Visualise/Colours/Stop – Projected Thoughts

visualise_colours_stop - Projected Thoughts cover

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

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

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

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

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

https://www.facebook.com/VisualiseColoursStop

9/10

RingMaster 01/07/2014

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The Sons – Heading Into Land

the sons cover

Appetite for the new album from UK band The Sons was certainly awoken by their recent single Relic, but to say that the warm irresistible might of Heading into Land was expected would be a little misleading. Certainly the single brought strong hopes its full-length source but not to the extent that the album would dance with the imagination and fire up the emotions. The twelve track release is vibrant refreshment for the summer, a warm consoling for darker times, and one thoroughly enjoyable romp.

Consisting of Paul Herron (vocals, piano, guitar), Steven Herron (vocals, guitar, keyboards), Roger Millichamp (drums), Stewart English (vocals, guitar), Lee Blades (vocals, bass), the 2002 formed Derby indie rock quintet has employed inspirations from the likes of Crowded House, Wilco, Paul Simon, and Fleetwood Mac into a unique sound which has already brought acclaim and floods of fans through previous albums, Visiting Hours of 2007 and its successor The Prime Words Committee four years later. Their sound fuses in elements of folk and rhythm and blues into a melodic rock presence which is varied and persistently intriguing. Heading Into Land is their next adventure, a release for which The Sons started a Kickstarter campaign in late 2012. Despite raising over £11,500, the band just missed their target but rather than sink into pity came back with their own home-grown crowd-funding campaign. It was a successful endeavour thanks to their ever supporting fanbase and innovative rewards with Heading Into Land the result, a thoroughly enjoyable encounter to those who helped bring it to be, we should all share a thank you.

The immediately engaging Right Colour Makeup sets the album off on a strong note, a piano casting melodic expression as the vocals begin parading the narrative of the song. With similarly enticing rhythms the song makes a tempting start before darker bass tones and flirting guitar designs wrap ears. At times there is a feel of XTC to the offering as well as Union Starr within the expanding melodic caress, a flavour easy to consume, as is the song in its impressive entirety.

The strong start is matched by Death Love Money, a track with a sultry air to its stroll and expressive punch to its vocal and melodic swagger. There is also a southern croon to the heart of the song which colours its magnetic canvas, a landscape again crafted through the emotive hues of keys and guitar. A familiarity is also prevalent but only to add further suasion to the tempting, an air as with most of the songs breeding immediate friendship for ears and thoughts. That flavouring in another unique character flirts from within the deliciously rhythmic temptation of Crowd Went Wild. The rhythms of Millichamp roam enticingly across senses and imagination, every beat evocatively leading thoughts into an instinctive and organic canter of smouldering melodies and vocal descriptions. It is a glorious encounter, the first of a few lofty pinnacles within the already impressive release.

Both the riveting When I Want To and the I’m Not Happy keep fun and pleasure aflame, the first with its nagging piano lure and poetic guitar melodies. There is also a drama to the easy going and flowing persuasion which makes every note and syllable a spark for the imagination whilst its successor shuffles and twists like a Caribbean bred temptress, every swing of its rhythmic hips and wrapping of melodic caresses a vivaciously simmering seduction. It is an aural cruise for thoughts to bask in and emotions to explore, a reassuring siren for the heart leading into the immensely captivating Relic. Released a short few weeks ago, the song as mentioned laid down compelling bait and still after numerous excursions of its evocative seizure of ears and imagination, continues to ignite the strongest hunger. Opening on a gentle swing of emotive keys, subtle groaning bass, and the expressive voice of Paul Herron, the track evolves into an enthralling smouldering of mouthwatering enterprise and imagination. Intrigue sculpted crescendos erupt across the song’s body, each accompanied by melodic mystique and irresistible design from guitars and keys, whilst the bass groans with riveting expression. The song quite simply is melancholic beauty which just gets better with age.

We See Stars is another song destined to be a long-term friend, its crisp rhythms courted by the ever appealing throaty voice of the bass beneath absorbing breezes of melodies and creative imagination. As the album, there is a freshness and rich melodic colour to the castings on ears, a unique vibrancy which is just as open on the folk hug of On The Corner where dark velvety string plucks of assumedly an upright bass steal the show. Both tracks embrace and invigorate, though admittedly not to the extent of the outstanding Flash And Bang which follows. With bass carvings and an electrified web of guitar, the track is an anthemic indie rocker clad in inventive mischief and boisterous revelry. With a wind of eighties new wave and a vein of Late Cambrian like power pop, the track takes top honours on the album, sinews and melodic relish ablaze to incite feet and passion with puppeteer artistry.

A southern country bred air returns to soaks the next up Hard Life, another song which consumes thoughts with a gentle but formidable potency, if without exciting as infectiously as previous tracks. It is still a highly appealing turn in the album, setting up emotions for the excellent reggae seeded stepping of Down Sometimes, a track swerving its body with melodic fantasy and quirky key stabs for a beautifully sculpted and presented stroll. Feet and voice are instant slaves to the song so that the listener goes into the final title track on a high to fully embrace its dramatic and stormy yet uplifting landscape and emotional journey. It is a fine end to an impressive album which leaves ears and pleasure basking in melodic and creative mastery.

The Sons has been described as a ‘best kept secret’ but after the so easy to recommend Heading Into Land hits shore it is easy to suspect that the term will be quite redundant.

Heading Into Land is available now!

http://the-sons.com

8.5/10

RingMaster 30/06/2014

Copyright RingMaster: MyFreeCopyright

 

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Jake Evans – This is Life

Jake Evans  Picture 15

This is Life is one of those tracks which just triggers the sweet spot, treats it to a masterful seduction of stirring rock music which lingers and simply grows with time. It is perhaps no real surprise that the new single from UK singer/songwriter Jake Evans is so potent and exhilarating with its following of his acclaimed debut single Easy On My Soul, as well as impressive musical history, but there is something in its heart and presence which catches the breath and imagination far beyond expectations. It is a stunning encounter, thrilling and laying down a teaser of Evan’s forthcoming first album Day One which is irresistible.

Macclesfield based Evans first come to the fore with Rambo & Leroy, earning a reputation and spotlight which took him to the attention of Bernard Sumner and his band Bad Lieutenant after the second demise of New Order. As the band’s co-front-man, guitarist and songwriter, alongside Summer and New Order band mate Stephen Morris (also New Order) as well as Blur’s Alex James, Evans increased his reputation within the band’s success which led to invitations to support the likes of Paul Weller, New Order, Johnny Marr and Doves’ Jimi Goodwin once emerging as a solo artist in 2012. Easy On My Soul was drenched in eager acclaim upon its release slotting nicely in with highly praised appearances at Festival No 6 and the iconic Jodrell Bank music festival. This Is Life is the next adventure and certain to open up a new depth of ardour for his impressively evolving creative persuasion.

The song is a tide of virulent hooks coming in varied shapes and designs, the first an immediate temptation as This is Life opens. A sonic Jake Evans a2486262845_10sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.

Those essences of eighties and nineties bands bring a familiarity to the song which only increases its contagion and appeal but equally there is an originality and invention which as mentioned at the start, fondles and incites an instinctive rapture to the impressive encounter.

It is impossible not to breed a healthy anticipation for the impending Day One from This Is Life alone but placed alongside Easy On My Soul expectations and hopes reach skywards, though you sense they will be well fed and pleasured by Evans when the time comes.

This Is Life is available digitally June 16th @ https://itunes.apple.com/gb/album/this-is-life-single/id879180547

https://www.jakeevansmusic.com/

9/10

RingMaster 15/06/2014

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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

dumb

    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

    ed zealous pic

    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

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 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

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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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

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