Candidate23 – Recurring Dreams EP

????????????????

Having strongly impressed with their previous EP Stay Awake, UK indie band Candidate23 has just unleashed their new offering to again show how exciting a band they are whilst bringing a vibrant evolution in their already thrilling creativity. As with their other releases the quintet from the North West of the country have sculpted a sound of undefined familiarity but one which employs it in an encounter which leaves the passions gasping and imagination fiery through open originality and carefully honed craft.

Formed in 2010, the Liverpool based Candidate23 have only made good impressions, their allure and temptation growing more potent with each release and live performance which has seen the band alongside the likes of Funeral for a Friend, Young Guns and The King Blues. There breakthrough to the widest national awareness is overdue and deserved but still biding its time, teasing us and them but with Recurring Dreams that lock just might and should have the right key finally. With references to the likes of The Wombats and Foals upon them, to which we would add Placebo, Mind Museum, and in some ways Doves, and sewn within their own distinct sound anticipation of a big year for the band from this EP alone is unavoidable.

The title track is a brief brewing ambient beckoning to introduce the release and draw one into the following mighty temptress of a song in Float Away. The track is a sparkling explosion of melodic colour and winding expressive atmospheres veined by rolling rhythms which cage the ear for the vocals of Will Hayes to gentle stroke forth the lyrical heart of the song. The singer instantly impresses, as he has on previous releases, his words and delivery seductively dancing across the vibrant mingling of tantalising enterprise from guitarists Alex McIntyre and Andy Perrin and those still energetic rhythms of drummer Jono Tringham side by side with the rumbling basslines of Ryan Dennett. The emotive lure of the song is never far away or lost in the energy and steps forward most potently for the closing breath of the track as it passes over to next up Until It’s Cold.

From a gentle wash of emotional keys and the soaring tones of Hayes the song rises to its feet with again the beats of Tringham framing the warmth with rich firm persuasion which invites limbs into the affair as much as the emotions. Though the song does not explode with the same intensity as its predecessor it packs a colourful punch in its superbly crafted melodies and equally compelling harmonies to leave extra hunger in the keen appetite already encouraged by the EP.

I’ve Been Here Before is a slow burning delight, a song which took time to make its full declaration before the senses but emerged as one of the most powerful and lingering gems on Recurring Dreams. A smouldering lullaby for the heart with a rising intensity to its breath and enveloping heat, the track offers familiarity in a brand new guise which covers the senses like an old friend which will never lack a welcome but equally intrigues with an undiscovered emotional depth. As with the whole EP, there is nothing not to love about the song as the band show they are as adept and imaginative in slowly crooning the passions as they are igniting them with an infectious anthemic fuse.

The final pair of songs confirms an already done deal between release and ardour, the outstanding I Want You a stirring almost riotous slice of aural contagion, the virulent call of the chorus the perfect climax to the magnetic verse and the call of vocals and sound which rage with invention and lush beauty. The closing First Steps matches what came before with elegant sonic caresses within its enthralling fascination of energy and rhythmic keenness. Though arguably not the most dynamically capturing song on the release it makes a final declaration of just how impressive and thoroughly pleasing Recurring Dreams is.

Available as a free download by a band generous in sound and invention, their new EP has all the weaponry and class to be the trigger for national domination before taking on the world. Candidate23 has provided the mighty tools for all to enjoy and spread the word.

http://candidate23.bandcamp.com/

http://www.candidate23.com

9/10

RingMaster 07/05/2013

 

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

Presley Johnson – Images Of Youth

205241_548246695197529_374761532_n

Offering tracks flushed in individual soaks of indie pop, pop rock, folk, and blues, UK band Presley Johnson release their second album in the tasty shape of Images Of Youth. The eleven track release is an eclectic and engaging ride through a musical summer with evolving moments of feisty energy, persuasive elegance, and acoustic beauty. It has a little something for everyone with a heart of melodic enterprise and descriptive imagination.

The release of their self-titled album in 2011 on independent label Stalkers Records set ears and tongues into an agitated buzz over Presley Johnson as has their live shows especially across the UK and in Germany. Their first album and certainly the new also Stalker released Images Of Youth, see the Northampton quartet of Wesley Manning, Jon Martin, Andrew Miller, and Alex George bringing a diverse encounter of rock n roll in its myriad of disguises, from being riotously energetic through to offering a simple melodic seduction the release is a consistent engagement which lights fires or has them simmering within, but always it makes something happen inside.

The opening song Had It All is an immediate ride of eager rock with melodic hooks and teases around the sinewy spine of crisp coverrhythms and the moody bass sound. It is an easy infectious stroll, the vocals an expressive lure with at times wonderfully rusty tones whilst the accompanying harmonies are as lush and appealing as the warm voice of the guitar. It is the rolling rhythmic thrusts within which excite the most though, their rumbling presence lifting a strong song into a recruitment of greater temptation.

The following Anita’s Last Dance secured adoration with its appearance as a single earlier in the year and within the album still steals all the attention. It is a mischievous folk pop dance upon the ear, its gently teasing guitars and excited yet tender caress within the warm ambient air delicious whilst the enthused vocal harmonies and melodic elegance brought with a slight English reserve is a summer day for the senses. A fresh and vibrant piece of rock n roll temptation, the song makes way for another distinctly unique character in Sinking Ships. Three songs in and all have been openly different with the third a blues guitar crafted flame with as on all the songs, an expressive lyrical and vocal narrative which captivates as richly as the sounds holding their words. Though not quite as impacting as its predecessors the track still forges a solid and welcoming attention for its invention and dramatic textures.

The acoustically sculpted Oh Love with its country lilt is a decent if uninspiring song for personal tastes whilst the Cajun sprung I Don’t Love My Neighbour is a mix of moments where it simply has toes tapping to crescendos to times especially in the chorus and its surrounding builds where it has the passions leaping in invigorated union. Both though continue the undeniable pull and quality of the album with ease whilst the splendid mix of thumping ear pressing rhythms and strong acidic guitar blazes alongside emotively driven vocals within the mighty My Muse is a stand put highlight to grace any melodic blues clad rock album.

Tuna and The Sweetcorn is a compelling and thrilling invitation with contagious melodies, equally enticing hooks, and a sixties almost Beatlesque swagger in full flow to enlist the listener emotionally and vocally. It has to be said that not all the tracks upon Images of Youth linger after their departure but this one has a massive hook which refuses to leave the memory and thoughts as does the excellent title track, a song which at one moment brings country seeded sounds to the fore and in others has a Kinks like elegance and rock feel to its mellow bewitching body.

Completed by the emotive touches of Home and Shoot You Down, the first a smouldering keys caressing arrest with a building magnetic ambience throughout and the closing track an acoustic folk song with a bite all genre fans will adore, Images Of Youth is an impressively crafted  and expressive romp of imaginative endeavour and honest beauty. Certainly Presley Johnson did not ignite the fullest of passions with the release but its presence will undoubtedly be a persistent companion across the summer months.

www.presleyjohnson.co.uk

7.5/10

RingMaster 29/04//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

 

Scout Killers – No Reason

© Annelie Rosencrantz 2013

© Annelie Rosencrantz 2013

Following up impressive single The Wave, alternative indie rock band Scout Killers have produced another slice of thickly emotive temptation with new single No Reason. Complete with video, the release is a smoking gun of a song, a track which basks in the success of its hazy persuasion and blues soaked captivation, its breath visibly enriching the air with pride from the contagion it has caused.

Consisting of the current line-up of vocalist Scott Cox, guitarists Beau Stevens and Julien Morrez, drummer Chris Phillips, and bassist Pierre Frankie Lee Muslimani, the South West based UK band first found a grip on the attention and acclaim of the media and fans with the EP We Cage the Storm, the release which bears the new track. A successful tour across the UK only enhanced their reputation with The Waves bringing even greater potency to their stock, and now with No Reason the sense that the band is about to trigger something major for themselves is hard to dismiss.

Opening with a rasp of guitar and brewing sonic beckoning the song expels a big breath before striding into a tempered yet eager stroll with the vocals of Cox seizing every syllable and intent of his lyrics with an earnest purpose and expressive lure, whilst around him the guitars of Stevens and Morrez flame with acidic and magnetic heat. The soulful blues licking of the ear ignites the senses for a keen welcome to the increasingly compelling vocals and equally enriched melodic temptation. The rhythms of Phillips and Muslimani guide the song with at times an understated air though both have a clear stance within the track, but also certainly the basslines bring shadows which add depth and caution to the fire burning around them.

No Reason is a thrilling track with a riveting video as a companion, more importantly it enforces the declaration that Scout Killers is a band to watch and has a very promising horizon ahead of them.

http://www.scoutkillers.com

8/10

RingMaster 24/04/2012

 

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

 

Mike Tyler – Money Grows on Your Knees

m t

    Money Grows On Your Knees the new single from poet and musician Mike Tyler is a deceptive little tease, a song which left indecision during certainly its first and even second excursion through the ear  but all the while was working away and laying a hook which emerged again and again well away from its source. It is an addictive little creature which though still coated in a less than stable opinion is like a tic which is almost impossible to remove from thoughts and imagination.

Taken from his well-received album Erection of last year, the first thing to note and praise about the release is its packaging. Coming in a 7” green vinyl/CD bundle with a sleeve design complete with jigsaw front and lyric sheet back, the single takes one right back to the late seventies/early eighties when sleeve design and imagination was as rife and vibrant as the sounds they enclosed. It is an instant clutch of strong points on the board for The Art Can Not Be Damaged released single. It is also very apt for the artist from New York. Mentored in a bar by the poet Delmore Schwartz, Patti Smith, and Tom Verlaine of Television, Tyler has sculpted interest, respect, and inspiration with his words within others. World famous graffiti-smith Banksy stencilled his words “only the ridiculous survive” outside Paddington Station in London whilst Beck also was inspired by his charismatic pull when honing his song writing craft. Tyler became known as The Most Dangerous Poet in America after breaking his arm during a reading, and his poem The Most Beautiful Word in the American Language has found its place on the blogs, MySpace pages, and Facebook walls of a great many, not to mention fridge doors. He is a puzzle in many ways, an intricate confusion which the packaging of the single perfectly hints to and to further give relevance of the artwork the artist talks about his single by saying “My new single is such a lopsided seductive beast. Deep deep bass with a pop frosting and a growling lead yawp. It can be kind of sweet in places and then a dungeon-door-slamming-echoed-thud takes over; a contradiction in tones. It’s the boiled pot of the gumbo stew of black and white that is America; greed and innocence, joy and exhausted hustle. Might explain why we decided the packaging of the single would include an actual puzzle.

Money Grows on Your Knees instantly punches the air with heavy pressing beats soon joined by great expressive keys and the straight face vocals of Tyler. He is not a natural vocalist, his spoken word delivery a dulled edge to the vibrancy of the music but it soon persuades the longer the track plays with the ear. The persistence of the rhythmic seduction and equally tempting bass is near irresistible whilst the keys craft a warm engagement which holds the hand as the songs opens up its summer framed by additional vocals from a sirenesque female voice and singing from Tyler both standing behind his core gait of delivery. As one would expect the lyrics make you think without needing to spend over time evaluating their coaxing narrative whilst the brassy bellows of the synths are like small fanfares in the sultriness of the song’s skies. An encounter easily described as Jonathan Richman meets Jona Lewie whilst John Otway and Mike Doughty add their support, it has proved its dangerous contagiousness as whilst writing the review up to this point and listening to its throughout,  Money Grows on Your Knees has provided  a conclusive argument and won its case…or maybe just worn down the defences, whichever it is a devious little treat.

Accompanying the song on the single is Corny Song, a new track from Tyler. Energetic and mischievous the song was inspired by a show in the UK where he was promoting the Erection album. It like the first is not an instant draw and has yet to convince but again it lingers and teases long past its expiry time.

For quirky, unpolished, and honest indie/pop devilment the single is well worth a fun filled amble with, but be warned it will not be leaving you alone from that point on.

http://www.cutepoet.com/

7/10

RingMaster 23/04/2013

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

Mice Parade – Candela

mp

    Mice Parade has never created music which feeds the unadventurous and lazy, and has always conjured up sounds to stretch and inspire the imagination as well as in many ways challenge the senses with its diverse and eclectic use of aural ideas and textures. New album Candela is no different, the seventh full length release from the band being in their own words their ‘pop’ album, and one which certainly takes time to make its full persuasion but rewards richly for the extended effort in exploring all its shady corners, inviting shadows, and thrilling light.

Essentially the solo project of New Yorker and multi-instrumentalist Adam Pierce for which he additionally recruits musicians of equal vision and inventive mind set, Mice Parade is again a release which explores a multitude of sounds globally and in style for an impacting experience which can seduce or equally trouble the senses, both extremes equally rewarding and magnetically pleasing. Released via Fatcat Records, Candela is named after a late-night bar in Madrid which is renowned as a flamenco guitar players’ Mecca. As with previous releases the album has a hunger to investigate and develop not to forget share, numerous rhythmic and melodic world searched aural discoveries re-invented into unique and compelling new shades and voices. The band has never been an immediate persuasion for personal tastes and Candela is no different but as is generally the norm once asked and given that extra attention and time it unveils another enjoyable flood of inspiring and intriguing enterprise from the band.

One essence of the band which has always found an inexhaustible acceptance here is the veining of discord which either whispers ortimthumb prowls amidst their music and none more so than in opener Listen Hear Glide Dear. The track is a caustic wash of sonic unrest and folk invitation coated in an unsettling distrustful ambience which intrudes and permeates every atom of the senses to disrupt their ease and open the doors to provocation. Dirge like in its gait and abrasive in its embrace, the track leaves the emotions ringing from its jangly rub allowing the following Currents to slip in to its place with ease and bewitching temptation. From its restrained start big bulging rhythms and a lovely throaty bassline saunters across the ear whilst the fiery touch of the guitar ensures that there is still a sinister element at play. The delicious vocals of Caroline Lufkin (Temporary Residence) lay a siren like hand upon the passions to temper and equally feed the now agitated formidable rhythmic dance which almost bruises the listener within the rising and coarse sonic embrace permeating the air. It is a tremendous opening to the album, the two tracks in their distinct individuality uniting for a startling and inciting introduction to the release.

Next up This River Has A Tide continues the potency with further intensity and beauty which rival and complement each other. It starts with a continuation of the rough handling of the ear with the rhythms as punchy as ever and the bass developing a carnivorous appetite to its great corrosive sound matched by the guitar. Either side of their first appearance though there is a flamenco whispering elegance which is just irresistible, the spiralling melodic keys and soft guitar beckoning the scalding snarl mentioned and regaining their control on the other side with further  magnetic weaves of melodic enterprise and that vocal mesmerism. The merger of the two is a towering wall of almost savage intensity and greed veined by elegant and transfixing melodic beauty. It is a masterful merger and thrill aided by the dual switching vocals of Pierce and Lufkin.

Across the lively funk appetite of Pretending within a more reserved cage, things take another pleasing turn of variety and adventure. As the twin vocal attack take their turns to express the narrative things brew up in energy and stance to explode in a rumbling rhythmic and feisty dance of pop excitement. As the album, the song twists and offshoots into further engaging looks and exploration whilst holding clinging to its spine driving destination. The track does not ignite the same strength of fires as previous songs but still enthrals and opens up a well of thoughts and emotions with its invention and unpredictable ingenuity.

Through the wonderful instrumentals of The Chill House, a piece which is as meditative as it is an itch upon the senses and Look See Dream Me with its immersive temptation the sun of the album discovers its easiest yet warmest hold whilst the folk swagger of Las Gentes Interesantes is like the rising sun, hot, enchanting, and easy to bask within without any resistance offering objection. Admittedly the ‘quieter’ latter half of the album does not quite inspire the height of ardour as the first but with songs like this there is never a moment not to acclaim.

With a final highlight in Contessa and a return of those big sinewy rhythms framing the ever stunning vocals of Lufkin as well as a sonic tango of riveting and interplaying melodic expression and invention, before the pulsating closer Warm Hand in Narnia, the album is a striking and deeply satisfying endeavour. It takes and needs time to reveal all of its glories and purpose but Candela makes sure the rewards far outweigh the effort.

https://www.facebook.com/miceparade

8/10

RingMaster 15/04/2013

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

the blueveils: Quiet Riot

theblueveils

    Following the success of their Out Of The Blue EP last year, UK rock band the blueveils are set to push things further with new single Quiet Riot. The three track single is more of the same which made their previous release an enterprising and openly enjoyable proposition and like the EP sits well within the well-established parameters and sounds of alternative and indie rock. The trio of songs again are not worrying any boundaries but once more show the band to be an easy to engage with and thoroughly enjoyable companion.

Hailing from Harrow, the quintet of vocalist Will Jackson, guitarists Craig Kirrane and Sean Durkan, bassist Adrian Rhoades, and drummer Martin Kirrane, has earned a strong reputation for their energetic live shows which has seen them thrill audiences across venues such as Water Rats, Barfly, and Dublin Castle across the UK. A wider awareness still awaits the band though their EP certainly did them no harm and the same can be said about the single, a release which without admittedly stretching their limits offers very more than decent rock n roll.

     Quiet Riot immediately puts the ear at ease, the song like a returning old friend which brings pleasure and satisfaction with their undemanding company. Energetic without being urgent the track offers addictive hooks, of which one has a whisper of Altered Images to its melodic invitation, and a relatively raucous graze of riffs which in combination with the firm rhythms and expressive vocals ensures the song holds the listener in a keen grip.

Second song on the release is Odyssey which for personal tastes stands out above the other pair of tracks. With a deep resonating bass lure throughout and a jangly essence to the riffs, the song has a punk pop breath to its infectious dance upon the ear. Every aspect of the song shows that the band whilst still missing that distinctive voice to their sound which sets them apart from the rest, know how to craft a song which can find a lingering place within the listener.

The closing Waiting Around like the opener is a familiar but fresh slice of rock. It has a small americana feel to its tone and a subdued energy but again leaves a more than happy satisfaction with its presence. The song like the single as a whole is arguably a lost opportunity as throughout there are glimpses of an individual stance from the band but the sparks are never truly realised, yet it is still a release which connects and satisfies with ease.

https://www.facebook.com/theblueveils

http://www.theblueveils.co.uk

6.5/10

RingMaster 25/03/2013

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

 

Three Way Plane: Fire EP

by Ntalakas Gkantemoglou

photo Ntalakas Gkantemoglou

Hailing from the cities of Athens and Thessaloniki in Greece, Three Way Plane is a band which leaves the listener slightly mystified and arguably a little confused such their diversely composed sound, but all afire with passion for the deliciously eclectic and rampant sounds the band creates. The Fire is the new EP form the band, a quartet of songs which excites and incites the heart into a full musical rebellion and wantonness.

Three Way Plane formed in the last weeks of 2003 and from their first show in the following February have shared stages with the likes of Savage Republic, Senser, and Gallon Drunk to name a few. In 2006 the band self-released their debut EP Bright Days to good responses with the song My Best Friend being featured on the second Spinalonga Records compilation, In The Junkyard Vol 2. The same label released the first album from the band in 2010, Give us something new to shout, intensifying the attention surrounding the band and their dramatic sounds. Consisting of vocalist/guitarist Stratos, bassist John, and Dio and Geo both on drums, the band have now unleashed a deviously addictive slab of an EP in Fire which is poised to thrust the band into a further elevation of awareness and acclaim.

Old School Chum opens with shards of brass flames from guest musicians Kostas (trombone) and Nikos (trumpet), theirs a coverprovocative blaze of entrapment which captures the imagination just as the thumping drum beats resonate through ear and bone. Within a breath of the time of the rhythms making their stance, fiery guitar riffs rampage and strong inviting vocals add their lures. From an initial funk/latin beckoning the track brews up into a storm of punk infused noise rock with numerous teases from varied sources to further whet the appetite. Richly infectious with the perfect depth of abrasion and melodic seduction as well as the continuing to tempt brass hooks the song makes the strongest persuasion with craft and devilment.

The following Freeze Me at first lays down a welcome of enticing guitar strokes which are instantly joined by exalting predatory bass growls which instinctively has one licking their lips in satisfaction. With a blend of Wire/Artery post punk to its mischievous swagger of attitude and noise bewitchment the track leads the listener by the ear into a maelstrom of energetic and vaguely rabid enterprise as well as an even deeper ardour.

The EP is in full flow now in sound with an intensive addictive grip on the senses and heart, if innovative and adventurous prepared to experiment noise raise the temperature Three Way Plane is aural manna which finds another tasty recipe to offer with Fall In Love. Featuring the voice of Stefania, who opens the song with her fine vocal caresses alongside a lone guitar, the track then shifts into a dusty atmosphere of bruising rhythms and stoner grooved riffs whilst the two vocalists duel words. From its gentle opening the storm of sound is the most aggressive and riled encounter on the EP though it, as is constantly he want of the imagination of the band, transfers its ideas into varied expanses of asides and inventive sounds throughout its thrilling course.

The closing Queen Misery completes the very impressive release with another forceful and inventive feast of flavoursome energetic imagination and passion igniting sounds. Like the other trio of songs, the track offers so many hooks and barbs which entrench deep and linger long after the song departs that it is almost impossible to remember whole songs but their intrusive and intoxicating elements take a deep and constantly pervading hold on thoughts and heart.

The Fire EP is one of those releases which does everything right at the right time and for the right reasons, the rewards all reaped by the listener. As a free download from: http://threewayplane.bandcamp.com/album/fire-ep this is a must have release.

https://www.facebook.com/pages/three-way-plane/145989883224?fref=ts

9/10

RingMaster 12/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

Showbizheroes: 21

553611_10151227539144327_869445227_n

    21 is the new single from UK indie rockers Showbizheroes, a band who has already earned strong acclaim and following through their previous trio of releases. Taken from their forthcoming debut album, Tales From Behind The Curtain, the new single is an engaging and inviting encounter to ensure their album is a release which will gain plenty of interest.

The fresh helping of alternative rock which the band has served up as led to the likes of early Muse, Queens of the Stoneage and Mansun being spoken as comparisons, something which 21 does suggest is fair in varying degrees but there is a distinct singularity about their sound which equally defies those references almost as much. This makes for music which intrigues and satisfies with a vibrant breath and creative imagination, a sound also very easy to return to.

The dulled jangle of melodies from the discord dripping keys opens up the song wonderfully with the soon following expressive vocals and resonating slow plod of the bass as well as tight drum snaps expanding the instant lure of the track. Soon settling into an energetic stride with a sense of urgency, the song spreads its contagion around the ear like a warm wind to draw the listener deeper into its persuasive breath. Arguably once into its full sail of sound and intent the song loses some of the temptation unearthed at its start and through selected restrained moments, but its incessant pull is never diminished enough to exhaust the want to stay within, and the pleasure gained from, its company.

21 leaves no other option than but to further check out Tales From Behind The Curtain and to keep a close hungry ear upon Showbizheroes as they continue to create magnetic appealing indie rock pop.

www.showbizheroes.com

7/10

RingMaster 02/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

 

Darktown Jubilee: The World, The Flesh & The Devil

©trevorpalin 2012

©trevorpalin 2012

    The World, The Flesh & The Devil is one of those releases which refuse to die down after completing its musical persuasion before the ear. Though the debut album from UK indie band Darktown Jubilee does not particularly offer anything strikingly new or adventurous, its songs have the intriguing habit of popping up again in thoughts and memory long after departing the speakers. Whether a melody, hook, or particular rhythmic encounter from the album they sneak up on you and strongly invite a return to what is a rather decent release.

The Manchester based band consisting of David Boardman (songwriting, vocals, guitar), Stuart Day (bass), John Cosgrove (drums), Al Roberts (lead guitar), and Gary O’Brien (keyboards) formed in 2010 and have been on a sure ascent ever since. Their sound finds inspiration in the likes of Bruce Springsteen, The Doors, The Killers, and The Temper Trap, a wide flavouring which certainly spices up the robust and anthemic album. Produced by Boardman and long- time collaborator John Kettle, The World, The Flesh & The Devil involves the listener from first note to last with rampant rhythms and colossal hooks a continuing temptation alongside the flames of strong melodies. Released on their own Parade Recordings, the album as mentioned does not stride into uncharted territories at any point but certainly creates waves which offer the longer term seduction. It is also a release which takes time to makes its full persuasion, maybe only a few tracks immediately having an instant irresistible temptation, but it smoulders with each return to its presence convincing a little more.

The two singles from the album open up the release starting with the energetic Breakdown. The song is a feisty storm of guitar avatars-000006888741-tsflnt-t200x200driven sound with a thumping heart and expressive breath vocally and musically. Guitars and bass stroke the ear initially whilst beats tumble across their gait, the rhythms increasing in force and frequency as Boardman begins the songs narrative with his impressive tones and delivery. There is an unmistakable Foo Fighters infectiousness and rampancy to the song coring the melodic teasing of keys and guitars and by its end the fiery encounter leaves one breathless and deeply satisfied.

The terrific start is matched by second single Stay, a less demanding but equally potent tempest of infectiousness. With a pulsating and mesmeric pulse from bass and synths, the track is a magnet to the senses and once in control sends layers of sultry keys, persuasive vocals, and stirring guitar strokes across the ear for the fullest creative suasion. Like the opener the anthemic depth of the song is towering but tempered by the emotive and shadowed lyrical presence. Both of the two songs find Darktown Jubilee at their best which could have left the album top heavy but the following tracks with varying success ensure the release is rounded and relatively consistent.

The likes of acoustic ballad The Great Escape and the big boned power ballad All I Want bring immediate diversity to the album after the adrenaline coursed start and though admittedly neither comes near to grasping the same impact as the first pair they are well crafted songs easily worthy of attention. Give Me a Sign, though a song which gains better appreciation with more companionship, slips below the already pleasing standard, though again here or at any point on the album you cannot criticise the songwriting or musicianship bringing the songs to life. It just does not ignite much more than appreciation due to its familiarity to plenty of other songs before and undoubtedly coming after it, something which cannot be said of Stop! Look Around. Starting on a sparkling cascade of sonic sprinkles the track bursts into a tall rampant gait with the occasional reserved restraint to create impressive crescendos of energy and sound. It is another catchy anthem puller which puts the album back on course.

The thrilling When You’re Wrong which starts as seemingly another emotive ballad before brewing and unleashing addiction fuelling rhythms and bighearted melodies without losing that initial intimate feeling and the intriguing Beautiful Night both continue the again enthralling lure of the album. The latter of the two is a weave of atmospheric grace and definite familiarity though without allowing a defined reason as to why emerge in thoughts, and a further refreshing variety to the album.

The remainder of the album settles into a strong if unremarkable stance though again songs like the Costelloesque Lost and  Something’s Gotta Give with depth and style ensure further strong pleasure.  The World, The Flesh & The Devil is an album which could be said does not ignite a fire in the belly or explode with dramatic moments but boy does it linger and return with ease whenever it wishes. If you are looking for accomplished and powerful big hearted tunes than Darktown Jubilee certainly fits the bill.

http://www.darktownjubilee.com

https://www.facebook.com/darktownjubilee

Given time…8/10

RingMaster 23/02/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

The Longsands: Little Britain

altthumb

    Little Britain is the third single from The Longsands’ excellent debut album Meet Me In Spanish City and once more it offers the mightiest persuasion as to why the band is so highly rated and passionately followed by their fans. The Northumberland quintet has earned an impressive reputation for their passionate and fiery live performances and a wealth of acclaim for their singles and album. The new release will be no exception, the song a potent and attentive inciting companion for thoughts and emotions.

Emerging from as guitarist Ian Barnes said in our interview with him, “…mucking about with a few tunes in 2006 and it was more of a hobby…”, the band went from winning a national unsigned competition to selling out local venues the following year and touring Greece with a commission from Sony music and Jack Daniels.  With the line-up of Barnes, vocalist Trevor Cox, lead guitarist David Stanyer, bassist Gary Ormston, and drummer Paul Stephenson in place from this point, The Longsands has continued to ignite audiences across the UK, gaining notable fans in the shape of Steve White of The Style Council and Bruce Foxton of The Jam, who the band supported on a tour, and gained support and exposure through the likes of Bob Harris, Dave Stewart, and Simon Fowler of Ocean Colour Scene, who The Longsands have just completed a February tour with.

     Little Britain is a smouldering fire which grows and impresses the more you allow its anthemic and rich defiant fire to burn upon the ear. Emerging from a guitar stroke of the ear which is laced with elements of The Jam even in its brief unaccompanied moment, the song is soon a brewing passion of licking guitar flames and the continually impressive expressive vocals of Cox, Soon a velvety growl of bass from Ormston brings its shadows to bear accompanied by the firm rhythmic frame engineered by the forceful beats of Stephenson. Fully into its stride the track evolves into a heart driven melodic tempest of confrontation and impassioned intensity of emotive elegance and political honesty.

The song is a call to arms for thoughts and emotions in league with an irresistible temptation for the passions to feed lustily on its glorious melodic feast and enrapturing crescendos of power and craft. Whilst reviewing their album we as suggested earlier found the song a slow burner but it soon stood and still stands as a track which ignites the richest emotions inside with each welcome meeting.

Completed by the engaging An Affair In Manchester and an instrumental version of the single, Little Britain inspires a real passion for itself and the band which their album accelerates further. With an accompanying video for the single which features Howard Marks, the release should finally see The Longsands find the deserved break into the widest recognition, they certainly burn brightly on our and a great many others radar already.

www.thelongsands.co.uk

8/10

RingMaster 23/02/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com