The Inkhearts – Temper Temper/Uptight

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

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

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

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

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

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

https://www.facebook.com/TheInkhearts

RingMaster 11/12/2014

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Boyracer/Hulaboy/The Safe Distance

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

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

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

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

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

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

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

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

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

RingMaster 27/11/2014

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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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Matinée – These Days

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A release radiating melodic smiles and mischievous energy from start to finish, These Days from UK indie rockers Matinée is one of those encounters which lingers and niggles away at the psyche in and away from its magnetic presence. The album tantalises and flirts with constant imagination and revelry so that whilst it does not exactly light a fire in the passions it is a persistent and refreshing incitement for ears and emotions. There has been an eagerly growing buzz around the East London quartet and the release of their debut full-length reveals exactly why.

Taking their name from the Franz Ferdinand song of the same name, Matinée has earned acclaim and support through their lively stage presence and vivacious sounds. The band has supported the Scottish band on shows in Italy, that leading Matinée to be invited to play numerous major venues in the country whilst receiving strong radio support. With the sharing of stages with the likes of Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many also under their belts, the band is on a feisty rise, an ascent already reinforced by their singles starting with the acclaimed City Lifestyle. The Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days is the next potent slice of persuasion from the band, a festival of pop rock sure to awaken a broader and keener spotlight upon the foursome of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals , bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums).

Opener Bigger Picture instantly grips ears and imagination as an electro pulsing is swiftly joined by heavy resonating rhythms. It is a compelling entrance which only increases in potency as vocals bring their effect wrapped presence into an almost post punk temptation. Choppy riffs link up next as the song shifts into a synth pop/ electro rock stroll complete with imposing shadows and melodic provocation. There is also an eighties feel to the song which only adds to the evocative colour and air of the bewitching and inventively intriguing encounter.

The captivating start is followed by the mellower White Lies, keys bringing a gentle caress initially which is cored by a dark roaming bassline. Energy is raised as a catchy and harmonic chorus grasps ears, the vocals of Tiberio and cover170x170Ioannone an engaging blend which filters through into the surrounding crystalline sounds. The feistiness of the chorus leaves a spark from which the rest of the song also finds greater urgency in its presence, blooming into a controlled yet rampant charge of contagion before the album’s title track and recent single unveils its similarly infectious parade of enterprise. The track is a transfixing shuffle of elegant melodies and emotively expressive vocals within another pungent rhythmic frame, an easy addiction and thoroughly enthralling slice of creative revelry.

Both Said I and City Lifestyle keep attention and appetite bound, the first a smouldering coaxing with wiry grooves and hooks around the persistently heavy footed and thrilling bass lure from Ioannone giving greater depth to songs. There is a touch of Futureheads to the song, especially in its more agitated moments as a whispering eccentricity provides richer intrigue and sonic radiance. The song pulsates as does its successor with its flirty swagger and fleet footed shuffle. It is a treat of a persuasion, an insatiable dance of Arctic Monkey like musical and vocal hooks aligned to Editors bred melodic mischief, and one of the major pinnacles of the album.

     All The Good Fella’s is no slouch at exciting ears and feet either, its slower pace still a bubbling stroll as acidic melodies and spicy vocal harmonies play and tease over a punchy rhythmic stepping. The bass again brings the perfect contrast and compliment to the creative flames provided by Cantili and the warm keys of Tiberio. It is a template for all the songs yet not one sounds like another as proven again by Nobody Like Me and its sinew guided vibrant prowl through a raw and fiery sonic weave. The heaviest track on the album but still a virulent infection to ignite feet and emotions, the song provides another side to the character of the album and Matinée’s songwriting, even if maybe it lacks the spark of some if its predecessors.

New single Missing Pieces of a Jigsaw is next and straight away spreads a masterful cloak of contagion and melodic luster across the senses, sweeping the imagination and emotions up in its lively sunshine before passing them onto If You’re Gone. Featuring Mike Cook and Chris Geddes, past and present of Belle and Sebastian, the track is a thick and enthralling ball of impassioned melodies and expression enriched by the brass flames of Cook and rampant keys of Geddes.

The album comes to a close with 40 Years Old, a sultry and slow burning song which fails to excite as most of its companions on the album but still ensures the album leaves on a potent tempting.

From a strong first impression These Days just gets bigger and stronger with time, as mentioned never setting a fire but inducing a romance in thoughts and emotions through its presence and sound which most bands can only dream of. Matinée is heading towards very healthy and exciting horizons if the potential and majesty of their first album is anything to go by.

These Days is available via Neon Tetra Music now @ https://itunes.apple.com/gb/album/these-days/id927953442

http://www.matineeband.com

RingMaster 04/11/2104

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The Cabana Kids – The Birds & The Bees

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Picture yourself lying on a sun kissed golden beach, a warm caressing breeze and similar thoughts coaxing the body whilst a tall glass of your favourite cold liquid manna satisfies the heat inside. The only thing left once the shades are applied is to find something to seduce the ears. That is where The Cabana Kids and their tantalising EP, The Birds & The Bees, is a forceful suggestion. The five song release is an indie pop /surf rock moulded captivation, a gentle yet imposing persuasion which swiftly suggests that this is a band with the potential to excite and thrill on a global scale.

The Cabana Kids is a New York based sextet which has been stirring up a buzz locally and further afield with their aural charm offensive enthrallingly masquerading as songs. This has led to an eager anticipation for the band’s first EP, no doubt egged on by the band’s recent acclaimed debut single Just Let Me Know. The song gave all the hints and temptation needed to spark an excited wait for The Birds & The Bees, something the Small Plates Records released EP rewards with its riveting and bewitching presence. Unveiling songs seeded in all matters of the heart, the release is a lingering evocative flight of melodies and harmonies aligned to pungent rhythms, not an instant raging fire for the passions but a smouldering proposition which hangs around tempting away far longer than most intensive blazes.

Before we start note that we are going by the song order on the promo sent through to us but it has been hinted that might have changed since. Anyway here the EP opens with Mexico, a song which initially wrong foots with its vintage croon 29yh84pof keys. Like the organ music which used to open up theatre and cinema shows back in the old days, so my Dad told me, the song’s entrance has a nostalgic breath which is swiftly intriguing whilst stopping thoughts in their tracks. It is a clever introduction which is only enhanced as the voice of Hannah Morris adds her emotive, again old school effected tones to the increasingly potent tempting. Acoustic guitars and gentle beats link up soon after, as well as a sultry melodic electrified twang and the strong voice of Joseph Lee for a country-esque, sixties surf balladry brought on a swaying gait. There is no escaping the delicious retro feel of the song, with the dual vocals, as proven time and again in the subsequent tracks, a striking and pleasing texture but only one in many provocative layers within each individual recipe.

The more energetic and equally magnetic You and Me steps in next, its stroll still relaxed and reserved but with a small swagger to the rhythms and dual vocals so it bounces along with a virulent catchiness. Keys and guitars radiate sparking designs of inventive and colourful enterprise whilst the slightly darker tones of the song bubble nicely through the pulsating bass and accompanying beats. It is the vocals though which steal the show, the vivacity and smile from both sides a hug to bask in whilst dipping imaginations feet into the melodic waters around them.

The bands single Just Let Me Know lifts its rhythmic and energetic feet a little higher again, its inviting canter wrapped in expressive hues of guitar whilst Lee adds a fifties tone and resonance to the emerging treat. Taking a breath the song breaks into a hot wind of surf and indie rock contagion, thoughts of Morningwood and Two Wounded Birds creeping forward as the song further blossoms into an enthralling flame of rock pop. It is very easy to see why the song alone sparked the attention and interest in the band and The Birds & The Bees, the glorious incitement just rock ‘n’ roll in its purest melodic form.

New single Oh Lorelei is set to be received in the same feverish manner as its predecessor you can only suspect, just as the EP ultimately one assumes. The song is a gripping weave of fifties and modern ingenuity. At some points it enchants with a Bobby Rydell like tempting, in others with a Surf City spiced revelry and all aligned to a whiff of The Strokes through the song. It mounts up though to something unique and fascinating and another gripping highlight.

The EP ends with the dreamier presence of Sortida, a tender glaze of sound which takes on a new persona and addictiveness through an infectious thumping and the siren-esque harmonies of Morris which embrace the senses with beguiling radiance. The darkest song on the release but also a beacon of sonic and vocal beauty, it is a scintillating close to a mesmeric encounter.

Though still early steps, The Birds & The Bees easily suggests that The Cabana Kids has the potential and invention to make a big statement in surf and melodic rock over coming horizons, a thought hard to contain the excitement over thanks to their excellent EP.

The Birds & The Bees EP is available now via Small Plates Records @ http://smallplates.bigcartel.com/product/the-cabana-kids-the-birds-the-bees

https://www.facebook.com/thecabanakids

RingMaster 08/10/2014

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Hollie April – Together Alone

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A smouldering and climactically sultry embrace for ears and imagination, Together Alone is further proof of the magnetic and striking talent that is Hollie April. The new single is a delicious evocative caress of drama and emotive seduction which whilst reinforcing the already impressive presence of April unveils a new vein of potential to her songwriting and sound, which in turn will surely leads to an inevitable increased spotlight on the lady.

The 22 year-old British singer-songwriter was born and raised in Gibraltar and from the age of 12 was performing professionally. Studying at and graduating from Leeds College of Music with a BA(Hons) in Music Production, 2013 saw April performing at an array of festivals and sharing stages with the likes of Emeli Sandé, Level 42, Texas, Lawson, and Olly Murs. Her debut EP Marionette stirred up excited attention and acclaim with its release at the tail of 2013, the song The Sun and the Sea from it especially garnering potent praise and focus. Now Together Alone is poised to open up a new charge of hungry appetites and acclaim through its mesmeric beauty and compelling imagination.Hollie April 'Together Alone' Single Artwork

A caress of guitar assisted by a minimalistic bass stroke opens up a deeply evocative breath to the song. It is a captivating entrance swiftly joined by the fascinating voice of April. As expressive as they are harmoniously intriguing, her vocals spellbind ears and thoughts immediately, flirting with the imagination and the gently coaxing sounds beneath her. It is only the start of the song though, the first passage in a masterful and inventive flow of ideas and sound. A heavy strum of guitar triggers a potent stride of rhythms and elevation in the richness of both April’s voice and passion next with thoughts of Katie Bucket and UK band Jingo immediately springing to mind, the pair sharing an organic and senses inflaming ability to melodically roar.

The song continues to ebb and flow in its energy whilst increasing the startling, dramatic air and texture of its presence and narrative. It is a glorious adventure emotionally and sonically, with April’s voice an evolving climate of charm and melodic beauty. The song is bewitching as it reveals another character to the presence and craft of April, a broad yet intimate sunset for thoughts and feelings.

Hollie on the evidence of her EP and new singles is destined to make major melodic statements within British rock and pop music ahead; she has already started to be fair with Together Alone.

Together Alone is available digitally from September 22nd

www.hollieapril.com

RingMaster 21/09/2014

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Body Futures – Brand New Silhouettes

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Mischievous, unpredictable, and relentlessly adventurous, Brand New Silhouettes is a debut which swiftly sets its creators apart from the crowd. The first album from US indie rock pop band Body Futures, the scintillating encounter is a delightfully warped and devilishly captivating collection of songs which seduce the imagination with the creative innocence of the playground and the adventurous revelry of illicit moments behind the school bike shed. To that there is a captivating mix of feverish ideation and exploratory maturity which turns every track into a unique emprise of ingenuity. The album is simply glorious which is destined to head best album lists and make the Wisconsin band one of your new best friends and lustful obsessions.

Formed in 2012, Body Futures took their time before stepping into a spotlight, taking their first year writing and rehearsing before making a live debut in 2013. Consisting of vocalist Dixie Jacobs (ex- White, Wrench, Conservatory), guitarist/vocalist Christopher Maury (ex-Five Mod Four), bassist/vocalist Michael Wojtasiak (ex-Everybody at Midnight), and vocalist/drummer D.J. Hostettler (ex- IfIHadAHiFi), Body Futures linked up with Latest Flame Records before entering Howl Street Studios to record their album with Shane Hochstetler earlier this year. What has emerged is one of the most riveting and exciting introductions to a band in a long time, certainly in the realms of indie and pop rock.

The Milwaukee quartet instantly engage ears and thoughts with opener Hooks & Eyes, the harmonically aflame vocals of Jacobs a vibrant caress to which the more unbalanced expressive tones of Hostettler bring a delicious almost crazed accompaniment. Rhythms jab within the appealing blend whist riffs carry a jagged attitude and the bass a darker throat to the enticement. It is not the most startling song to leap at the senses but a vivacious start to the album with its Weezer like festivity and slightly frenzied vocal glow which reminds of eighties band Girls At their Best.

Things move up another step with the following When You Had A Jaw and even further with A Complete Divorce straight after. The first of the pair with its great mix of male and female led vocals again carries that eighties essence, LFR-44-cover-300x300the same band as reminded of in its predecessor coming to thoughts as well as fellow US band Late Cambrian. The bouncy chorus and anthemic call of the song makes for a ridiculously catchy tempting but the band mingles it with a muddled flame of sonic agitation and atmospheric intrigue which turns the track into a whole other type of creative bedlam before closing out on the irresistible romp which set it off. It is a clever piece of songwriting and sonic incitement but soon left in the shadow of its successor. The third song starts with Jacobs alone, voice revealing more of its depths before being paced by the absorbing tones of Wojtasiak’s bass and subsequently an evocative glaze of guitar. The track is a ‘regular’ proposition initially but soon blessed by shards of discord kissed guitar resonance and a delicious flow of vocal harmonies. Thoughts of The Passions and Jingo come to the fore here, the latter the one band which most comes close to the inventive majesty of Body Futures.

From the first big peak of the album, the band dances with ears and passions through the feisty beauty of That’s So Church, its enthralling swing of hooks and beats as gripping as the mouth-watering vocals. By now you expect a little of the unexpected and the track certainly offers that with a closing discord lilted twist of inventive drama before making way for the more reserved melodic caress of Is The Skeleton A Weapon? The song smoulders and moves engagingly with a sixties teasing pop charm but along rails of sonic causticity which adds that perpetual tinge of surprise which roams the release. Not the strongest of the songs on the album but one to lick lips over all the same, it is followed by (That’s A) Big Smile (for Someone About to Drown) and its starting blaze of Sex Pistols seeded guitar and riffery. The track proceeds to jangle and rile up the passions with clashing but beautifully merged punk spiced vocals, predatory rabidity, and the melodic resourcefulness of Jacobs’ synth and autoharp prowess and of course her mesmeric vocals. Imagine Devo meets Morningwood and you get the gist of the beauty of the song which triggers another ascent in the album’s exploration and might.

The opening ‘Psycho Killer’ like lure of bass which opens up Save the Clock Tower is potent bait alone but with the military seeded rhythms and stabbing riffing soon courting the magnetic web being cast, the track is soon in irresistible control. Jacobs walks alone through it all, her voice and keys seducing from within the compelling trap like a solitary figure in the midst of an addictive alchemy, but she is really the puppeteer urging and pulling the listener into the concussive and at time disorientating maelstrom of sound and invention. It is a stunning track which is swiftly equalled by the similarly beautifully deranged fascination of Phantom Patterns Arson. Running with a pop punk energy and virulence, the track is as jagged and irritable as it is melodically rampant, vocals and keys a relentless temptation within the more antagonistically captivating web of rhythms and guitar endeavour.

Sha Na Na: Clone Project Alpha is a song about Elmer Edward Solly, an escaped convict who masqueraded as a dead member of Sha Na Na, and just as frantically warped as the other pinnacles of the album. Lurching around with the will and intensity of a Dervish yet still making time to smooch with ears through melodic fondling, the song is impossibly infectious and unique, a track to rival Save the Clock Tower though both have to bow to What Bugs Eat. The penultimate song of the album, it is an immediately challenging fusion of two extremes which simply thrills. On one side there is the vocal pop toxicity of Jacobs alongside acidic yet warming melodies and on the other, a caustic discord spawned rapacity of sound which breeds hooks and riffs which scamper over the senses with the irritancy of a thousand insects. It is a simply bewildering and brilliant union as the sides merge in a bedlam of enterprise and ingenuity

The album finishes on the thick and rich psychedelic sunset of The Spanish of Scraping, a track with a sultry air but unafraid to interrupt with moments of poetic lunacy. It is an outstanding end to a quite brilliant album, Brand New Silhouettes destined to be a marker for indie rock and pop to come you sense as it twists its mischief through ears.

Though not in sound, there is one band which Body Futures reminds of in unique invention and the distinctness of the sounds they can conjure, and that is Talking Heads and we all know what happened to them.

Brand New Silhouettes is available now on vinyl and digitally via Latest Flame Records @ http://www.latestflame.com/content/lfr-44/ and @ http://bodyfutures.bandcamp.com/album/brand-new-silhouettes

https://www.facebook.com/BodyFutures

9/10

RingMaster 13/08/2014

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