Damn Vandals – Rocket Out Of London

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It is fair to say that psyche rockers Damn Vandals swiftly set themselves a place in British rock as one of the most exhilarating and promising propositions with their 2012 debut album, Done For Desire. It was an encounter drenched in originality and a feverishly diverse flavouring setting the band apart from most. To confirm and stretch all of its potency within a new mentally twisting maelstrom of psychotic goodness, the London band now unleash the senses infestation that is Rocket Out Of London. It is a glorious swagger of caustic abrasion and acidic ingenuity honed from a brawling incitement of garage punk, psyche and stoner rock, as well as a vein of raw punk, simply put demented rock ‘n’ roll at its most addictive.

As for a great many, our admittedly eager affair with Damn Vandals began with the release of their Beautiful Mind EP, a widely acclaimed encounter awakening attention and appetite for the potential and instantly impressive presence of the band. The release and subsequent songs though was only the taster for bigger and major things to come, Done For Desire thrusting the quartet to new levels and into a richer spotlight with its release. Uncompromising but with a contagion to its presence which works under the skin like a welcome niggling itch, the band’s sound has found a new depth and power to its virulence with the new release whilst still retaining the raw dark textures and unhinged threat which stirred up the passions so quickly upon their emergence. As evidenced by Rocket Out Of London, it has become a twisting intrusive beast which wraps with almost insidious intent around the ears, permeating every pore and synapse with an exhaustive toxicity which simply ignites the imagination and passions. Produced by Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) as was its predecessor, the album takes the listener on a dirty and intimidatingly shadowed ride through explorations of themes such as celebrity stalking, hard liquor, death by dreams, madness and homeland security amongst many but ultimately just through the creative mad ingenuity of the band.

The album opens with the first single uncaged from its wonderful aural rapaciousness, Twist Up And Tangle. Released mid-March, the dv coversong laid down the strongest bait for the full-length and still holds its intensive grip with an epidemic bait of granite sculpted rhythmic punches and scything sonic swipes of guitar. From its first second the song is an inescapable cage for the senses and emotions, a scarring provocation soon given richer fuel by the ever distinct and voraciously delivered vocals of Jack Kansas. The track is swiftly into a predatory stride, prowling around the ears with a sonically slavering intensity from the guitar of Frank Pick and the dark throated voice of bass held in rein by Adam Kilemore Gardens but still adding commanding menace to the whole of the psychotic fare. It is a masterful and insatiable stalking driven by the magnetic beats of Chris Christianson, but one which with its spewing discord and melodic flames as well as corrosive hooks and breath, provides a raucous dance to shield the fact we are being preyed upon.

Like a mix of Fatima Mansions meets The Birthday Party, the opener alone wakes a hunger to which the following Cities Of A Plastic World adds its own imaginative virulence. The track opens with a rhythmic drama speared by a ridiculously contagious hook, its abrasing hot touch a niggling pleasure just hard to get enough of. Around its tempting Kansas again parades the song’s narrative with unbridled expression whilst the guitar of Pick continuously lights up new corners and adventures to court his primary enticement with skill and enterprise, the album easily his finest inventive and moment yet, as it is of the band itself. The track sculpts another immediate pinnacle in the impending lofty range of the album and is soon equalled by Too Lazy To Die Too Stoned To Live, a sultry stroll with a citrus edge to its grooves and melodic teasing. There is a definite lick of Queens Of The Stone Age initially and Eagles of Death Metal later to its constant erosive taste and hypnotic stance.

I Bring You Love which made up part of the earlier mentioned single keeps the album coursing potently through the body, its psychobilly/Cajun swamp-esque stomp with sliding toxic mesmerism and blues bred frisking irresistible. The track just gets better and more virulent with every crossing of its red-neck terrain with dirty violating rock ‘n’ roll scenery. With more than a feel of Screaming Blue Messiahs to it and always an essence of the previously mentioned Cathal Coughlan led band to the presence of Damn Vandals, the track is a delicious lingering antagonist to unreservedly submit to.

Both Number One Fan and Whisky Going Free provide a new mischief to fully devote attention and passions to, the first merging classic and incendiary garage rock for a rampaging stomp built upon the intensive frame work of Christianson, a cage again laced with riveting guitar revelry and craft. Its successor sidles boisterously up to the ears with tight sinews and deviously coaxing addictive grooves, the track a less expansive dark tango than say the last but with a no less leaner determination in its air and voice to seduce and inflame the passions, which it does with ease.

The following I Hate School hits the spot perfectly but lacks the spark of other tracks, a familiarity and somewhat predictable essence to its body slipping up against the surrounding triumphs. To put it into context though, with absorbing blues/psychedelically teased guitar invention from Pick and a certain unavoidable catchiness to its lure, the song still has feet and emotions fully engaged before next up Mad As Hell takes them on a similarly successful and potent ride, if again without quite matching earlier heady heights. The track rumbles and strolls with attitude and a thought immersing design all the same to keep the fire for the album burning eagerly.

The closing pair of tracks takes the release back to its highest plateaus, the first This Music Blows My Tiny Mind, another incitement with the stance of a predator and the drive of a volcanic eruption expelling sizzling melodic flames, searing hooks, and climactic rhythms building to a quite scintillating final drama. Its successor, the title track brings the album to a glorious closure, its addiction forging rhythmic slavery and scorching guitar endeavour an inescapable virulence guided as masterly as ever by the gripping tones of Kansas. Like a mix of QOTSA, Julian Cope, and Rocket From The Crypt, the track is a brilliant finale to a quite outstanding taking of the soul.

Rocket Over London with ease reveals that Damn Vandals is no longer the potential future of certainly raw British rock ‘n’ roll and garage punk but the template.

http://www.damnvandals.co.uk

http://damnvandals.bandcamp.com/album/rocket-out-of-london

9.5/10

RingMaster 07/04/2014

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Dumb – Two Bottles Video

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    UK melodic noise makers Dumb is earning a fine and eager reputation for their vivacious and energetically contagious sound, something the new video and song Two Bottles sparks another keen ardour for with its expressive and emotive freshness. The second track on their recently released AA single Supersonic Love Toy/Two Bottles through One Beat Records, it makes another potent and earthy persuasion to the thrilling emergence of this Birmingham band.

    Filmed by James Woods at Viceroy Shoots, the Two Bottles video like the song itself is a relaxed party of freedom and losing inhibitions. It provides an almost fly on the wall like narrative to scenes around the central core of the band as they play the song in an informal manner. Visually too there is a clarity and at times starkness in colour, tone, and scenery which lays suggestions of making adventures from little stimuli and uninspiring climates. The video provides fine seeds and potent imagery for the imagination to interpret and dance with whilst the song provides a weave of melodic jangles and provocative rhythms from its opening seconds which equally flirts with thoughts and emotions, not forgetting inspiring feet to add their keen shuffle to the experience.

   Dumb has already fired up appetites for their sound though the release of debut single Dive and the following Retina as well as their acclaimed live performances which has seen them sharing stages with the likes of The Charlatans, The Vaccines, New Order, Darlia, Skaters, LSA, Superfood, Baby Strange, Charlie Boyer and the Voyeurs and many more. Recorded with producer Cam Blackwood (Darlia, London Grammar, George Ezra), Super Sonic Love Toy/Two Bottles takes the band’s presence and stature up another level with the new video an additional impressively magnetic enticement into the world of Dumb.

   Musically the band combines inspiration from Pixies and Built To Spill into their own indie/noise alchemy, one with an elevated distinctive twang to its breath and expansive depths to its passionate sonic sculpture. The other song on the single release also has a video already released to match its thrilling sound; Super Sonic Love Toy making an engagingly and evocatively expressive temptation on ears and imagination matched by the monochrome air and beauty of the video merging the band at play, work, and scenic stalking. Whereas plenty of videos just place a band in a set to play out the latest track, both videos and Two Bottles especially, leads the listener into an honest world of lyrical and emotional intent.

    Dumb is a band on a feisty march with Two Bottles its latest irresistible invitation. It is easy to imagine that very few will be unaware of the band over future horizons but as the new video suggests, why wait for it to happen when the gateway to fun and adventure is there already. So we suggest heading over to the band’s website at http://www.werdumb.com to immerse into both songs and videos and catch Dumb on the start of their certain ascent.

Two Bottles song and video 9/10

RingMaster 17/03/2014

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Ed Zealous – Wired

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    Unveiled on the back of three singles which certainly raised an eager appetite for its appearance, Wired the debut album from electronic pop band Ed Zealous easily confirms and reinforces all the promise and radiant enterprise brought from those early releases. The February 3rd released ten track album is a feisty adventure of energetic electro/ dance enterprise and guitar crafted indie pop, a record soaked in a busy sound seemingly seeded in eighties electronic endeavour yet constantly taunting and careering thrillingly through the ear with a modern rock rapaciousness. Arguably the sound of the Belfast quartet is not breaking in new ground to explore but there are few others striding confidently down the same interpretative path of already discovered invention as this richly promising and powerfully enjoyable band.

     Consisting of vocalist Steve McAvoy, guitarist Andrew Wilson, bassist Pete Lloyd, and drummer Paul Irwin, Ed Zealous as mentioned has stirred up very potent attention and anticipation for their album through the trio of singles released in 2013. One by one Medicines, Thanks A Million, and Telepaths have washed creative juices around the passions to breed a hunger for Wired, an appetite the album feeds with ease and more. Forging emotively fuelled synths with fiery guitar temptation within a rhythmic punch which never relinquishes its addictive bait whilst drawing on influences which come from the likes of David Bowie, Talking Heads, Pulp, and TV On The Radio the band look set to make 2014, like the last, another year to mark a rapid ascent in their striking emergence. Predominantly recorded with engineer Rocky O’Reilly with additional production by Eliot James (Bloc Party, Noah and The Whale and Does It Offend You, Yeah?), Wired is an exhaustive magnetic party of creative rampancy and contagious adventure; not necessarily ripe with pure originality but undeniably bulging with excitement and riveting imagination.

     As soon as the opening suspenseful drama of 147 hits the ear you sense there is something special brewing. Synths lure in the 400573_10152084633124304_1585922415_nimagination right away before the song settles into a mellow yet intensive persuasion with thumping rhythms and moody dark tones puncturing the electronic wash. It is an instantly engaging and provocative encounter but one which goes more directly for the passions once the guitars and bass temptation strides and erupts across the song around the expressive enjoyable vocals of McAvoy. At times unashamedly anthemic and constantly stirring up the imagination with a melodic craft which helps fuel an already hungry appetite for the release, the track is an urgently persuasive introduction to the album setting a high bar for it to maintain.

     Something it definitely does with the following Thanks A Million, the one song on the album recorded with producer Rich Jackson. As soon as its initial melodic narrative wraps around the ear followed by a lush groove, there is a familiarity to the song which only pleases and takes thoughts to eighties electronic pop essences. A definite Thomas Dolby feel emerges with the senses wrapping synth imagination yet equally you are reminded of the current sounds of James Cook and Does It Offend You, Yeah? whilst the track sculpts its own identity to devour eagerly. A track which manages to impress immediately and also slow burn its way deeper into the emotions over time through its big bruising bass tones and gripping melodic coaxing, it is dark temptation immersing the ears in a sizzling evocative wash.

    The devilishly infectious Medicines steps up next to deepen the lure of the album, its Blancmange like electro pop excitement and bordering on wanton energy insatiably seductive whilst the infection clad chorus and vocal call only grips satisfaction tighter for a lingering and compulsively addictive encounter. Recent single Telepaths breathes the same contagion as its predecessor, guitar and synths driven by outstanding vocals luring senses and feet to a feverish submission for the raucous electro rock party. Both tracks continue the high range of peaks established by the album and light the fuse to even greater suspicions as to how good and successful Ed Zealous could become.

     I Will Destroy You is a perfectly placed track, its melodramatic and emotive textures aligned to a slower gaited temptation exploring new depths and enterprise within the band and their songwriting. Though not as immediate to persuade as those before, the song enslaves keen attention for its thoughtful shape and evocative hues and allows a breath to be taken whilst it’s subtle and inventive majesty works its way into the imagination. The following Talk With Your Hands also takes time but with its David Byrne like creative swagger and heavy rhythmic caging it also secures full satisfaction and hungry attention over numerous exploits.

     There is something infuriately familiar to the start of Diamonds For Eyes yet it evades definition even after plenty of adventures with the dancefloor hugging track whilst These Words reaps those eighties influences yet again as its magnetic body inspires thoughts of China Crisis. Both songs stretch and add to the fascination of Wired with skill and mischievous flair before making way for the outstanding Videohead, a track which emerges as the favourite here. Adding an electro punk element to its fuzzy electronic flaming, the song is like a mix of Calling All Astronauts, B-Movie, and at times the John Foxx led Ultravox, the band again bringing a touch of nostalgia into a more aggressive modern exertion and invention. It is an enthralling and addiction causing maelstrom of ideas and sonic sculpting brewed into a contagious provocation of epidemic proportions.

    Completed by the funk ripped It’s Only The End, a song which you feel would ignite the dancefloor of any era such its blend of irrepressible decade crossing melodies and electronic virulence, Wired is an exceptional first album from Ed Zealous, one which impresses right away and only increases its strengths and stature over time. This is a band you can see creating new boundaries for electronic pop ahead and becoming a well-worn name over time.

http://edzealous.com/

https://www.facebook.com/pages/Ed-Zealous/89457839303

9/10

RingMaster 06/01/2014

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the Greeting Committee – Island

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Hailing from the sultry streets of Newcastle, the Greeting Committee is one of those smouldering embraces which once laying their spellbinding caress over the ear leaves a lingering temptation which persistently invites and receives a return into the arms of the band’s exotic sound. Creating a web of psychedelic and indie seeded rock with Brit pop and sixties blues kissed seduction, the sextet return from the success of their first single Show Me The Lights Of Home at the closing weeks of last year, with debut EP Island released via Puzzle Push Records. Consisting of three magnetically compelling tracks, the release is a wake-up call and introduction to all newcomers and confirmation for existing fans of the potent promise and strength of this very exciting emerging band.

The title track opens things up with a dramatic brew of strings, keys, and atmospheric intensity which once securing full focus mellows out into a melodic breeze of impressive vocals and sonic imagination. It is a thick and intensive breath though which drives the song, one also unafraid to settle into less imposing textures and weight to allow the vocals and guitars to cast an infectious mesmeric weave. Imagine a merger of My Bloody Valentine, House Of Love, and The Verve and Island is the resulting alchemy and more. A brooding and increasingly seductive encounter the track is a beauteous evocation for the imagination and passions.

The following What’s It Like again takes a relatively gentle entrance into its resourceful body, its initial and following presence another filtrated through the essences of House Of Love with some Inspiral Carpets whilst infused with a delicious sixties Eastern sultriness and melodic warmth. Deceptively infectious and virulently compelling, the song is a persistent and welcome instigator of the passions, a rapturous engagement which is the strongest on the release and for personal tastes would have been the better lead track, though the fade out is an annoyance and seemingly suggesting the song is incomplete in this version.

The closing Borders & Patrols also ventures into an older climate of sound for inspiration, a whisper of The Doors washing teasingly over the harmonics and melodic intrigue conjured by the guitars. A celestial elegance from the keys accompanies the rich slowly roving bassline across the track to keep the persuasion unpredictable verging on mysterious whilst the excellent vocals and skilled guitar narrative brings a hue to the song which leaves a purposeful hunger in the appetite for band and release.

The Island EP is a masterful adventure which only disappoints in its contents being admittedly magnificent but only a trio of songs. the Greeting Committee breeds a greed which the release certainly suffices but also leaves short and impatiently wanting more by its lack of more tracks, but then it equally leaves anticipation for the next encounter an eager fire. This is a band destined to major things, just watch this space as the saying goes.

http://www.thegreetingcommittee.co.uk/

9/10

RingMaster 25/11/2013

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The Darlingtons – Who Says There’s No Beach In Doncaster EP

The Darlingtons Press Photo

Soaked in a melancholy which enthuse their hearts rather than casting them in darker oppressive shadows, the songs and sound of UK indie rock band The Darlingtons is an absorbing and magnetic wash of imagination and craft. The Taunton band has a presence and ability to reflect the darker shadows of ordinary life in a way which pulls no punches but still brings a breath of hope and consolatory comfort; most of all though it provides one pleasing and evocative encounter which plays like a new old friend and emotional co-conspirator.

With already their debut EP Decades Dance under their belt and the experience of having a label ‘behind’ them, the foursome of Kiran Roy, Daniel Young, Alex Bispham, and Chris Holmes now forge their own furrow and fight their own battles alone, and earning plenty of acclaim for their live performances and now their second EP through it. Who says there’s no beach on Doncaster? Is a collection of six live tracks bringing the band’s stage potency directly into the ears of the listener. It is a raw and unafraid to show warts and all encounter which declares the quality of songwriting and sound of The Darlingtons with unrestrained ease, and probably with such intensity to the emotive strength of the quartet, does so far better than any studio release might be able.

Opening song Bats is an immediate attention grabbing proposition, rhythms a bold enticement around which the guitars float andWho Says There's No Beach In Doncaster Front Cover flame with melodic enterprise. Everything takes a step back soon after arriving, apart from the continuing to jab rhythms and moody bass, to allow the excellent vocals to begin their narrative. It is compelling stuff which only intensifies as the guitars return their sonic embracing and vocal harmonies skirt the emotive vocal delivery. Though arguably not as tender in its touch, there is a feel of the House Of Love to the song which seduces as successfully as the every punchy rhythmic frame. It is a mesmeric lure and already a powerful declaration of the band in songwriting and live performance.

The following Ship At Sea has turmoil in its presence from the first note, keys offering an unsettled emotive suggestiveness whilst the drums prowl the song as if expecting dark clouds and trouble ahead. The rhythmic aspect of the band is a scintillating temptation throughout the release, constantly offering immense and dramatic textures and cages which thrust the song to the heart of imagination and emotions within its recipients. Within the song the still impressive vocals find themselves a little overrun by the intensity and rhythmic intent but not enough to defuse their effect and reflective potency whilst the guitars and bass conjure individual entrapments for the senses which are as irresistibly toxic as they are mouth-wateringly enterprising, especially the twang lilted bait laid down in the latter part of the riveting track. With a slight resemblance to Prince Edward Island and evocatively Scottish band Letters, the track leaves a lingering breath-taking impact in its wake.

Both Don’t Give Me Hope and For Some Else In Time keep the band’s hold on the passions secure, the first an insightful beckoning lyrically and musically around again rolling hypnotic rhythms which slowly builds its atmosphere and intensity into a climactic finale which never quite reaches the full blaze its hints at but certainly has the air smouldering brightly. Its successor equally burns with a resourceful but reserved suasion which leaves the appetite well catered for and want for more an open greed. Neither of the songs quite matches the might of the previous tracks but with elements which fully seduce and overall a presence that breeds satisfaction, the pair only enhances the experience of Who Says There’s No Beach In Doncaster?.

The opening to Everything is a surprising welcome, guitars prancing with a festive heart and dark bass romping within their eager caresses. It is not that the other tracks are manna to the pessimist but the shadows are noticeable by their absence at the start of the song and when it sparks its rhythmic and guitar spawned explosive fuel. The track then does step into that melancholic shade again which initially disappoints but only until the song merges both extremes into a vibrant and magnetic dance of sound and emotional expulsion. Though the song also falls just behind the outstanding start to the EP it provides another varied and flavoursome treat, rhythms and guitar strokes addictive, keys and vocals alluring.,

     Watch Yourself brings the release to a close in fine style, the song an infection loaded slice of indie pop with a heavy emotional body which a virulently anthemic chorus. It completes in Who Says There’s No Beach In Doncaster? an exciting and robust encounter from a band we are going to hear a lot of in coming years you suspect and one definitely that should be seen on stage.

http://www.wearethedarlingtons.co.uk

8/10

RingMaster 22/11/2013

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The Welcome Matt – POPJUNKFLUFF&HYPE

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Without one of our favourite albums of last year was The Panhandle Years from The Welcome Matt, an album which compiled a wealth of tracks taken from the project’s previous seven albums to introduce a very talented sound and presence to the wider world. It was a refreshing and exciting introduction for us to the band and San Francisco based musician Matt Langlois who is The Welcome Matt. Following up its impressive persuasion, comes new album POPJUNKFLUFF&HYPE, a release which quite simply carries on where its predecessor left off, inflaming the passions and creating some quite irresistible and enterprising rock pop.

Finding success and acclaim with his work with Members Of Sound from 2009 through to 2011, a musical project which released a new song every month for two years and resulted in two major CD releases from this work with an array of Bay Area musicians and producers, Langlois in many ways brought his solo project into its strongest limelight, certainly in respect of an emerging world awareness with The Panhandle Years. It was a kind of summing up of his adventure and creative journey to that point which POPJUNKFLUFF&HYPE now extends with its own delicious stomp of imaginative infection.

The Welcome Back opens up the ‘return’, lightly jagged guitars coaxing attention as the distinctive expressive vocals of Langlois wait for a moment before beginning their narrative. Into its full stride the song unveils a bluesy melodic embrace aligned to sixties tinted harmonies and melodic temptation. Lifting its knees the track eventually moves from an inviting walk into a feisty stomp, one weaving tendrils of contagious seventies pop rock and sixties charm into a gait which never truly explodes into riotousness but leaves the senses energised as the sounds toy with them. It is a mesmeric start which awakens a healthy appetite for the release and immediately feeds the anticipation bred by the album’s predecessor.

The following Key of G opens with Bolanesque strumming and vocal harmonies, the influence unmistakable and a pleasing lure into a song which evolves the inspiration into a compelling striding of inventive persuasion, guitars and keys almost wanton in their temptation whilst a throaty bass sounds has their back, it bringing shadows into the equation. It is impossible to resist its enticement; it like many of the songs breeding a familiarity within a fresh and magnetic wash of imagination. Its successor Let It Lead You, the new single from the album, is very much the same, its presence and teasing that of a recognisable friend but in a brand new enterprising suit. The rhythmic beckoning at the start instantly has feet and hunger on alert whilst the keys and vocals alongside, not for the first time upon the album, a virulently addictive groove littered with potent hooks seduces with every note and touch. It is a deviously effective pop song and catchy doorway into the album and The Welcome Matt for newcomers.

Pop Junk Fluff and Hype steps up next, a funk fed introduction taking little time in recruiting thoughts and emotions as it romps eagerly around the ears. Fiery rock guitars flame over the pop canvas whilst vocals and keys leap with energetic rigour and enterprise. It is a spellbinding mix of styles and flavours, electro and alternative rock adding to the insatiable and outstanding toxicity. Just as epidemically enthralling is Mode Of Transportation, a fusion of power pop and indie/electro rock which plays like a mix of The Motors meets Cockney Rebel with a splash of Cheap Trick. The song almost prowls around the senses and imagination even in its radiantly hued stance leading the listener into yet another impossible to ignore or resist piece of excellent rock ‘n’ roll.

A Hail Mary mischievously teases from the outset with a discord bleeding caress of chords and electronic nagging, its suasion early XTC like with a little Hot Hot Heat festivity to its riveting coaxing whilst Get Shameless is a foot stomping dance of hypnotic rhythms and frisky melodies. Keys and bass add their individual textures to the electric dance as Langlois immerses the listener in a skilled and adventurous addiction.

Both Mind Control and Lets Really Go continue the impressive exploits within the album, the first with a seemingly Sparks bred form of pop punk with hooks and a bass pulse which stick welcome barbs in deeply and the second through a devilishly compelling transfixing slice of country rock sing-a-long with slithers of punk and rock ‘n‘ roll adding their teasing.

Cast A Line brings POPJUNKFLUFF&HYPE to a Bolan/Kinks tasting and enjoyable end to conclude a thoroughly thrilling and incredible contagious encounter. It is a storming blaze of pop rock which feeds every want and need with accomplished infectious ease, and an album all should pay attention to.

http://www.welcomemattsf.com

9/10

RingMaster 18/11/2013

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Allusondrugs – MyCat/Fruit

Allusondrugs

Providing a sultry tease which toys with and triggers the passions, UK alternative rock band Allusondrugs confirm and build upon the promise set by their debut release with the thrilling new double A-side single MyCat/Fruit. Two tracks of riveting fuzz lined vibrancy with a sinewy bass to hang it all upon the release is a further impressive step in the emergence of one refreshingly exciting band.

Hailing from Castleford in West Yorkshire, Allusondrugs formed in the autumn of 2012 and took little time in honing a sound which drew potent attention and acclaim through the quintet’s live performances locally.  Constantly spreading their presence especially through debut single Plasters, the band now stands poised to work upon the rest of the country with the new release and a tour across the north of the UK. Released as its predecessor via Clue Records, MyCat/Fruit is a magnetic feast of mischievous sound, one with a seductive embrace and a steely temptation.

    MyCat opens with a scuzz coated hand on the shoulder of the senses, an almost industrial caress rubbing attention into action a0975362780_2before thumping beats and electronic strikes punctuate its lure. It is a powerful invitation taken into irresistible climes when the track explodes with a stoneresque acidic groove and a heated intense vibrant energy. The harmonic vocals soon after instantly complete the virulent bait of the song as does the brief caustic explosions which equally grip the arisen appetite for the sounds offered; it is a riveting persuasion which has feet and emotions dancing and the imagination soaring. Across its impressive body the song sparks thoughts of Queen Of The Stone Age, The Pixies, and Hot Hot Heat, though there is something wholly distinct to Allusondrugs, a core which sets the song and them enjoyably apart.

The song also holds a shoegaze quality, if one with a want to devilishly bruise simultaneously and that essence makes a stronger tempting on Fruit. The song from a discord kissed single guitar beckoning stretches its arms with a grunge spiced stomp, riffs and rhythms a hungry recruiter of the passions. Settling into a compelling stride the track then taunts assumptions by smoothly slipping into a gentle melodic flight, a candescent passage bringing a mix of My Bloody Valentine and Felt into view before switching back and forth with the previous Foo Fighters like charge. It is a glorious slice of imagination, its persistently twisting and engaging adventure addiction sparking beauty and contagious feistiness united for a thoroughly scintillating encounter.

As the brilliant combination of MyCat and Fruit massages and riles up the passions it is hard not to anticipate Allusondrugs growing into and creating one of the more exciting and spellbinding presences within British rock over the upcoming horizons. We for one cannot wait…

MyCat/Fruit is released as a 100 strong limited edition CD and download

https://www.facebook.com/Allusondrugs

10/10

RingMaster 14/11/2013

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Haarts- Article Way

Haarts pic

Making their debut with first single Article Way, UK indie rock band Haarts present themselves as a rather enterprising and intriguing proposition, one with a magnetic presence soaked in rich promise. The single is a dramatic entrance though one which seduces rather than demands attention with the result ultimately the same, full persuasion. It is a potent encounter, one which places the band firmly on the radar.

Article Way is the first of a trio of singles to be released and is an impressive start for a band whose founders met at secondary school. Since starting the Lake District hailing quartet has built a strong local reputation for their live performances, shows which has seen the band regularly playing 100 minute live sets in pubs and clubs. Their sound is a dark but vibrant form of indie rock, its brooding tones musically and vocally reminiscent of Editors but fuelled by a refreshing energy which sets the band out from most. Produced by Bryan Wilson, the single leaves a very healthy appetite for the band in its wake and a hunger for their upcoming releases.

The opening sharp shard of guitar instantly brings Article Way into focus especially when the expressive baritone vocals of Phil Hampson join the welcoming embrace. Shadows are soon infiltrating the crystalline breath of the song through the heavy bass and rhythmic caging of the drums but equally as it expands the track unveils an acidic melodic elegance and tempting which fires up the emotions. The body of the song is cavernous, offering a deep expanse of emotive resonance around the thumping heart of its declaration and almost exhausting climactic atmosphere. It is an enthralling provocation of the imagination and an immensely pleasing lure into the band for thoughts and passions.

Though only one song, Article Way suggests that Haarts is an emerging presence with extremely potent horizons ahead of them, roll on the next single…

http://www.haartsofficial.com/

9/10

RingMaster 09/11/2013

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This Early Autumn – Mood

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    This Early Autumn is an alternative rock band hailing from Columbia which is beginning to create a feisty wash of acclaim around itself. Driven by lead vocalist/producer Juan Valderama, the Bogotá band are set to release their new single Mood, a track which as our introduction to the band takes a firm and engaging grip on thoughts. It is too early on the evidence of one song to say that the band is or is not a potent force in the brewing stage but certainly it is an intriguing proposition with plenty of open promise.

From what we are led to believe This Early Autumn emerged from a graduation project which spawned two songs Hollow and Mood. The new single is the follow-up to debut release Nothing Compares which drew strong eager responses in Columbia and the UK as well as good MTV coverage. The trio of songs also made up the Primary Pursuit EP but it was the single which grabbed the attention outside of their homeland and which Mood you suspect will increase or at least cement. In 2011 Valderama moved over to London and has been making numerous live appearances around the city since, again to great responses which the single should find an enthusiastic home from.

As soon as Mood caresses the ear you are soaked in thoughts of Placebo, Radiohead, Japanese band Tokyo City Chaos, and fellow Columbian band Hidden Desires. This is not to say the song is unremarkable but the essences are strong within the fresh breath of the single. The vocals of Valderama take a little while to soak in but by the chorus spark nicely in the ear whilst the melodic grace and infectiousness of the keys and guitar only provide a compelling persuasion which like the vocals takes time to seduce but ultimately do with good strength. Of those references This Early Autumn remind most closely of the Japanese trio though the single has a lighter energetic poise in comparison but is less intensively evocative and passionate.

The song is a gentle flame of richly hued melodies and lyrical suasion which add to the colour of the temptation which is undoubtedly at large but against that there is a dimmed spark to prevent it being a lingering kiss upon the ear and memory. It is a pleasing and appetising encounter though and one ensured to make This Early Autumn a band to have strong hopes for.

www.thisearlyautumn.com

7/10

RingMaster 30/09/2013

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Strange Names – Self Titled EP

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The self-titled EP from US electro pop band Strange Names is best described as an exploding star of warm mesmeric radiance and rich melodic hues falling upon the senses with varied flavoursome and refreshing warmth. It shows with ease why the duo of New York born Liam Benzvi (vocals, percussion, keyboards)and Minneapolis hailing Francis Jiminez (vocals, guitar, keyboards) has created such a buzz around themselves back home and now the UK release of their debut EP should act as a magnet for the imagination and passions of plenty more eager appetites this side of the blue too.

The two musicians met whilst at the University of Minnesota in 2010 and soon were collaborating with live performances following in2012, the band growing to a quartet live with the addition of bassist Andre Borka and drummer Fletcher Aleckson, who also play on the EP. It’s and a single’s successful Stateside release to strong acclaim via White Iris Records followed Strange Names being named as the Twin Cities Best New Band of last year. Live the band has also garnered strong reactions including shows with the likes of Yeasayer, Mac DeMarco, and The Walkmen. With the pair working on their debut album right now, the EP gets its timely unveiling on this side of the pond through Minor Times Records September 16th  to equal response.

Potential Wife starts things off with electronic starlets of sound expelling their sonic beauty in the sky of the song before beats rupture 644462_450928411612262_606119642_ntheir elegance and the track is led by a delicious bass croon bursts into a contagious blaze of jangly guitars and melodic dance. With the bass adding extra funk to proceedings the sound sits somewhere between Talking Heads and The Tom Tom Club before evolving into even juicier affair as the great dual flames of harmonies and mesmeric vocals from Benzvi and Jimenez kiss and caress the ear.  It is an absorbing start to the release with elements of eighties new wave and modern electro brewing further enticing whispers within the elegantly grooved waltz.

Strange Revelation continues the impressive start and instantly shows the variation and diversity ripe within the songwriting and its sound, a haunting post punk breath wrapping every note and lyrical coaxing whilst a melodic breeze stokes up further irresistible heat. The bass and excellent chilled guitar taunts have a Joy Division cold beauty whilst the contrasting warm melodies and vocal exploits pull thoughts of China Crisis into play. It is a mesmeric weave of masterful and evocative craft which confirms the potency and temptation of band and release.

     Luxury Child finds seeds back in the pop well of enterprise though the throaty pulsating dark tones brings welcome shadows to contrast the excellent Haircut 100 like guitar stroking and the ever impressive and smouldering warm vocals. Simultaneously tender and vibrantly energetic the song is an enthralling venture soon matched by final song Young. The closing track is a deep wash of potently hued electronic incandescence and slightly raw but invigorating sonic colour which continues the immense bewitchment and creative heights of the EP. It does not quite match the success of the previous songs but is arguably the most intense and imaginative of the four, and the most telling of the strength and expanse of the band’s songwriting.

Strange Names is poised to seduce the UK and Europe just like it has its homeland, their first EP an undeniable persuasion of that assumption and future promise, the first step towards many exciting horizons for them and us.

http://www.strangenamesmusic.com

9/10

RingMaster 13/09/2013

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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