upon Unbreakable. With a post punk/metal esurience and attitude to its presence, the song is another pinnacle upon what ultimately is one exciting and inventive release.

    Into Exile comes in digital and CD format, both with unique remixes. The former format finds the Back to Hell, Back to Reality Mix of the title track by D.E.P, which gives the track the flame arguably missing in the original, the Destructed mix of Downpour by Detuned Destruction, and Corroded Master’s Harlot Mix of Breathless, both inventive takes without matching the originals. The CD offers the G-Mix look at the title track which certainly takes it into a new adventure, the Knife Fight remix of Breathless, and another by Defeat, with both formats seeing the Ruinizer Remix of Awaken, the track becoming a nastier predation and antagonist to the album version.

     Into Exile is an exciting and richly rewarding provocateur, a release showing the ever evolving and increasing strength of Davis’ songwriting and its striking realisation through Tactical Module.

https://www.facebook.com/TacticalModule

8.5/10

RingMaster 05/10/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Rose Redd unveils new video‏

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Rose Redd is a beautiful contradiction. Eighteen years in age but unfathomably older in soul, her music has its roots in darker days, experiences, and stories and finds its bloom in both release and connection.

Equally at home with a stirring acoustic vibe or midnight pop, her poignant verses and explosive choruses let you know that she makes music because she has to.

Following the release of her debut single  “Perfectly Useless” comes its stunning video.

Check out the  visual treat here

http://www.youtube.com/watch?v=-GQGOPl41Ok

Born in the sleepy British seaside town of Eastbourne, at six months old Redd relocated with her family to the West Midlands.

She was raised on a varied musical diet of everything from Ella Fitzgerald to Iron Maiden to Kate Bush, greedily consuming it all.

At the tender age of twelve she first found a kindred spirit in Depeche Mode’s Martin Gore, whose lyrics spoke to her as a troubled young woman and gave her the inspiration to pick up a guitar for the first time and explore songwriting as a means of expression.

She’s come a long way since portraying a singing sunflower in a kindergarten play. Along with touring and gigging extensively she has been working on her first single with producer Gavin Monaghan, known for his work with Editors, Scott Matthews, and Robert Plant, among others.

Gavin said, “Redd is a rare talent, an artist who effortlessly transcends genres and makes you feel like you’ve known her forever.”

“Perfectly Useless” is a bewitching contrast of radio-friendly pop with lyrical themes of emotional rawness and yearning.

https://www.facebook.com/rosereddmusic

http://www.roseredd.co.uk

 

Mr.Kitty: Life

Mr.Kitty

Like a knowing soundtrack to every aspect of its title, Life the new album from US musician Mr.Kitty is a canvas for reflection, emotive dance, and drifts into diverse enveloping feelings inspired by its elegant and beautifully sculpted beauty. The most complete and rounded release from the Dallas based artist to date, the fifteen track album is a rich and smouldering wash of electronic pop and new wave adventure, an album to ignite the senses and invite the passions into a long and ardour fuelled companionship.

Mr.Kitty is Forrest Carney, who takes his inspirations from an eclectic array of artists such as Joy Division, The Cure, Depeche Mode, Crystal Castles, Pictureplane, and Grimes. His music employs numerous flavours and textures in addition to the basic tag we previously mentioned, elements of eighties post punk, gothic emotiveness, and electro ambience all playing their part in the depth and distinct characters of sound and individual songs. Released with Engraved Ritual, Life is the fourth album from Mr.Kitty, and part of a four album series consisting of two “light” and two “dark” albums, this drawing on the lighter shade of his imagination, though it is not without its rich and mesmeric shadows.

From opening song Insects, the album as well as seducing the ear and senses provides a visual backdrop to its songs in its coveratmospheric narratives and colour soaked expressive breath. Evocative and with lush emotional hues, Life provides the paint box and aural paper for the listener to explore their own dark corners and heart bred thoughts as well as those offered by and of the artists himself. Insects is an immediate medium to ignite those interactive qualities, its animated stroll and pulsating rhythmic veining an absorbing lure with the crystalline electro oscillation alongside another mesmeric suasion. The vocals of Mr.Kitty soon caress the ear with a sultry lure to their soothing texture, the artist a constant tempter across every song with his impressive and expressive delivery. The eighties inspiration is open within song and album though only another breeze to the refreshing wind wrapping the listener from the very first minute.

The impressive start is soon equalled by both Heaven and Unstable, the first cradling the senses with a choral kiss of angelic harmonies before heady rhythms and cantering melodic synth fascination emerges to explore the lofty heights already in place. The song bounds over thoughts and emotions with eagerness but a respectful energy that seduces the imagination and opens up its romance and that of its recipient. Like its predecessor it is virulently infectious, the roaming electronic atmosphere a spark to the simpler but no less effective and irresistible hooks and has thoughts in lustful expectations for its successors, something the darker but no less contagious Unstable feeds with poise and beauty. Across its provocative and slightly sinister embrace there is a Depeche Mode call to the veiled heart but again only a taste fused into something transparently contagious and unique.

Through the harsher touch of Sacrifice with its riveting and senses worrying intro and caustic intent, Holy Death where the vocals have a Dave Gahan lilt at times, and the excellent Labyrinth, the album continues to stretch the journey and venture into a wealth of emotions and thought taunting scenarios. The latter of the trio brings a Visage like melodic tonic to its glorious smouldering presence and though at times you want to sing “Fade To Grey” as the bulbous melodies suggest their source, the song is another striking highlight.

Those pinnacles just keep coming though as tracks such as the exceptional London, a song enjoying the added siren call of female vocals within its Pet Shop Boys like waltz, the stunning gothic cast Dearlove, and the intense Choke with its shadow fuelled drama, all explore imaginatively further impacting emotion lit pastures. With so many songs there are rare moments where some hold a similarity as they hold hands but it is rare and such the strength and potency of each and every one it is an ‘issue’ you are searching for just to offer up as a temper to the otherwise full acclaim it is hard not to place over Life.

As the closing Father provides the deepest emotive honesty of the album, the artist unafraid to venture where pain dwells, Life leaves a powerful and lingering imprint on mind and heart. It is an outstanding encounter that leaves no emotional stone unturned yet does so with a light and melodic energy which captures the passions. Mr.Kitty is destined to take electronic pop to new fields, Life the impossible to dismiss evidence.

https://www.facebook.com/mrkittydm

9/10

RingMaster 05/07/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

SideSteps – Bad To The Core music video/single release

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2.5 years after their first official EP release, Belgium-born, London-based band SideSteps come back with a new music video and single called ‘Bad To The Core’. The Ringmaster Review is proud to have an exclusive video premiere and free download of their new song.

The sound of SideSteps, as the singer Tommy Darker simply describes it, is like ‘Depeche Mode with more guitars’, heavily influenced by dark bands like Joy Division, She Wants Revenge and more dancy jazz acts, like Parov Stelar. Their music celebrates the dark side of oneself, the passions that motivate us and the insecurities that make us beautiful and unique. Their aesthetics: they love whatever is dark, sexy and elegant, red, black and white.

Their new single is a confession of a man who acknowledges that he’s hurt a lot of people, but never meant to. Can anyone relate to this situation? Absolutely, it happens every day. In the visual part, the plot of the video is an adaptation of the story of two vampire brothers, written by the American horror novelist LA Nantz. Vampire lover themselves, Stephen LA Nantz wrote this story especially for SideSteps, inspired by their ominous tunes.

Their new single is available to watch and download for free exclusively here http://bit.ly/sidestepsbad. Enjoy!

 sidesteps vid

SideSteps are performing their inaugural performance in London at Theatro Technis in Camden on Monday the 24th of June.

Die for 9 is an interactive, theatrical rock experience. The show combines dark rock music, dance, strong visuals, improvised performances by SideSteps as well as German band  Ego Get Your Gun, but YOU are the main star of the night.

If you’re free, be there and enjoy some darkness.

SideSteps vid 2

www.SideStepsOfficial.com

www.Facebook.com/SideSteps

Defeat – [Seek Help]

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Our first introduction to UK electro/industrial duo Defeat came with their impressive Outbursts! EP, a release which marked the band as having the promise to be a prominent part not only national but the European industrial scene. Since that the release anticipation for their debut album has been keen to say the least but even that hunger fell short in expectation when finally feeling the might of [Seek Help]. The eleven track album is immense, a sinister and sizzling beast which whilst thrilling and igniting thoughts and passion still provides evidence that there is plenty more still to be discovered within the band.

Taking inspiration in the sound and area of music stalked by the likes of Nitzer Ebb, 242, Depeche Mode, and NIN, the pair of Anthony Matthews (Vocals) and Gary Walker (Synthetics) firmly gripped the imagination with their sounds and debut release, the album though shows the band has since taken a major leap forward not only in sound and composition but confidence and stature. Two school friends who from meeting were writing songs together, Walker and Matthews have realised the brewing strength and flavoursome imagination first indicated on Outbursts!, with [Seek Help], the album title incidentally the name of their first venture together, confronting the ear with enterprise and compelling provocative mastery. Seek Help the project, existed from 1992 to 95 with the duo playing several gigs before it came to an end, with Defeat  emerging from its ashes with a new intent and flavour to the already existing and subsequently reworked songs. The EP, released as the album through Static Distortion Records, thrust Defeat to wide attention but the suspicion is that their album will see them on the fullest lips of attention.

The Hertfordshire based pair draw the listener into the album with In Vestri Genua Descendamus, a brief piece of dawning epicAlbum Sleeve Final toned ambience and grandeur heralding vocal harmonies offering religious whispers upon air of cavernous magnificence whilst a seductive falsehood deviously leads right into the hungry jaws of Fear. The track flexes its muscles with a slowly opening swagger, melodic caresses firmly igniting the senses whilst the shadowed more rapacious spine of the introduction intimidates and seduces with equal voracity. Settling into an even pace with the wonderfully raw vocals of Matthews stalking the ear and prowling the lyrical venom, the track ignites emotive connections and flames of passion especially with its sonic eruptions around the chorus and the returning breath of church bred provocation. It is a stunning  track which sets up the rest of the album perfectly though also puts the following songs under pressure such its early benchmark.

Not that Ripcord and Defeat struggle in that respect, both songs offering individual stances with full unity in their contagion. The first of the two initially sizes up the listener with predatory concentration, the pulsating dark shards of electro probing testing the waters before opening up its grip for the emotive ambience and shadowed breeze of the song to envelope ear and thought. With Matthews gently pressing forward the menace of the narrative within the evocative sounds of Walker, thoughts of Fad Gadget easily invade, the conjuring of dark beauty here as impacting and irresistible as in the hands of Frank Tovey. The track soon announces it is one which will not settle in one corner and explodes with a fiery caustic rub to further the danger and malevolence brewing within the shadows, whilst the Tubeway Army sonic teasing which breaks out also only enhances the adventure and pleasure. The following track raps on the ear with thumping sinews whilst a scintillating abrasion threatens to break free, its taunts and grazes within the coarse groove at play challenging the nerve whilst similarly grained vocals leave no atom untested. It is an uncompromising mix of beauty and beast like sonics, a ferocity lurking with rabid intensity just waiting its chance to feed but held in check by the potent melodic toxin pervading the track.

    [Seek Help] does nothing but further impress as the likes of the toxic, lyrically and musically, Revenge, the brooding Tear Me Apart, and the insidious Wish You Dead, unleash their imaginative magnetic poison emotionally and excellence sonically. Though the latter pair do not quite rise to the heights set in place before them there is only the fullest satisfaction and hunger bred from their offerings whilst the outstanding Pedestal soon has the album touching the highest bar again. An industrial scourge honed into an immersive restraint of melodic and electro temptation, the track plays with passions and limbs like a satanic puppeteer, its control and insatiable fascination impossible to resist or not devour greedily.

Both Coffin and Cry At Your Funeral lay an appetising and inflammatory impression deep within inciting and stimulating thoughts and emotions before leaving closing song, the smouldering Scar,  to waltz off with the last ounce of passion yet to be submitted towards the release. Released June 22nd, [Seek Help] is an album which sets the previous thought that Defeat ‘will become a major player in their genre’ in stone making it now a towering undeniable declaration.

www.defeatmusic.com

8.5/10

RingMaster 16/05/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Rose Redd – Perfectly Useless

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A surprise and a treat, the debut single from UK singer songwriter Rose Redd is a song which manages to smoulder and romp upon the senses at the same time, its emotive elegance and gentle caress as potent and loud as the energy and eager heat driving it. Expectations were not filled with a pre-determined opinion before approaching Perfectly Useless but it is fair to say they were not biting with intrigue either. The eighteen year old songstress soon changed that with a voice and song which drew submission from thoughts and emotions.

Born in Eastbourne but within six months finding a home in the West Midlands with her family, the eighteen year on was brought up with the eclectic sounds of the likes of Ella Fitzgerald, Iron Maiden, and Kate Bush filling her welcoming ears. It was the discovery of the lyrics and songwriting of Martin Gore of Depeche Mode though which ignited her inner musical flame, the kindred spirit she found inspiring her to investigate her own songwriting and to approach the guitar for the first time. As her first single shows she has not looked back, the Gavin Monaghan (Editors, Scott Matthews, Robert Plant) produced song an impressive following to the extensive time she has had touring and playing shows to consistently growing success.

Perfectly Useless is a pop rock song which is a hybrid of styles and genres, a track holding a sultry mix of Evanescence, Depeche 547459_562153730496617_875716635_nMode, and March Violets in their pop rock time. It is a vibrant and compelling song as bright as a sun but is also equipped with pleasing shadows, the well-lit pop stroll veined with darker elements of gothic and symphonic rock. The simmering crystalline opening sparkles against the excellent tones of Redd, her voice a blend of Amy Lee and Alison Moyet, and the beginning a mesmeric charm upon the ear. Soon electro beats make their punchy entrance to offer a little uncertainty but it all blends into a tantalising expanse of heated melodic wash, every note and vocal touch wrapping tenderly yet firmly around the ear and beyond. Whether stepping into a reserve of passionate enterprise or a contagious dance of pure pop temptation, the artists and song offers a lingering thrilling embrace which is impossible to refuse.

Perfectly Useless is impressive, an exciting entrance by Rose Redd, a lady we surely will be hearing a lot more of ahead, her horizons destined to be wrapped in welcoming success.

http://www.roseredd.co.uk/

8.5/10

RingMaster 22/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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