Vandettes – Let it All Go

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An eagerly simmering cauldron of melodic expression and emotive energy, Let it All Go the new single from UK band Vandettes, provides a feistily tantalising introduction to a band already raising up a healthy buzz around them. The song is a robust dance of spearing guitar hooks and electronic flirtation immersed in melodies which linger longer than a hangover. It may only be one song but it suggests that Vandettes is a potent prospect here to stay.

Originally from Northern Ireland, the band moved to Liverpool with its members studying music at the city’s university. It did not take long for the band’s live presence and radiant indie sound to stir up keen attention locally and around the UK. This has led to the quartet of vocalist Robbie Cully, bassist Padraig Mcloughlin, drummer Marty Mcloughlin, and guitarist Daniel Kelly signing with SWC Artist Management and subsequently to Glasgow based Twin City Records for the release of Let It all Go.

The single opens on a gentle sonic breeze which is soon welcoming pungent string plucks from Kelly. It is a swift and engaging lure that succumbs to the even more enticing stroll of a dark bassline courted by the excellent vocal potency and v12expression of Cully. Magnetic melodic seduction from guitar and keys, as well as rich harmonies, ignite ears and imagination further, the track soon a bubbling revelry of skilled enterprise and irrepressible contagion. There is an eighties breath to the energy wrapping ears too, a friendly and familiar temptation which evolves into something equal fresh through the modern snarl and tenacity of guitars and rhythms.

Potently impressing from Cully’s soaring vocals to the bordering on mischievous bass invention, the guitar adventure to the crisp provocative beats, Let It All Go is a striking and appetite sparking first step by Vandettes. The beginning of big things it is easy to suspect too.

Let it All Go is available now on Twin City Records @ https://itunes.apple.com/gb/album/let-it-all-go/id870573140?i=870573146

www.facebook.com/vandettesofficial

RingMaster 26/09/2014

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These Reigning Days – Opera of Love

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There has been a great many, us included, who thought that These Reigning Days could and would be the next big thing in British rock because of their exceptional parade of gripping and insatiably contagious singles. It has not quite happened yet, but now with the release of their sensational debut album Opera of Love that anticipation is back in full force. The album is sensational, pulling in all the brilliance of their singles, revitalising them, and laying them beside new creative emprises to send ears aflutter and emotions into overload. The Devon trio create rock songs which are as skilled in their textures and invention as they are virulent in their anthemic catchiness, the result an album that is one of the invigorating melodic roars of 2014.

The past couple of years have been a busy time for the band, their increasingly recognised presence seeing the band relentlessly touring and playing at numerous festivals such as Glastonbury and Hop Farm, play with the likes of Metronomy, Echo and The Bunnymen, and The Feeling, and more recently unleash their sounds before 60,000 fans at Milan’s San Siro Stadium supporting Bon Jovi. The past summer was consumed with a host of UK and European dates in support of the new album as well as an appearance at Vladivostock Rocks in Eastern Russia and Emerge in Mumbai, Dehli, and Bangalore. Now the Yoad Nevo (Goldfrapp, Moby) produced Opera of Love, with additional production and mix on the band’s previous singles by Ade Bushby (Muse, Foo Fighters), gets its moment to ignite the country and such its inescapable enticement it is hard to see it failing.

The album reveals its might and intent straight away with opener Stand Down. The song opens with the voice of guitarist Dan Steer waking up ears in the embrace of keys. It is an elegant start but even in its gentle coaxing provides the hint of something waiting to spring forth. When it comes it is not the expected surge but a dramatic stroll of thumping rhythms from drummer Joe Sansome and throaty bass tempting from Jonny Finnis. That in turn, with Steer’s expressive tones still in poetic league with the piano melancholy, leads into greater intensity and subsequently a contagious persuasion, the first anthem of the encounter. The melodies cast by the guitar and the radiance of keys only light up further the striding beauty of the song and its irrepressible march on the passions.

The impressive start is surpassed by Changes, an opening croon of bass and guitar matched by voice, luring the imagination into an ethereal flight of keys over an evocatively hued fiery landscape. As the song plays with thoughts there is a TRDfamiliarity to this and others songs which refuses detection, that is until the realisation comes that the recognisable feel is from the band itself and the impact of their sound through previous singles like the sensational Too Late, which itself follows the outstanding new single Thrones. The album’s third song erupts with a throaty tone to its energy and persuasion, the bass especially vocal in its sinew stretched address on the imagination. Harmonies equally spring at the senses with similar success and strength, whilst keys and beats make a respectful but rigorous frame for the blossoming beauty within. The song is unrelenting in its melodic charge, offering a rowdy but composed tempest of beauty and bewitchingly textured ingenuity.

Too Late just as impressively swipes its share of the passion next, riding in on a dark magnetic bassline through sultry scenery of Morricone kissed scythes of guitar. Steer is just as potent as his expels the narrative of the song, everything building to a crescendo of heady hooks across bulging bass bait and tenacious beats with a chorus only the dead could refuse joining in on. Adding a Latin hue to its climactic tone and air, the track is a seriously intensive captivation.

A brief atmospheric instrumental called simply Interlude allows a breath to be snatched before latest single and title track bounds in with melodic seduction and drama fuelled vivacity. The electronic side of the band takes centre stage across the song but with plenty of room for the tight temptation of guitar and rhythmic enterprise to enslave ears and thoughts. Again there is an infectiousness which allows no escape of its binding grip whilst the warm soar of keys apply a provocative seduction. Its triumph is swiftly emulated by I Need Time, a song which takes longer than some to get to the same lofty heights. Featuring the enticing vocals of Jazmyn Mary in duet with Steer, and soaring harmonies courted by romantic melodies, the track is a gripping and mesmeric soar across the senses.

Both the electro stroll of Smoke and Mirrors and the shimmering aural light of Fish Bowl escort an already eager appetite to new hunger The first is seeded in an eighties synth pop revelry but just as alluringly adds a torrent of feisty riffs and energetic rhythmic unpredictability to further stir up its increasingly addictive bait whilst the second sends electronic ripples around and off of a sturdier drive of guitar and rhythm bred tenacity. Though neither matches the lofty heights of say Too Late both leave ears and thoughts basking in their warmth and invention before the dynamic endeavour of Living It Up descends on the passions. Starting with Steer crooning into another subtle yet colourful caress of keys, the track soon rumbles with muscle infused rhythms which in turn sparks a rampant energy infused with snarling riffs and taunts from guitars and bass. Subsequently entwining both sides of its scintillating ingenuity, the song expands into another inimical anthem in the severe contagion of the album.

Through the emotive majesty of English Rose and the similarly evocative breath of the Brit pop like Shine On, band and album show new twists in their creative characters to keep everything fresh and vibrant. That aspect of the album is a given before the pair share their evidence to be honest and reinforced by the following cinematic escapade of Satellite. With a sinister air to keys and bass and fascination to hooks and the more aggressive hues of guitar, the track creates its own unique and pungent enslavement of body and emotions.

Opera of Love is closed by the short McCartney-esque ballad The End, Steer weaving a melancholic finale with equally emotive keys. It is a tightly enticing close to one of the year’s major highlights, and the latest confident declaration that These Reigning Days is ready to crack that intensive spotlight.

Opera of Love is available via Ecco Recordings on September 22nd @ https://itunes.apple.com/gb/album/opera-of-love-special-edition/id911377967

www.thesereigningdays.co.uk

RingMaster 22/09/2014

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Kiwi – State of Alert EP

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As fascinating as it is tantalising, the debut EP from Kiwi is a mesmeric adventure which flirts with the imagination whilst seducing ears. State Of Alert is an enthralling embrace on the senses, a collection of songs which are as elegant as they are quirkily colourful, and a proposition which swiftly reveals why Kiwi has become a keenly praised prospect.

Kiwi, better known to her parents as Mariachiara Terragin, is an Italian born musician/vocalist who with her riveting haunting tones has drawn comparisons to the likes of Björk, Kate Bush, Saint Saviour, and Annie Lennox. Already making potent impressions with her live shows, it was the collaboration with multi-instrumentalist producer Maxime Raguideau-Obadia which has been the spark to a new wash of attention and the creation of State of Alert. With guitarist Sean Worral and drummer Andrea Rapisarda alongside Kiwi and Raguideau-Obadia, the band has unveiled a startling debut which marks a new refreshing presence in alternative pop.

The transfixing affair is opened by Dolls House, piano keys coaxing ears initially before the instantly potent voice of Kiwi adds its seduction, enhanced by glorious harmonies soon after. With a darker bass tone emerging from keys too, there is an engrossing shadow to the radiance of the song, one given richer hue by the strong whisper of melancholic strings. It is a powerfully evocative proposition, vocals filling its air with an array of melodic colour whilst electronic twists from keys flirt just as warmly.

It is an excellent start which is followed by the sultry Fearless with its climate of melodic flames over a gentle yet action packed vocal weave. The electronic beats and percussive elements apart, their punchiness an imposing distraction, the song proceeds to dance tenderly and vivaciously over ears, expelling washes of energy for its chorus which in turn incites a fiery vocal croon from Kiwi. Though the song does not match its predecessor it still provides a captivating glide of synth pop to increase appetite for the release which the title track feeds to greater potency. The third song is a smouldering haunting and seducing, a climactic twang of guitar veining another sublime and picturesque narrative of vocals and melodies.

Make Me Happy is a jazzy temptress of an encounter, vocal flirtation aligned to a bordering on sinister hug of sound with strings and melodies wrapped in tension and drama throughout whilst a noir seeded shadow lies temptingly over the whole swirl of intrigue and radiant beauty. It is a delicious tapestry of emotion and imagination, a further example as to why Kiwi has brewed up a very healthy buzz around her.

The EP closes with Crystal Clear, a song which vocally kisses like a mix of Bjork and fellow Italian songstress Francesca Corradini formerly of The Cellophane Flowers. It is a masterfully magnetic end to a thrilling introduction to an artist with the potential to set the pop world alight. State of Alert is a breath-taking adventure of sound and invention, and vocally one of the most striking and exciting encounters to come our way this year.

The State of Alert EP is available September 2014.

http://www.kiwiofficial.com

8.5/10

RingMaster 15/09/2014

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The Slow Readers Club – Don’t Mind

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The successor to the exceptional single Start Again which was re-released a few short weeks back, UK band The Slow Readers Club bring another absorbing treat with Don’t Mind, a song reinforcing all the temptation and qualities offered by the previous release. The new proposition is a fascinating persuasion, a melodic embrace coloured by an emotive lyrical narrative and just as potently expressive vocals.

The Manchester indie/electro band is certainly no stranger to acclaim and eager support, their critically acclaimed self-titled debut album finding attention from radio and TV shows alike, whilst their striking videos have equally garnered enthused responses with Block Out The Sun being highlighted on Coldplay’s website. With endorsement from Peter Hook coming this year as well as the reboot of the impressive Start Again, The Slow Readers Club is striding towards an even more potent spotlight, a lure set to be drawn closer by the magnetic persuasion of Don’t Mind.Picture 33

Themed by the end of a relationship and the void left in the world of the one left behind, the single instantly casts an evocative caress of melodies alongside warm expressive vocals from Aaron Starkie. It is a gentle and mesmeric opening, the intricate touch of guitar from Kurtis Starkie blending twin strains of sonically poetic ideation to enhance the swiftly settled and elegant balladry of the song. The bass of James Ryan adds a similarly magnetic shadow to the radiant canvas of the encounter whilst the crisp and unassuming beats of drummer David Whitworth make a firm yet unimposing frame for the tantalising colours elsewhere to entwine around. Thoughts of Black/ Colin Vearncombe come to mind at times as Don’t Mind serenades the senses whilst lyrically there is an intimacy which is easy to relate to, much as the tantalising sounds.

A simmering and more reserved song than its predecessor, the single leaves a warm and vivacious glow in ears and imagination, coaxing body and emotions to hungrily share its enterprise. The Slow Readers Club is one of the UK’s brightest propositions and songs like Don’t Mind only suggest that they have the potential to make that a worldwide recognition.

Don’t Mind is available September 22nd @ https://itunes.apple.com/gb/album/dont-mind-single/id913241698

http://www.theslowreadersclub.co.uk

9/10

RingMaster 15/09/2014

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Me For Queen – Iron Horse

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It has to be admitted that the thought of an album set around two wheeled exploits was intriguing but did not exactly spark eager anticipation, but readers do not let that colour any decision to check out the bewitching and thrilling embrace of Iron Horse, the debut album from Me For Queen. Themed by the adventure of cycling in the city, exploring and inspired by events and emotions found by experiences of the band founder’s on a bike, the release lays down an inescapable seduction which bewitches ears and imagination right through to the passions.

Originally the solo project of Talk In Colour’s Mary Erskine, Me For Queen has subsequently grown to a full engagement with the addition Will Dollard, Nick Bowling, and Andy Paine. Last year saw the release of the Live at Red Gables EP, a well-received release sparking strong interest in this following Pledge Music funded release. Talking about Iron Horse, Erskine explained that “there are tracks about the freedom of cycling, the rage and fear you sometimes feel on your bike when surrounded by cars, and a white bike tribute”, going on to add “You’ll like it whether you cycle or not.” That last declaration is certainly very easy to agree with. Equally the album’s tales can be translated to more general experiences in everyday life, how people connect and live within each other’s space for example. It is a fascination of sound merging various flavours into one bike inspired festival of creative enterprise, the album’s sound and presence as cosmopolitan as the pastime and scenery it colours.

The tempting of wheels starts off album and opener The Deer and The Dark, voices from surrounding scenery adding to the atmosphere of the song. Soon though, the attention grabbing voice of Erskine breaks its air with rich mesmeric charm, swiftly joined by a rhythmic coaxing coloured by radiant keys. The song swiftly turns into a funk seeded stroll weaving enchanting melodies into its dramatic lyrical and ambient sunset. Employing samples and riveting brass temptation, the track provides a glorious canter of enterprise and endearing harmonies for one scintillating entrance into the album.

Its glory is matched straight away by Bike With No Name, male vocals taking the lead fully backed by the increasingly transfixing voice of Erskine. With a folk intimacy to its again funky gait, the song idles up to the imagination and 10553901_829249350419623_3979257569886355370_ocaresses it with a seductive blend of vocals and flirtatious melodies from guitar and keys. A darker throat of bass only adds to the infectious bait but it is the pair of vocalists which ignites emotions most prominently and potently. Though music wise there is a distinct difference, vocally and in the impact and quality of their union, the two singers remind of Dizraeli and Cate Ferris from Dizraeli and The Small Gods.

An intriguingly enticing bass lure opens up the next up Zebra, its tone kissed by discord blessed resonance. It is soon joined by both sets of vocals as a jazzy climate and seducing comes over the senses. The song is a delicious blend of distinctively different shades, melodic flames and light slowly grazing on the emotions whilst the darker shadows of bass and a slightly twisted invention to certain chords and notes add a mouth-watering and unpredictable texture to the sultriness. Its glorious presence is matched straight away by Traffic Light Crush, an irresistible croon with romantic tones and catchy revelry in its magnetic dance. Thoughts of eighties band Jim Jiminee easily come to the surface as the brief track sets down another majestic pinnacle on the album, its tango of sound and imagination refusing to leave even after the song has departed ears.

The first single from the album, Slow Jam (Look Out) comes next, its soulful swing of melodies and emotion revealing vocals a gentle and elegant kiss on the senses. As the album, it is impossible not to be thoroughly captivated and mesmerised by it, every aspect from the breath-taking vocals of Erskine to the smouldering flame of trumpet, and the velvet hug of bass to the sizzling harmonies, a poetic toxicity seducing and immersing blissful ears and thoughts. Its gentleness is emulated by the funkier flight of Freewheel, a melodic glide which strokes thoughts and passions from start to finish with a lean structure within provocative beauty.

Both Wobbly and White Bike add new tantalising hues to the release, the first a wash of emotive melodies over a skittish percussive tempting, which itself is hand in hand with the heavier, ever enticing tone of bass. There is a relaxed giddiness to the song too, imagination swirling in its creative sun and similarly flowing sounds before moving on to its successor. The second of the pair slips into something even more leisurely comfortable energy and gait wise whilst turning up the heat with its impassioned and earnest climate lyrically and emotionally as it fully enchants the senses.

For personal tastes the first half of the album is the strongest with its array of lively explorations but there is no escaping or dismissing the spellbinding beauty and majesty of the two songs, and also the following Rat Race. With bubbly electro spicing starting things off before vocals and bass soon lay down their catchy lures, the track is a compelling portrait of fleet footed life. Sounds almost flit across ears, each a different personality in the vibrantly moving scenery whilst the lead vocals provide a singular almost out of sync view inside the tunnel flowing fast around them.

The album is brought to a close by firstly the emotive balladry of Road Out, a track which brews and grows into an imposingly drawn ambience as its melodies and vocals immerse ears, and lastly Wheelie. The final track is a fifty second electro jazz funk romp which hits straight away like The Tom Tom Club but leaves before you can really get your teeth into it. It is a final smile though to an exceptional release.

Iron Horse is simply majestic, a richly hued collection of sounds crafted into an unforgettable and virulently infectious soundscape of adventure. Me For Queen may not have you turning to peddle power with their album but will surely have you breeding a hungry appetite for their sensational sounds.

Iron Horse is available now @ https://itunes.apple.com/gb/album/iron-horse/id913647443

http://cargocollective.com/meforqueen

9/10

RingMaster 12/09/2014

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Paddy Clegg – Dancing Shoes

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A song which can be best described as a melodic smile, Dancing Shoes the new single from UK singer songwriter Paddy Clegg reinforces why there has been a healthy buzz brewing up around the17 year old. Simple yet skilfully crafted, the single is a refreshing flirtation for feet, ears, and emotions with little more in its intent than to have and give fun.

From Huyton in Liverpool, Clegg at his tender age had already earned good experience from drumming in previous bands but deciding to take up another instrument in the guitar, he began writing and composing his own songs, recording them in his bedroom before stepping out in the Liverpool live scene and surrounding areas. Earlier this year he unveiled his debut single Back To The Start which was met with praise and focus, with his music drawing comparisons to the likes of The La’s, Newton Faulkner, Jake Bugg, and Mumford & Sons. Dancing Shoes now has its moment to push the reputation and presence of the young artist further and it is hard to expect anything other than another wave of potent attention for it.

Dancing Shoes does not make an overly striking or dramatic start, a gentle strum of guitar making a melodic caress which is soon joined by the potent tones of Clegg and punchy beats. It is a track though which seems to grow before and in ears, a dark bass line and a slightly more energetic intent to the drums helping broaden its weight and lure so that before you know it the song has seduced and recruited eager assistance from feet and vocal chords. A great blaze of brass adds to the increasing colour of the song whilst the vocals of Clegg similarly increase in potency and engaging hues. It is a smart and infectious slice of songwriting and musical invention with only the fact that at only two and a half minutes long, just as you are stretching muscles and limbs for an excited sortie on the dance floor, it stops.

Keep them wanting more is a wise old piece of advice and Clegg certainly does that with Dancing Shoes. It is another hint at the potential of Paddy Clegg and his music, an emerging proposition which so far has make a very show go of an obvious talent.

Dancing Shoes is available now via Twin City Records @ https://itunes.apple.com/gb/album/dancing-shoes-single/id915386236

https://www.facebook.com/paddy.clegg/

8/10

RingMaster 08/09/2104

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Band of Holy Joy – A Place Called Home

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Following up the success of previous single When a Gift is a Curse, Band of Holy Joy have now tapped into a colourful balladry which musically is as fascinating as the lyrical narrative it colours. The last single impressed if without lighting much more than a spark in the passions, but its successor makes in many ways a much more dramatic incitement and proposal that certainly stirs up lively satisfaction.

As magnetic and striking as they ever were, Band of Holy Joy earned a wealth of fan and critical acclaim with their album Easy Listening earlier this year, with the last single an open doorway into its bracing invention and enterprise. A BOHJ_A_PLACE_CALLED_HOMEPlace Called Home, which has been described as ‘A big city pop song of tradition and place lost in the shiny new urban world of market forces, rising rents and social cleansing’, brings another fresh turn from the band to ignite thoughts and emotions. Released on the band’s own label Radio Joy, the single has an intimacy and broader reach which easily engages with the individual and the climate of life as a whole.

The song emerges from a brew of sonic ambience with a caress of guitar and respectful rhythms beneath the distinctive tones of Johny Brown. It has an immediate grace and charm which intrigues and embraces just as swiftly. There is a feel of The Smiths to the ballad’s croon whilst its melodic warmth has a sultry fifties twang and innocence which equally seduces thoughts and emotions. As its expression of guitar enterprise and stringed melancholy expands over the senses, the track simply glows. Vocals and bass add further character to the temptation whilst the keys bring a whispering glaze of incitement to add further immersive hues to the delightful proposition.

A Place Called Home is a masterful kiss on ears and a tenacious suasion on the imagination, with a romance to its presence which ensures it is a song destined never to be ignored.

A Place Called Home is available digitally now through Radio Joy @ http://bandofholyjoy.bandcamp.com/album/a-place-called-home

http://www.bandofholyjoy.co.uk/

8.5/10

RingMaster 26/08/23014

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