In Progress – North Atlantic Echoes

cover

Bracing, seductive, and thoroughly captivating, the sound of US progressive/experimental rock band In Progress is an absorbing evocation which works on the imagination just as potently as ears and emotions. It is a proposition impossible to pin down but easy to embrace as proven by the band’s sophomore album North Atlantic Echoes. Consisting of seven tracks which combine cinematic adventures with emotively driven moods and sultry climactic landscapes, the band’s new release leads senses and thoughts into evocative embraces, enveloping them in atmospheric caresses and imposing yet welcoming ambiences. The closest comparison which comes to mind is Scottish band North Atlantic Oscillation, an encounter the title of the album points at whether intentionally or by coincidence, though ultimately In progress crafts a presence which is distinct to them.

The New York/Los Angeles based band consists of John Dillon (vocals, guitar, bass, programming, and additional keyboards) and Jake Rosenberg (keyboards and additional programming), who take inspirations from artists such as Nine Inch Nails, Tool, Devin Townsend, Faith No More, Thrice, Ulver, Chroma Key, and OSI into their inventive explorations. Their debut album Signal Failure of 2011, which featured drummer Mark Zonder (Warlord, Fates Warning, Slavior), drew good responses from fans and media which with its release a couple of weeks ago, North Atlantic Echoes andits own special guests, most notably keyboardist Kevin Moore (ex-Dream Theater, co-founder of OSI, Chroma Key) and even more experimental and expressive designs has already started emulating.

The warm touch of Tones From a Twisting Verse opens up the immersive embrace of the album, its poetic musical tones immediately caressing senses and thoughts. Keys cast a reflective ambience around the ears, their orchestral grace and smouldering shadows an emotive colour enhanced by the vocal harmonies in flight within. Its scenery unveils within a piano narrative soon joined by the slightly monotone yet warm and melodic delivery of Dillon. The song envelops and leads the imagination into a melancholic and enchanting evocation darkly coloured by the emotional prowess of the duo and their mesmeric sound.

The following Thunderstorms is similarly dark in feel and shadows with a bright bewitching core which glows like a beacon of hope with reflective flames; it a look back to inspirational moments seemingly lost in the drifts of time. As maudlin as its predecessor in many ways, it is also a livelier lucent hug for the imagination; the excellent mellower vocals as transfixing as the inciting words it delivers and the shimmering sounds around them. The song merges dark and light with poise and glorious temptation, becoming a richer potent persuasion with each taking of its provocative account.

The intriguing nintendo-esque rhythmic coaxing of next up Chasing Ghosts, which opens up the track and persists with its kinetic smile throughout, pleasingly leaves expectations lost for words. The track is an evolving drama but an inventively reserved premise for vocals and lyrics to colour with stimulating endeavour. As its predecessors and the album as a whole, the song again grows melancholic seeds into a sonically luminous blossom, its shading and smouldering fire stoked by the additional craft of Moore, the song the first of the trio he joins the band on. Cloudburst straight after is the second. The track has a portentous air to its emergence, epically throated electro expulsions clouding the sky with imposing textures as keys flit through its mass with shards of light and mystery. Dillon is joined vocally by the sirenesque voice of Hwei Ling Ng, their vocal extremes a compelling enticement within an equally captivating climate of sound. With an additional mystique to its melodic waltz and emotional fascination, the track absorbs senses and passions with rhapsodic beauty, its presence urging thoughts at times of Nine Inch Nails and Ministry in their very early synth pop days.

Both North Atlantic and Thorn Yard engulf body and mind in glistering textures and melodic kisses, the first initially glancing across the senses with glimpses of the soon to evolve ambient pop enterprise. It is a firm first touch but feeling more of a caress as the heavier yet and equally celestial embrace of the song takes hold. Graced by the angelic harmonies of Lauren Edwards above and around Dillon and a potent sense of loss which soaks sound and lyrics, this theme common across the release in many personal and easy to relate to guises, the song is another enchantment to drift from reality within. Its climactic build to a somber last hug draws in thoughts and memories ready for its successor whose opening piano and vocal union with a rosy dramatic air to their union sparks thoughts of eighties artists Black, and though its fails to rise to the same heights of earlier songs, the unpredictable flames of effects and fiery crescendos simply enthral.

North Atlantic Echoes is an album which certainly makes a strong suasion in its first encounter but grows into something immensely epic and irresistible over time, final song Graveyard Snowfall with guest touches from again Moore and Edwards, bringing evocative hues to an already spellbinding romance of shadows and lost loves, closing up the tremendous adventure potently. As mentioned the album needs as much time as you can give to reveal the extent of its passions infecting potency but rewards with creative experimentation and emotive emprise which is quite beautiful.

You can stream the album or name your own price for the download at the following link: http://inprogressofficial.bandcamp.com/

 

https://www.facebook.com/inprogressofficial

9/10

RingMaster 03/04/2014

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The Love Barons – Happy Together

The Love Barons Live

Formed last year, UK alternative indie band The Love Barons has already been making a stir with their live shows and vibrant sound. With the release of their first single Happy Together, the London quintet will be waking up much more of the country you can only feel as the song dances on the ears and lights up the imagination. It is not a loud trumpet call which will have passions falling over themselves to shout from the rooftops but definitely a rich temptation able to spark an eager appetite for band and their horizons.

Consisting of brothers Ryan (lead vocals) and Sam O’Donovan (guitar / vocals), alongside John Chamberlain (guitar), Jamie Graeme (bass), and Nick Cooper (drums), The Love Barons as mentioned has taken little time making a fine reputation for themselves thrilling the capital’s live music scene through their own headlining shows and sharing stages with the likes of Bleach Blood and The Tricks, as well as joining Hatcham Socials on their recent UK tour. Produced by Toby Kidd of the Hatcham Social, Happy Together is the next step in the band’s pretty certain ascent, and a fine wider introduction it is too.

The single is instantly filling the ears with glowing melodies aligned to an irresistible hook and a tempting heavy bassline courted by equallyHappy Together artwork attention grabbing rhythms. It is a potent start which soon has senses and imagination in the band’s hands ready for the distinctively expressive tones of Ryan. Once he unveils the narrative the song relaxes its urgency just a touch to embrace his delivery, dancing with the passions as it takes its infectiousness into a stronger flame in the masterful chorus. There is an essence which brings thoughts to the late eighties indie scene if without offering a definite reason or band comparison, its feel only adding to the virulent bait of the song. Like all the best lures, Happy Together just increases its temptation and power the more it plays on the surface of the passions, proving not a dramatic encounter but a certain long term and lingering one.

As the single rigorously seduces and  charms it is easy to expect to hear and enjoy a lot more of The Love Barons ahead and see the band rise to impressive and commanding heights. Anticipation is on the march already here.

Grab Happy Together for free @ https://soundcloud.com/the-love-barons/happy-together-1/s-j9hlo

https://www.facebook.com/pages/The-Love-Barons/231124567014670

8.5/10

RingMaster 29/03/2104

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Bask in Feathers: Introducing Rooster Cole

Rooster Cole pic

If like us you have been impressed and excited by Brighton band Black Black Hills, you might just get a tingle, again just like us, at the thought of a solo project from the band’s frontman Mark S. Aaron. When the man in question got in touch telling us about his new solo project Rooster Cole, there was an immediate intrigue and excited eagerness to find out more and once we had embraced the first two songs from this new adventure, there was little option then to share. As expected from previous exploits there is an elegance and grandeur to the sound of Rooster Cole but equally it has an intimate presence skirted by wonderfully invasive shadows. Nick Cave springs to mind as a comparison in many ways but truly the project has a uniqueness which seduces from the first note and syllable.

As mentioned Mark S. Aaron was /is the frontman to Black Black Hills, not too sure on their state of being right now to be honest, a band which has supported the likes of Twin Shadow, Maps & Atlases, and The Vaccines. Their sound also found good acclaim from the likes of Edith Bowman, Nick Grimshaw, and Huw Stephens, with their single Far From My Arms chosen by Lauren Laverne as one of her show’s MPFrees of the Day and placed on the Radio 1 playlist. Rooster Cole sees Aaron step out alone with a pair of captivating tracks as his first temptation. Still to play live as he works on further songs with a single and video planned for later this year, Aaron is already brewing up some hungry attention and it is easy to see why with the magnetic charm of his first offerings.

The two songs marking Rooster Cole’s emergence are More Than You and The Waiting Place, two sultry evocative persuasions which simply entrance the imagination as potently as the ears. More Than You moves into view on a breeze of jangling guitars and a broody bass tone, all gentle and restrained in their gait but rich in their expressive hues. Once the distinctive tones of Aaron open up the narrative’s croon a thicker emotive embrace cradles thoughts immersing the listener into a smouldering climate of heat and incitingly suggestive seduction. The song is still tempered in its urgency yet has a sway and swing which makes feet submissive but once the epic voice of sound and vocals in their varied delivery clasp the chorus, new incendiary heights and tempting depths are opened up. The song is simply glorious, its broad shoulder of sound expansive yet intimately caressing with lyrical and vocal enterprise. With keys bringing further colour rich flavour to the song it alone sparks a hunger to keep Rooster Cole under close attention.

The Waiting Place is a slower bewitchment, a piano led walk through resourceful scenery of discord kissed melodies, percussive kisses, and the noble come sombre yet emotionally incendiary vocals of Aaron. The song is covered by a red skied emotive climate, its potent vivacity a tempering lure to the shadows unfolding within the irresistible tale. There is an essence of Helldorado and Saint Agnes to the track at times and of the Dennis Hopper Choppers too, but all mere comparative spices in the ingenious design of Rooster Cole.

Though not official releases the two songs are available from Rooster Cole as free downloads from https://soundcloud.com/roostercole, an offering it is easy to loudly recommend all treat themselves to. Using the pair as inspiration, the suggestion that Rooster Cole will be a name on the lips of the country and in the ears of a legion of feather enthusiasts on a future horizon is unavoidable. https://www.facebook.com/roostercolemusic

RingMaster 26/03/2014

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Raglans – Self Titled

raglan pic

A dance for feet, imagination, and emotions, the self-titled debut album from Irish band Raglans is a magnetic introduction to a band which has already brewed up approaching feverish attention around home city Dublin and the wider landscape of Ireland. That spotlight is sure to be expanded as the infectious adventure of their album takes the hands of UK passions and leads them in its thrilling melodic waltz. The eleven song blaze of captivating sounds and insatiable energy provides all the reasons as to why the indie-folk quartet has swiftly made a major mark back home and will soon have wider fields spellbound you suspect.

Forming in 2010, Raglans took little time to create a potent following and reputation for their live performances and sound, an encounter which charges up the passions as much through its flavoursome breeding from the varied heavier, punky, and folkish tastes of the band’s members as it does from the virulently addictive hooks veining the release. Multi-instrumentalist and lead vocalist Stephen Kelly linked up with bassist Rhos Horan first before enlisting drummer Conn O’ Ruanaidh and lead guitarist Sean O’Brien soon after as the band took its first steps as Raglan, its name taken from a famous Patrick Kavanagh poem, On Raglan. The first year saw their demo track Down make its entrance before the band was invited to spend a week producing and recording with Boz Boorer, renowned for his collaborations with Morrissey. That spawned the eagerly received Long Live EP of 2012 as well as a couple of videos with young filmmaker Finn Keenan to accompany songs on the release. A pair of singles, Digging Holes and Natives drew even greater acclaim and hunger for their sound helping the foursome to land support slots with the likes of The Courteeners and HAIM.

Produced by Ivor Novello nominee Jay Reynolds (Elton John, Pulp, The Verve) and mastered by Grammy award winning Brian Lucy (The raglans coverArctic Monkeys, The Black Keys, Beck), Raglans’ album is the next step on the rapid ascent of the band. As soon as the rhythmic and vocal revelry of opener Digging Holes seizes ears, thoughts and emotions similarly come under the spell of song and band. Almost tribal and certainly anthemic, the track is under the skin within seconds, continuing to forge a deeper toxicity with the rhythmic enterprise of Ruanaidh rampant within the emerging melodic guitar and keys colouring of the festivity. Vocally the band is just as potent, the great tones of Kelly perfectly backed and aided by the rest of the band. As the song evolves through changing gaits and twists around its core infectiousness, it provides one of the best rock pop encounters to bounce into and flirt with the passions over recent years.

The irresistible start is soon backed up potently by both (Lady) Roll Back The Years and the following Fake Blood. The first is again a melody soaked flame of insistently persuasive hooks and teasing rhythms aligned to sonic adventure and punchy imagination. With whispers of blues and folk rock to its feisty energy and weight, the track is an insatiably compelling stomp with a keen swagger to match. Its successor brings a more relaxed attitude to its suasion though there is still a purpose and passion to it which is of a heavier rock base, and though it is less dramatic and insistent than its predecessors, the song still adds another layer to the immense satisfaction welcoming the album. Another pleasing aspect to the songs, certainly to this point, is how the band ends them, each stepping from the ear as vivaciously and dramatically as at any other point in a track to add an additional lingering thrill in the mix.

Before Tonight saunters in next with a melodic smile in its heart, its folk pop stroll a warm summer chorus of harmonies and elegant hooks, whilst Natives uncages another anthem of virulent pop with a reserved but fully loaded temptation of guitar hooks, rhythmic enslavement, and vocal enticements. As with many songs there is something familiar playing with ears and thoughts but only to the benefit and potency of the rich thrilling bait.

The album continues to incite greater pleasure and allegiance to its inventive charm and melodic grace, the likes of the rigorously catchy blues kissed rocker White Lightning and the emotively sculpted Not Now raising more appealing weaves of thoughtful craft and delicious melodies whilst the more than decent High Road, if without sparking similar depth of ardour, pushes a wider gape to the grin inside the release and listener.

Keeping another pinnacle for its latter stages, the album then launches the brilliant romp of The Man From Glasgow on ears and passions, the track a vivacious rival to the first for best song. It is an energy pumping feast of guitar and bass endeavour alongside perfectly incendiary rhythms and similarly enslaving harmonies all drawn into a tempestuous pop song with more than an essence of pop punk breeding to its rampancy.

The album is closed out by firstly Down, the song another merciless proposition of harmonic enterprise and crafty indie coaxing stealing more of the passions, and lastly the refreshing Born In Storms, a track which does not spark the strongest rapture but certainly confirms album and band as something to loudly recommend. It is easy to see why the release of Down way back in its demo state awoke attention in so many whilst the last track simply reinforces the clever seduction of the band’s songwriting and sound. Raglans will be a small name making big impressions on the lips and thoughts of the UK as their album works its inevitable way into the hearts of a great many, becoming a presence as full and voracious as their sound.

https://www.facebook.com/Raglans

9/10

RingMaster 24/03/2014

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Lazytalk – Just A Ride

 

lazytalk pic

    When the body is turned into an eager puppet you know you are in the hands of something special and that is exactly what the new single from UK rockers Lazytalk is. Just A Ride is an insatiable stomp fusing the richest essences of indie, ska, and punk with plenty of other variously seeded excitement like drum ‘n’ bass. It draws in ears and imagination from its opening note, never relinquishing its contagious grip until the final vivacious second.

      Lazytalk was formed in 2011 and it seems was soon raising up the passions from a loyal following with their resourcefully inventive sound. Exhilarating venues and audiences across London and the UK ever since their debut day, which has included supporting Babyshambles on their UK tour, the band drew strong responses with their debut EP, the Gordon Raphael produced Luzaville. The new single follows the release of the excellent track Memories which came out as a free download a couple of months ago, and treats ears and imagination to their finest irrepressible slice of revelry yet.

Just A Ride opens with jangling guitar strokes which immediately suggests an Arctic Monkeys like bred adventure ahead. The joining rhythmic bait of Tag Ara soon accelerates the already brewing appetite for the song, impressively aided by the vocal beckoning of Piers Robinson. It is a tremendous temptation which explodes to another plateau once the bass darkens its tone whilst the guitar of Jack Wilson aligned to the keys of Joshua Culter, scythe across and thicken respectively. the riveting dance of the encounter. There is a definite eighties new wave swagger to the more angular aspects of the adventure, one which slips seamlessly beside the gently stabbing ska enticement and the fiery and infectious weave of melodies. The rhythmic cage of Sam Woodward keeps the vivacious energy and irresistible mischief of the song encased in a controlling body but one which allows devilry like the pleasing sax croons from Culter and the raw vocal harmonies to play and add their engaging hues to the scintillating and wonderfully exhausting romp.

      Lazytalk is one of those bands you just sell your soul to, well we did as once Just A Ride placed its hand on ears and passions there was just no escape. If is safe to say that we will not be alone in offering up our submission and doing it time and time again as the band realises the rest of their potential and rises to the loftiest heights of attention and ardour in the UK music scene.

http://lazytalk.co.uk/

10/10

RingMaster 23/03/2014

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Radio Drive featuring Kevin Gullickson – A Taste Of Heaven

 

Taste-of-Heaven

    Kevin Gullickson first came to our attention with his album This is Our Time in 2012, it coming out under the name of Radio Drive which the musician retained after his previous band disbanded. The release was a captivating embrace of melodic rock and indie pop brought with an eclectic and inventive imagination. The fourth album from the Minneapolis singer songwriter, it easily bred a healthy appetite for his style of musical intrigue and emotive prowess and now the artist returns to feed it further with new single A Taste Of Heaven. It is a song which simply confirms all the impressed thoughts and assumptions of greater things to come sparked by his previous release.

    With the previously mentioned band coming to an end in 2009, Gullickson continued to write stirring pop encounters, unveiling them across a trio of albums, Dream The Impossible (2009), Life Today (2010), and I Can See The World From Here (2011) before he entered our radar with This is Our Time. Impressed media attention and radio plays have also come with the release of his records, tracks being featured on online, college and indie shows and stations across the US, Canada, and Europe.

   Whilst A Taste of Heaven seduces ears it is easy to expect similar reactions to follow its emergence. The creation of the song is almost as magnetic as its lyrical inspiration, the narrative bred from when the artist met his love in New York City on a cold November day. Gullickson says about the song, “I wanted to capture the essence of this time in my life and hope others can relate to a similar time in their life and catch that taste of heaven.” Recording a demo version, he sent the track over to producer Chris Garcia (Celine Dion, Demi Lovato, Christina Aguilera, Britney Spears) to arrange and record the song, as well as adding additional synth parts and playing the bass guitar on the song. Guitarist Nick Lashley who has played with artists such as Alanis Morissette, Avril Lavigne, and David Archuleta, was also brought in as well as L.A. session drummer Ben Rose. Once Gullickson had added his vocals and the final mix was completed by Tom Polce (Bob Dylan) with mastering completed by Grammy award winner Gene Paul, the single was ready to persuade the world and it seems has been instantly taken to.

    As A Taste of Heaven embraces it is not a surprise that it has raised a strong appetite already, the song swiftly emerging persuasively from an emotive ambience with tender and inviting guitar designs and the impressive melodic tones of Gullickson. In no time a personal depth is felt, not only lyrically and vocally but musically too, whilst the smiling melodies and rhythmic beckoning embrace ears and imagination with a warm magnetic hug. The keys and bass add further drama and texture to the scenery of the song, skirting the words that dance across the guitar coloured canvas of the song, their reflective warmth an infectious evocation.

    The single is pop rock at its finest, an encounter which lingers and seduces with poise and elegant craft reinforcing the emerging and increasingly potent presence of Radio Drive and Kevin Gullickson. A song to voice your summer and love affairs, A Taste of Heaven is the perfect entrance into an easily accessible and skilled songwriter.

http://www.radio-drive.com

8.5/10

RingMaster 20/03/2014

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The Written Years – Self-Titled

 

 Photo by Steven Toews


Photo by Steven Toews

    The Written Years is a Canadian band which we feel confidence in suggesting you will be hearing a great deal of over coming years. The reasoning for that comes with their self-titled debut album, an emotionally and melodically fuelled release which mesmerises ears and potently inspires the imagination. Consisting of eight songs which bring an original blend of post and alternative rock with folk and melodic inspirations, the album is a compelling flight of what the band calls “Winter Music”.

     Hailing from Kelowna and now based in Vancouver the trio of Wade Ouellet (vocals, guitar, keyboards), Kodie Krogh (guitar, vocals), and Kane Enders (drums), The Written Years has built a strong and well-followed presence with their inventive and original sound as well as acclaimed live performances. Casting tales of affection, belonging, loss, and nostalgia, their first release has all the potential and beauty to inspire the same reactions further afield, awakening new hungry appetites across the rest of North America, Europe and beyond. Aided by the talents of numerous guest musicians, the album is a masterful persuasion of open and smouldering temptation; one where resistance is unlikely to make much of an attempt to fight.

    Opening track It’s Not Your Fault emerges from a shadowed yet crystalline ambient mist with jangling sonics teasing ears twycover-largebefore a firmly placed stroll of guitar and keys bred melodies and colour breaks out. It is an immediately magnetic offering, especially as the song expands its evocative suasion to embrace the strong and expressive vocals of Ouellet. Steady punchy rhythms keep a dark edge skirting the warm touch and gait of the song, whilst harmonies fly with charm and energy across the sultry sky of the encounter. It is an infectious introduction with a tinge of the anthemic persistence Doves place in some of their creations.

    From a fly on the wall like studio link, second song I Would Miss My Home If I Knew Where It Was bounces into view with broad rhythmic shoulders and sonic tenderness to the fore. There is a wonderful folk expression to the indie spawned narrative as well as a creative revelry which dances with the imagination and passions. With wonderful additional vocals provided by Julia Huggins alongside those of Murray Ash, the song is a delicious romp with heady edges and darker depths. Already The Written Years show themselves to be unique to most, their sound a fresh mix apart from any other yet discovered but certainly for European readers there is a comparison to Irish band Knots which you could draw to give a sense of the invention at play.

     Homesick Dirge is a slow invasive treat, its title a just description of its sound though the track never reaches into the darkest funereal realm which might be assumed. Pungently emotive keys wrap equally passionate vocals whilst guitar and bass craft a web of intrigue and provocative colour to fill the heavy hearted yet refreshing canvas laid by lyrics and voice. A slower burn on the passions than its predecessors, the track over time is just as potent and challenging, as is the next up The Phone Is Ringing. Apparently the chord progression of the thought caressing song was the first element of the album, its creation six years ago the spark to the album which was completed with its final master in 2013. The track simply croons and lures the emotions from start to finish, every note and syllable drenched in enveloping melancholia.

     An elevated pace and urgency returns with You’re Too Kind, strumming guitars and lurking basslines entrancing ears whilst keys and vocals get to work on the senses. There is a sixties pop energy to the song, and element of sound which dare we say has a touch of Walker Brothers to it. The track is a masterful charge of inventiveness and emotional incitement, mini crescendos and resonating melodies flaming highlights in the outstanding proposition.

    Both Hospital Rooms and Are You Okay? keep satisfaction and full enjoyment high, even if the pair do not quite match the heights already set. The first is another with a punchy gait to its canter, rhythms crisply punctuating flames of melodic poise whilst its successor like most tracks is a weave of intimately touching and evocative feelings, the pair only increasing the greed of ears and passions for band and album.

   The release is closed by The Station, the song a glorious hug of hypnotic rhythms and bass persistence entwined with mesmeric melodies and thought caressing vocals, which reminds a little of Scottish band, Letters. It is an engrossing end to a similarly riveting release. With the bridging studio fiddling between songs the only negative thing on the album, their presence more a distraction which at times disrupts the flow of the release for personal tastes, The Written Years’ debut is just irresistible, an attention enslaving introduction to a band we are destined to be wrapped up in time and time again.

http://www.thewrittenyears.com

http://thewrittenyears.bandcamp.com

8.5/10

RingMaster 19/03/2014

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Able Archer – Ghostmaker

able archer

    Bowled over by their debut EP Bullets last year which led to us actively playing the band on our podcasts, Able Archer has returned to give the emotions and passions another shot of adrenaline with new single Ghostmaker. Continuing where their outstanding debut left off but infusing a stronger rapacious energy and rawer breath to the song, the Irish band once again proves themselves to be one of the most exciting and promising, not forgetting accomplished, emerging alternative rock bands around.

     Hailing from Dublin and formed in 2011, the quintet has been extensively gigging and building a fevered fanbase from almost day one, certainly once a settled line-up was in place. Bullets was an exceptional bow into a welcoming spotlight, igniting thoughts and emotions across the underground media and fans alike, its exposure of the band sure to increase in intensity with the release of Ghostmaker. The new track has a fire in its belly and greater causticity in its touch compared to the tracks on the previous release but still does not neglect or lessen the contagious hooks and rhythmic enticement which made them become a rather irresistible proposition.

    A bellowed countdown makes way for an initial tease of guitar from Rob McDonnell; that punctuated by the pumping beats of drummer Seán O’Connor. It is a short but incendiary trigger to the explosive heart of the song, its expulsion bursting as a fiery blaze before settling into an earthy stroll with the ever impressive vocals of Emmet McCaughey and the throaty bass prowl provided Diarmuid Breathnach adding their bait to the already tempting premise. Virulently infectious from start to finish, choppy guitars, predatory basslines, and the immersive if often submerged keys of Neil Buckley combine to infect the imagination with an ingeniously addictive and potently suggestive design of sound and sonic incitement.

   Released ahead of their new EP scheduled for an unveiling this summer, Ghostmaker leaves you exhausted and basking in another irrepressible slice of Able Archer excellence. This is a band unafraid to intrude on and toy with the senses whilst providing a riot of sound and adventure which simply leaves a greedy hunger for more.

www.ablearcher.eu

9/10

RingMaster 17/03/2014

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Bill Parton Trio – Self Titled EP

BPT

     It is always a treat and thrill when a release comes from out of nowhere to play with and inspire the imagination and passions. Every year has a few of those moments when a band which has never even been a scent in the nostrils of attentions suddenly steps forward to light up the ears and the Bill Parton Trio is certainly an early one for 2014. With their debut self-titled EP, the trio from Adelaide, South Australia dance with and entice the senses with piano led pop and a passionate endeavour which is virulently catchy and unashamedly tempting. The accompanying press sheet for the release suggests the band is like a merger of The Beatles, Coldplay, Jeff Buckley, and Radio Head to which we would suggest a slice of Michael Bublé, none particularly inspiring if we are honest for our personal tastes meaning the encounter struggled to spark any eagerness towards it before a note was heard. It is a false description, though you can understand why comparisons are made, one not to be taken too accurately as the Bill Parton Trio have something quite distinct and memorable to them, a sound irrepressibly engaging.

     Consisting of William Parton (vocals, piano), Jeremy Martin (bass) and Andrew Partington (drums), the band has garnered a fine and increasingly potent name for themselves in their homeland through their insatiable appetite to gig and the successful release of the singles Going Away and Falling For You Again. Numerous festival appearances have also increased the stature of the band with the release of their EP in Australia last August accelerating their presence and success. Recorded with producer Darren Mullan (The Angels, The Beards, John Swan, Russell Morris), the release now gets its UK unveiling and it is hard not to assume it will find the same attention and success again.

     It does not take long for the EP’s opening track to bring appetite and attention to the boil. The initial piano beckoning of Falling for You Again builds to a mini crescendo before relaxing as it embraces the vocals of Parton for the parading of the song’s narrative. Even in its gentle stroll there is an open infectiousness which intensifies as the track swings its hips into a lively chorus clad in a harmonious embrace. A song you can join in easily with by the second return of its irresistible catchy main call, the encounter makes for an absorbing and masterful invitation to band and release.

   The following So Unfair brings a slower sultry glaze to its persuasion which smoulders and entices another flame of pleasure. As with a few of the songs there is something indefinably recognisable to the track, an admittedly appealing but definitely familiar bait which could be a take it or leave it issue for some. As Parton and song croons with expertise and emotive elegance it is something which certainly brought another tasty morsel to the table of the EP for us, a pleasing flavour soon matched and exceeded by Going Away. There is no disguising the Lennon and McCartney aspect to the song here but again it works rather than derails the suasion of the song, its contagion the primary lure to be enslaved and excited by though matched again by the keys and vocal prowess of Parton aligned to the rhythmic call of the rest of the band.

     If You’re Here With Me slows things down just a little next, though still there is a swerve to the body of the evocative tale. The bass of Martin adds its own captivating bait whilst the beats of Partington cast a crisp frame to the melodic resources of Parton, the trio once again leading thoughts into a sultry emotional encounter. That sense of familiarity once more only adds to the lure of the track, helping the EP play more like an old friend rather than an undiscovered new acquaintance, but a returning companion you always hold a full welcome for.

   The closing Stalker Man is more of the same, a familiar but refreshing breeze of melodic piano pop with vivacious harmonies and lyrical poignancy. It brings the release to a fine and enjoyable conclusion if without quite lighting the same depth of reactions as the previous songs. The EP is a thoroughly pleasing and attentive proposition with really only a lack of something mouth-wateringly original to its wares is a slight disappointment. Nevertheless with the quality and sheer infectiousness of its songs there is little to hold back making a full recommendation to check out the release and the Bill Parton Trio.

http://www.billpartontrio.com

8.5/10

RingMaster 17/03/2014

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 Mouth Of Ghosts – You Will Go Again From Me EP

TMOG

    After the stunning and impressive entrance of UK band The Mouth Of Ghosts through their 2012 debut EP When The Sun Sets it cannot be denied that many like us found a tingle forming at news of the band unveiling their follow-up release. The London quintet is one of those encounters where once bitten their seduction is irresistible, their atmospheric blend of shoegaze, trip-hop, and alternative rock veined by emotive textures and evocative hues, enveloping and infectious. The You Will Go Again From Me EP confirms The Mouth Of Ghosts as one of Britain’s most exciting emerging bands and though the new release does not have a When The Sun Sets on it, the first EP’s title track and one of the most glorious songs of past years, it pushes and expands the striking and imaginative presence of the band to greater heights.

    The Mouth of Ghosts was formed in 2011 by guitarist Simon Langford and bassist Marco Italia, the name taken from a Dillinger Escape Plan song. The pair soon found and recruited vocalist Alla Seydalieva as their distinctive sound began to emerge and evolve. Completed over time by drummer Phil Page and Valerie Deniz on synth and additional vocals, the band ignited a definite hunger for their sound through the When The Sun Sets EP. The release of its title track as a single in October of 2012 also brought eager attention, finding support from the likes of Tom Robinson and numerous radio shows, and the song selected as one of the top songs of that year on BBC Introducing. You Will Go Again From Me is sure to emulate its predecessor with its mesmeric and invigorating contents and also steer the band into an even more intensive spotlight, one deserving of such an inventively expressive and intrusively immersive encounter.

     The gentle opening caress of Winter Song instantly brings a chill to the spine, both from the emotive vocal and guitar beauty 1510406_751512044861607_502384343_nwhich strokes the ear and from emotions being taken back to the first seductive climate the band offered two years ago. They have a touch in sound and the sirenesque tones of Seydalieva which instantly sparks emotions; exploring and taking them on resourceful magnetic journeys as evidence by the first song upon You Will Go Again From Me. The track slowly works its way under the skin, keys joining the initial premise to open up its skies whilst beats and pulses court the brewing temptation of guitar and electronic enticement. Reaching its full height with Seydalieva showing the range and depth of her delivery, the track burns heatedly before ebbing and flowing with a more smouldering intent and embrace. The song reveals along its emotional landscape a greater maturity and adventure to the songwriting and sound, whilst across the whole release a stronger diversity than arguably offered by the band’s debut shows its suasion.

    From the enthralling start the release strolls up another level with the outstanding Wrong, a magical flight through a celestial melodic soundscape with noir kissed edges and sinister shadows. There is also a scalding and rapacious edge to the guitars as the track reaches the height of numerous crescendos, the stimulus enflaming thoughts and pleasures as richly and dramatically as the otherwise angelic gait of the stunning endeavour. It is a masterful slice of sonic alchemy exploring a bolder and darker invention in imagination and craft from The Mouth of Ghosts.

   Right on Time takes the listener on yet another new and alluring soar through an engulfing ambience, provocative harmonies, and heart sparking vocals, all within a web of sonic contortion from Langford. There is a swing and swell to the tide of the emotion and melodic enterprise which plays like Bjork meets Portishead, a sexually enlightened swagger which only fuels another dose of ardour towards the band and their songs. Once again a dark mystique lends it’s tempting to the engrossing dance and drama increasing the weight and depth of the whole experience.

    The closing You Will Go is a melancholic whisper across the senses, brought with a morose gait within an almost funereal temperament and atmosphere. Unlike the other three songs it is a slowly burning suasion though still making a forcible impact from its first touch. As musically poetic as it is lyrically and vocally, the song is an intensive and empowering treat which emerges as a further weighty declaration of a highly promising band, one which is reaching its first pinnacle whilst setting new plateaus to ascend to.

     The You Will Go Again From Me EP is a scintillating and enrapturing proposition from a band which is increasing its position as one of the most innovative and expressive bands in British music. The Mouth Of Ghosts and their new exploration is one sunrise and sunset all should treat themselves to.

http://www.themouthofghosts.com/

http://mouthofghosts.bandcamp.com/

9/10

RingMaster 17/04/2014

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