Jubilee Courts – Go From the Blue Light into the Moonlight

10269103_797097640323528_7201858554050600347_o

As shoegaze seems to be pushing its boundaries in sound and intensity, UK band Jubilee Courts add their own striking and tantalising slice of sonic climate with the Go From the Blue Light into the Moonlight EP. Holding five tracks which are as sultry as they are invasively seductive, the release brings a delicious merger of eighties post punk and psychedelically fuelled shoegaze with an incendiary and modern sonic rapacity. It makes for a proposition which carries a potently inciting familiarity but equally a uniquely fresh and provocative enticement.

Hailing from Northampton, Jubilee Courts was formed in 2011 by vocalist/guitarist Josh Falconer, guitarist Matt Bradstreet, and bassist/vocalist Harry Boyde. Soon building up a potent reputation with their live presence around their hometown and surrounding areas, the current line-up was completed with the addition of drummer Frank Robertson-Marriott. Drawing on inspirations from the likes of My Bloody Valentine, The Jesus and Mary Chain, Bauhaus, and Joy Division musically, T S Elliott and Delmore Schwartz lyrically, the band laid down a wider stretching lure with the Stalkers Records released single Room with a View at the end of 2013. Mixed by Temples frontman James Bagshaw, the track pushed the band into a fuller spotlight which Go From the Blue Light into the Moonlight is sure to intensify. The band’s first EP is a thick and hazy adventure in breath and sound yet one which infuses at times a minimalistic intimacy and seductive romance to its ambient and melodic explorations, turning the imagination on its head whilst nagging with a monotone and humdrum persistence. Each song is an interpretation of life, an emotional and mental flirtation from which thoughts and senses find healthy inspiration.

City Flow brings the release to life, its initial sonic wind an attention taking intro from which a lone guitar begins teasing thoughts. Its melodic lead is swiftly accompanied by the dark shadows of the bass and the discord kissed vocals of Jubilee-Courts1-450x450Falconer. It is a raw and haunted enticement which instantly brings thoughts of The Jesus and Mary Chain and early Cure as the song wraps its evocative texture and sonic suggestion around the senses. Eventually the air and turbulence of the scenery increases, guitars creating a tension soaked flaming across bolder and broader rhythmic rumblings. It is a glorious start matched by the cacophonous beauty of Something Different. The again discord fuelled tempest which brings the song into view enslaves attention and appetite but soon makes way for a melody closely related to that within its predecessor, its niggling beckoning rich and irresistible. It too is only a moment in the journey of the track, a surf rock like stream of warmth and sonic acidity immersing ears in a sultry blaze. The instrumental is pure mesmerism, an inescapable soundscape through which the compelling dark bass lure of Boyde coldly tempers an escalating aural sunspot.

The startling entrance of the album is just as impressively continued by Outside Your House, its opening bait a heavy footed and slightly fuzzy bass prowl which is soon aligned to a percussive stomp and a ridiculously addictive guitar hook. A disorientating dance breaks out within the rhythms soon after, not for the first or last time Jubilee Courts binding a melodic elegance and smoothness with a seemingly disorganised and agitated but skilfully crafted contrast of ideation. There is always a rich essence of My Bloody Valentine to songs but here hints of bands like Birdland and Wire similarly add their suggestive whispers. The track continues to lay tender yet imposing melodic and sonic tendrils around the ears as the bass finds its darkest side yet to spark another wave of hunger for the EP which is matched to a lesser but still rich degree by Under the Sand Again. The song is the cloudiest of all on the release, its smoky air and turbulent weave of sonic trespass an insatiable pressure. Throughout though melodic veining shines pleadingly from within the thick atmosphere whilst vocally Falconer resonates and smoulders with his great unpolished tones. It is a heady mix but eventually clarity does free itself as the song builds to a fiery climax. The song is also one which misses that final spark which brings other tracks to bear so addictively on the passions.

The release saves its best proposal till the end, in the riveting and scintillating shape of Sunday Shift. A surf bred line of sonic irresistibility entwines itself around ears and imagination from its first breath, taking the initial lead as suggestive rhythms and a second strand of melodic toxicity rapidly add their spice. There is also fullness to the still minimalistic intent of the track which bounds across the senses but this time with every aspect finding its own clear voice in the entrancing weave. Providing an enthralling and nostalgic post punk temptation in its chilled hooks and rhythms as well as vocally, the track unveils an aural alchemy which even with its rich eighties flavouring and inspiration is innovative and virulently addictive.

To describe the music of Jubilee Courts thoughts of My Bloody Valentine and The Jesus and Mary Chain, as well as Joy Division are unavoidable but to that essences of The Horrors, Wire, Crispy Ambulance, and Artery come into the mix. The band has though forged a sound and release in Go From the Blue Light into the Moonlight which stands alone in presence as it gives an impressive and thrilling twist to shoegaze.

The Go From the Blue Light into the Moonlight EP is available now.

http://jubileecourts.com/

9/10

RingMaster 04/08/22014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Jekyll – I Do What I Can

jekyll

Taken from their debut EP of a couple of months ago, I Do What I Can provides plenty of evidence as to why there is a healthy buzz around Jekyll. The band’s new single is a flavoursome mix of crisp rhythms and evocative melodies seduced by potent vocals and infectious enterprise, and though the song is not carving out new directions for melodic/alternative rock, it certainly provides a captivating and inventive flavour which sets the band apart from most of the crowd.

Formed in 2011, the Blackpool quartet of Joel Foster (vocals/guitar/keys), Jonny Chatterton (guitar/vocals), Lewis Armistead (bass), and Liam Singleton (drums) were soon grabbing attention locally and further afield with their emerging sound. Inspired by the likes of Muse, Radiohead, Kasabian, The Smiths, Nirvana, Editors, Joy Division, Maximo Park, and REM, the band followed up the well-received release of their demo, which drew strong attention from BBC Introducing and more, with their self-titled debut EP in May of this year. It too was met with an eager response. Released ahead of and in celebration of Jekyll’s appearance at The Membranes upcoming gig at the top of Blackpool Tower to celebrate the landmark’s 120th anniversary, I Do What I Can is one of those melodic parties which linger and never go home. It does not offer startling surprises and ground-breaking moments but for providing rich satisfaction it is a sure bet.

From its first second guitars are crafting an emotive melodic web as rhythms jab across them purposefully whilst the bass independently offers a potent shadow to an already melancholic air. It is a swiftly enticing blend which the vocals of Foster only brings more evocative expression to, the song now relaxing to a percussive coaxing as guitars tenderly embrace his entrance. There is a familiarity around the eventful chorus, vocally and musically, with that REM essence open but equally it flows into a sonic colour and adventure which soon has the imagination lost in originality and melodic emprise. The track continues to flirt and seduce with invention and skilful twists across its fluid narrative, and though lyrically a couple of times you have to give the song the benefit of the doubt, I Do What I Can embraces and leads ears through to emotions on a tantalising flight of creative and anthemic endeavour.

Jekyll is a band catching on with the thoughts and emotions of an increasingly growing following and I Do What I Can will certainly do no harm to their growing spotlight.

I Do What I Can is available digitally now.

http://jekyllband.wix.com/jekyllband

8/10

RingMaster 04/08/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Allusondrugs – Self Titled EP

Allusondrugs Promo 1

UK rockers Allusondrugs has been working away at the imagination and passions for the past couple of years, laying down a bait of three diverse and increasingly impressive singles which has led to a hungry anticipation for the prospect of something bigger from the West Yorkshire quintet. That sizeable offering comes in the enthralling shape of their self-titled EP; a six-track revelry for the passions and tease for the psyche. The band’s last single showed the increasing maturity and immersive expression of the band’s songwriting, now it is in full swing within the suggestive technicoloured seduction of the EP. At times it is tenderly mesmeric, in others psychedelically psychotic, and from start to finish it is a magnetic captivation to reinforce thoughts that Allusondrugs is about to ignite the British rock scene with their raw edged fusion of grunge and warmly warped psychedelic rock.

The band began in 2012, its members coming together out of the Leeds music scene. Taking influences from the likes of Nirvana, Deftones, My Bloody Valentine, and Sonic Youth into their unpredictable adventure of sound, the impressive entrance of debut single Plasters and the following twisted teasing of My Cat/Fruit of 2013 soon thrust the band into a certain underground spotlight whilst earning attention from mainstream ears. Earlier this year, third single Nervous woke up a wider expanse of attention with its masterful presence and call to the imagination. Released on Clue Records, as the singles, the new EP embraces all the essences of the individual delights that came before and casts them into a new inventive drama and virulent persuasion to unapologetically steal the passions.

With the core of the release recorded live over a week in Greenmount Studios, Leeds, the EP immediately flirts with ears and thoughts through the opening beats of I’m Your Man. It is an instantaneously coaxing sure to awaken a3102663430_10attention; a focus soon fed by sonic waves of acidic guitars and the excellent group harmonies we have already become accustomed to. The song is soon holding a bold stride as enticing melodies wrap their temptation around the rhythmic spine of the song whilst rawer rubs of riffing and the creative sonic web crafted by guitarists Drey Pavlovic and Damo Hughes dance with ears and a growing appetite for the rich invention of the song. The track though is a full seduction, the excellent vocals of Jason Moules supported by Hughes and the punch packing beats of drummer Connor Fisher-Atack alongside the rich darker tones of Jemal Malki’s bass equally as impressive and persuasive.

The band is constantly being, and understandably, being placed under comparisons to the likes of Nirvana and Soundgarden, two references easy to bring forth with the following Ted, What’s The Porn Like In Heaven?, but the opener is more Pixies-esque in its immersive and discord kissed ingenuity. It is a flavouring and spark to appear across the whole EP, though as said the second song is firmly spawned from a grunge haze. It roars from the first second, riffs climbing over ears with anthemic purpose whilst the bass of Malki simply roams with a predator’s heart into the imagination. The guitars continue to sling caustic notes and riffs with a freedom and raw intent that puts the listener right there in the studio whilst the vocals and rhythms stir up the sense with their own raucous lures. It is hard to avoid that Nirvana suggestion, especially from around the Bleach album, but there is always that undeniable uniqueness which turns it all into another invigorating original encounter.

The pinnacle of the release comes in Cherry Pie, a song which from the opening grumbling bassline sets ears and passions aflame. It is soon swiftly and provocatively striding with a determined directness as post punk like guitar stabs spear its intent. A brewing sonic potency grows around the irresistibly addictive hook of the song, its groove which would not be lost in a Joy Division intrusion bringing a hunger and resourcefulness which is as punk as it is noise rock. The song is glorious; a thrusting of rhythms and toxic invention, not forgetting that insatiable groove, which across its contagious trap has whispers of Public Image Ltd, Cardiacs, Queens Of The Stone Age, and the St Pierre Snake Invasion, yet still emerges as a distinct beast owned by Allusondrugs.

Nervous caress ears next, its swarming temptation draped in a melodic coaxing, instantly holding ears in a tight embrace to which jabbing beats set a firm punctuation. The grip relaxes soon after though as warm vocals and melodies soak the senses, their kiss aligned to the darker mood of the bass and a new vein of sonic invention. It is riveting, a mesmeric croon with the outstanding dual vocals adding a Walker Brothers like suasion within at times a tempestuously stirring emprise of evocative sound which again offers that Pixies like flavouring. An air of surf rock also adds its wash to the psychedelically fuelled beauty of the song, an elegance ignited further by the eruptions of grunge rapacity which reinforce the depth and insatiable persuasive alchemy of the song.

The release is completed by firstly the emotive climate of Sunset Yellow, a shimmering flight of melodies and haunting harmonies veined by melancholic basslines and slightly bent out of shape, distortion lent sonic ingenuity where again with that Frank Black and co leaning shows its face. It is a smoulder of sound and adventure which just gets more potent overtime, setting up emotions and intrigue perfectly for the final track Thingio. With almost grudging respect from its primal riffery and bass taunting from the first moments, the track stalks and preys on the senses, stroking them with a melodic seducing as the string manipulation of the band brings a raw rabidity to the imposing leer of the song. It is a stunning slice of musical entrapment, the entrancing vocals and weaving melodies a rein on the predacious heart of what is an exhilarating beast.

It is fair to say that we like so many were expecting big things from the band when news of the EP broke and we have not been disappointed, in fact such its might those hopes and expectations were almost an insult to its glory. Watch out UK, Allusondrugs are coming for your souls.

The Allusondrugs EP is available via Clue Records 21st July @ http://cluerecords.bandcamp.com/album/allusondrugs-ep on download and Ltd Ed CD as well as an Ltd Cassette via Pinky Swear Records.

https://www.facebook.com/Allusondrugs

9/10

RingMaster 20/07/2014

Allusondrugs Tour Dates:

JULY

25th July = Tramlines Festival, Sheffield (Millenium Galleries)

26th July = Lounge 41, Workington

27th July = Clarence Festival, Wakefield

AUGUST

1st August = The Puzzle Hall, Sowerby Bridge

2nd August = Temple of Boom, Leeds

7th August = Bar Bloc, Glasgow

14th August = Wharf Chambers, Leeds

SEPTEMBER

11th September = The 13th Note, Glasgow

12th September = Downstairs, Aberdeen

13th September = Pickett, Liverpool

14th September = Think Tank, Newcastle

15th September = Static Bar, Swansea

16th September = Red Rooms, Nottingham

17th September = The Garage (upstairs), London

18th September = Sticky Mikes, Brighton

19th September = The Crauford Arms, Milton Keynes

20th September = Huddlefest, Huddersfield

21st September = Boiler Room, Guildford

22nd September = Joiners, Southampton

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

 

The Hertz Complex – A New Habit EP

vid pic

Whilst it is not an encounter to instantly set the emotions on fire or leave the imagination awe struck, the A New Habit EP from The Hertz Complex quietly and relentlessly works away at the psyche to emerge as a rather tasty, potential fuelled proposition. It is a slowly burning but persistently persuasive release which puts the band on the radar with ease whilst brewing up a keen anticipation for the quartet ahead as they evolve and grow further into their enterprising sound. The band’s debut EP is as intriguing as it is deceptively infectious, its songs smouldering rather than blazing within ears but they leave seeds and hooks behind which from nowhere can take a hold of the memory.

Hailing from Cork in Ireland, songwriters Neil O’Keeffe (lead vocals, guitar) and Paul Keane (guitar/vocals) have formed an instinctive creative partnership which brings an organic breath and attraction to their songs as evidenced on the EP. Embracing the inspirations of their Irish roots and of bands such as The Chameleons, Joy Division, Whipping Boy, and Howling Wolf, the pair’s distinct twist of post punk with melodic unpredictability offers healthy bait with an imaginative coaxing. Relocating to the Deptford area of London, the duo linked up with Canadians Benjamin Balan (drums) and Chris Keelan (bass), the compelling rhythmic side to the lure of The Hertz Complex. With their live performances, including festivals and a headlining show at LA’s Whisky A Go Go, constantly drawing more attentive fans and responses, as well as the recent announcement that one of their tracks will be featured in a movie soundtrack, it feels like a big step is being taken in the ascent of The Hertz Complex, something A New Habit adds its persuasive weight to.

Maybe I Know starts things off and takes little time in enticing thoughts and appetite with its chilled but seductive charm. A shimmering sonic coaxing wraps ears first, its touch framed by punchy beats. Before long a guitar weaving 10418167_796654680353242_78278592038508633_nmagnetically flirts with the senses, dripping evocative hues as the bass adds its own dark colour. It is a potent welcome which only increases its pull once settling into a steady canter of crisp rhythms and spiralling sonic endeavour. Infectious melodies equally add their rich enticement to create a gripping canvas upon which the initially monotone kissed plaintive clad tones of O’Keeffe opens the narrative. It is a striking union, elements of Joy Division and at times Modern English swirling within the provocative climate being brewed by the band. Thoughts of Flesh For Lulu also make an appearance as the song increases the strength of its virulent suasion and enterprise. As the EP, it is not a song which explodes and has passions drooling but with its persistent fuzz lined sonic taunting and melodic web it is an encounter which beds deeply into the psyche for a long term friendship.

The great start is followed by the just as appealing and addictive Bassy. From its first breath, guitars are binding ears with entrancing acidic melodies and irresistible hooks, but it is through the shadowed throated tones of Keelan’s bass croon that the appetite is sparked into hungry rapture. There is an indefinable familiarity to the main sonic call of the song too which only works in the song’s favour whilst the slightly off kilter vocals add another intrigue sparking texture to the proposition. The track holds a restrained air to its intent, a hint of explosive incitement promised never realised yet again though it is a song which embeds in an awakened imagination for a lingering and welcome persistent presence.

Next up The Boxer Rebellion brings a broader rock ‘n’ roll intent to its keen gait and suggestive almost sinister breath. The vocals veer to a more strained delivery than elsewhere at times but also breaks into a varied punk kissed antagonism to match the evolving sound and adventure of the track. A song which merges elements of initially post punk with hard and garage rock plus that punk essence, it almost does not know what it wants to be but is still a fluid storm to thoroughly enjoy. It does not match the opening pair of songs but shows another range and depth to the sound and songwriting of the band as does its successor No Control. The song is a delicious croon of vocals and guitar, an evocative smoulder which lures in thoughts and appetite with increasing success as the rest of the band bring with their potent colours. Like the previous song it takes a while to fully seduce but given time makes for a persistence of reserved hooks and gentle melodies which entrench their fascination long term.

The EP is completed by the radio edit of Maybe I Know which is as good as the broader version but over too soon in comparison of course. A New Habit EP is probably not going to send you shouting from the rooftops to be honest but it has all the promise and exciting qualities to make The Hertz Complex a band to keep under close and keen scrutiny.

A New Habit EP is available now!

http://www.thehertzcomplex.com/

8/10

RingMaster 14/07/2014

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

 

 

 

Teribal Anamal – New Creature

tA

Having found a greedy appetite for US post punks Teribal Anamal through their debut EP Anamala of last year, there was a hungry anticipation for its successor New Creature when it dropped through the post. It was a hunger swiftly satisfied and more as hopes and expectations were treated to an impressive slice of imaginative incitement. Between releases, the Brooklyn-based trio has grown and expanded their minimalistic post-punk/new wave sound, bred a new maturity to the songwriting which has in turn honed their previously diverse invention into a more focused but no less flavoursome enterprise. The eight track EP, or should that be album, is an unrelenting siren of post punk provocation with repetitious beauty, one to take the previous tantalising properties of its predecessor into stronger irresistible temptations.

Consisting of Stephanie (guitar/vocals), Ryan (bass/vocals), and Chalky (drums), the band has become a potent and feverishly followed proposition around NYC. Formed around two years ago, Teribal Anamal employ inspirations from the likes of Siouxsie and The Banshees, The Cure, The Pixies, Joy Division, New Order, The Wipers, The Kills, Nirvana, Sonic Youth, The Cramps and more into their constantly evolving sound. Between the two releases the threesome seem to have concentrated on a more singular post punk side to their ingenuity, though that does not mean the array of sonic colours and new wave coaxing has been left to the side. Instead New Creature drives a steadfast intent through its chilled unfussy course with riveting washes of melodic coaxing and mesmeric enticements. It is a striking and persistent suasion which leaves passions aflame and anticipation of the band ahead even more fevered.

The release plays like one massive breath of sound and endeavour, each track emerging from each other or atmospheric howls to flow seamlessly across the senses as if recorded in one potent stroke. It starts with the delicious teribal Anamal coverShuttlecock, a shimmering sonic landing the spawning for the expected intensively throaty bass tones of Ryan and the rasping sonic squalls of Stephanie. It alone is powerful bait but with the thumping and twisting rhythms of Chalky as well as Ryan’s mellow vocal expression, the song is swiftly an entrancing fascination which permeates ears and thoughts. There is a feel of The Three Johns to the track as well as the rhythmic slavery of Gang Of Four, but with a melodic hue to the entwining grooves of sonic vining, the track is distinctly owned by the band. The effects on the vocals and at times the resonance of sound only add to the thick potent lure which irresistibly binds the passions.

The Rub takes no time in unleashing its own thrilling toxins next, the bass conjuring its own chaining enticement before the grazing scrub of guitar play its cards as again smooth vocals and gripping rhythms dance with the senses. The fuzzy pressure and charm of the song continues to build across a hypnotic repetition at its heart whilst scorched melodies and a wonderful drone quality bring thoughts of Spizz Energi and fellow Brooklyn punks The Black Black to mind. As the first, submission to its call is instant as is the response to next up Sensory, a psyche searching exploration with its own web of ridiculously compelling hooks and attention seizing rhythms within a wind of sonic and vocal captivation. As with every song, there is simplicity to the encounter which sends rapturous tingles down the spine yet a net of almost cold invention which consumes and cages willing senses.

Both Uranium Son and Vulturious keep attention magnetised, though the first reminds that many songs hold similar bait in their core suasion thus at times requiring even closer inspection. This song lures emotions in with haunting siren-esque harmonies which swarm about the insatiable drive of the flaming main temptation. It is as addictive as it is meditatively disorientating, a claim easy to place upon its successor too. A surf rock breeze hinted at in the last permeates with stronger intent across the song, wrapping senses in greater virulence as discord majesty teases ears before Owls next idles in on a rhythmic lure. It is soon doused in discordance and sonic colour too, its croon casting an emotive post punk chill within reined in punk tenacity. Impossible to resist twisting hips and voices to, the track is another unavoidable cage of anthemic and instinctive exhortation.

New Creature is brought to a pungent close with through firstly Megavolts, the track cascading sonic bolts down on the senses as it settles into a sinew strapped stride of roaming sonic binding and rhythmic compulsion. The caustic air which glances over all songs is at its most abrasing and magnetic here igniting ears ready for the majestic distortion drenched glory of Gay Vikings In Love. Almost militant in its gait and anarchic in its stringent adventure of sound, the track is an immense end to a masterful release. New Creature is another major step forward for Teribal Anamal yet you still feel there is plenty left inside for them to unveil and discover. With great offerings like this we can bask in their creative journey while patiently waiting for the realisation of all their promise.

New Creature is out now and available as a buy now name your price release @ http://teribalanamal.bandcamp.com/releases

www.facebook.com/teribalanamal

9/10

RingMaster 04/07/2014

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

 

 

Silhouettes – Ever Moving Happiness Machines

   Silhouettes pic

    Silhouettes last single Gold Tag offered a sizeable hint and thrilling teaser for the UK indie/electro band’s debut album, a taster which itself has continued to grow and impress since our coverage of its charms. Now that Ever Moving Happiness Machines has arrived all anticipations and expectations of the release have been fed and fully satisfied. The ten track encounter is an intriguing and inspiring slice of creative diversity and poetic imagination, a proposition which ignites the senses and thoughts in a richly varied and at times challenging way for an enthralling incitement which never leaves a moment devoid of emotive provocation or absent from riveting drama.

Hailing from Wolverhampton and formed in 2008, Silhouettes has earned themselves a sizeable reputation for their sound and live performances, a presence more than complemented by a couple of EPs. It was Gold Tag though which has arguably been the spark to a greater spotlight, its more electronic seeded presence a fascinating and tantalising evolution in the band’s sound. Created by Nathan Till (vocals, guitars), Jay Cuthill (guitars, keyboards, drums), and Ben Blewitt (keyboards), Ever Moving Happiness Machines has the potential and certainly the invention to push the band to the next level, and with a line-up completed by Xander Roberts (bass, vocals) and Ben Dargue (drums) live, Silhouettes is poised to take intensely emotive electronic music by storm.

Ever Moving Happiness Machines does not come without the occasional less impacting twist or turn but from the opening Gold Silhouettes coverTag it is an unrelenting feast of striking enterprise and emotional exploration which has ears and imagination hungry for the album’s impressive offerings. The first track immediately unveils an eighties influence, a flavouring which occurs throughout the album, as small but vivacious guitar crafted melodies entice the ears. As they find themselves joined by a magnificent and robustly throaty bassline there is a strong essence of The Farmers Boys at play, a spice which takes on a definite Orange Juice tang as keys and the great vocals of Till add to the exotically vibrant picture. The song strolls with a masterful confidence which in turn recruits a bold reaction from feet and emotions, its crystalline key sculpted melodies and expressive harmonies a seductive glaze to the contagious waltz. It is a glorious entrance which in its fullest form has appetite and imagination aflame especially through its ridiculously addictive rhythmic closing stretch.

From the lively enticement the album glides into the glistening evocative embrace of Creaking Universe. Its initial lure sparkles like sonic crystal, the keys erupting like dust in a shaft of light before a melancholic shadow and croon clouds over ears to tempt them with its darker touch vocally and musically. Slipping into a seductive breeze which soothes the ears and intrigues emotions, the song from a decent beginning becomes a potent magnet, its ever increasing pull through string orchestrated melodies and brooding textures masterful. Imagine The National meets the Walker Brothers and you have an idea of the voice and might of the track.

The next up Sacrifice is another track which needs time to grow but does so with immense success. It opens with a celestial blaze of electronic persuasion, an Orchestral Manoeuvres in the Dark like wind hugging the senses before the falsetto charm of the vocals lie romantically upon the ears. First impressions are strong and rewarding but as with quite a few tracks on the album, it is one which deviously works away leaving a haunting toxin which repeats time and time again, to return at any moment unannounced. The exciting track is instantly emulated by Cold Water/Grey Flesh, its chillier climate and singular expression a bewitching temptation which again is strong at first but masterful over time. With the keys casting an almost intrusive web which the guitars and vocals unveil colourful and poignant hues over, the song dances elegantly seeping a stark breath of lost hope and scenery. It is a highly evocative narrative which could be described as Joy Division meets Sigur Ros.

The intensive melancholy of I Miss You, I Want You, I Need You, I Love You carries a rich Radiohead vein to its despondent emotion and cold breath. It is an impressively crafted and presented piece of music and emotion but for personal demands fails to strike the flame other songs on the release do so easily, though the flume of strings create a resonating tempting for the imagination to immerse within. It is not a low point but one personal taste cannot connect with, something the brilliant Prufrock’s Dream has no trouble achieving. The new single from band and album is an enthralling adventure of sound and imagination. Written as the sequel to the TS Eliot poem The Love Song of J Alfred Prufrock, the song teases ears with a sultry guitar weave at first before expanding into an exotically rhythmic and mystique soaked flame of sonic and melodic seduction. The guitars continue to bind the senses in a psychedelic glaze of Eastern promise and thought inciting majesty whilst the voice of Till croons with potent expression and absorbing texture. As it persistently flirts with ears and emotions entwining radiance and shadows, whispers of the likes of Teardrop Explodes, The Verve, and Nick Cave make their presence known in a song which is scintillatingly original and unique to Silhouettes.

Both Scuff Marks and Ferry Me Away slip in the wake of their glorious predecessor, though again it is primarily down to preferences. The first has a pulsating core and evocative ambience which increases potently over the length of the song for an enveloping climax, but again with a Radiohead similar breath it fails to spark any real reaction, though Silhouettes is a much more exciting proposition to be fair. Its successor also carries that Thom Yorke and co breeding but evolves into an emotionally infectious play with melodic toxins which seduce with wanton ease and a folk bred gentleness which elevates it to a stronger footing. Neither are songs to pass over swiftly but possibly suffer being stuck between the triumphs of Prufrock’s Dream and the outstanding Black Within The Black, a track unafraid to show its roots in the early days of The Cure. With the bass rapturous bait and rhythms pure anthemic lure, the track is an unbridled temptress to which Till brings his own style of haunted tones and expression for exceptional success. The song invades and seduces every pore and thought to provide another heady pinnacle.

Closing with the climactic Boys, a track from small melodic and expressive seeds grows into an epically shaped tower of intense emotion and powerfully evocative colour, Ever Moving Happiness Machines is a gripping adventure which provides a kaleidoscope of invention and imagination, not forgetting creative passion. It is not an album which quite succeeds with every chapter, but is a radiant success across its whole body as Silhouettes more than delivers on their original promise.

Ever Moving Happiness Machines is available via Integrity Records now!

http://silhouettesmusic.net/

8.5/10

RingMaster 02/06/2014

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

KynchinLay – Drink Me EP

1975097_603494276391598_365632496_n

Five uniquely different songs but related through the imagination of one exciting band, the Drink Me EP is one of those unexpected and eagerly accepted treats which come around once in a while to surprise and invigorate the emotions. Crafted by UK rockers KynchinLay, the release is a fun and stimulating encounter from a band you sense will be making many more impressive ventures for our ears to greedily devour in the future.

Led by vocalist/guitarist/songwriter K G Wilson with drummer Damien Welsh and bassist Mal Williams alongside him as seemingly the core of the band, KynchinLay have brewed up a fine and feisty reputation across their home of Liverpool. They have an essence to their sound which reeks of the prime musical time of their city from the late seventies and across the eighties, their vague similarities to Echo and the Bunnymen in certain places a hint to their birth town but more loudly is the very appetising feel of Pete Wylie to their creativity. It makes for an immediately flavoursome presence which fires up the juices which the band then twist and treat with their own distinctive and highly tempting designs.

The release gets off to a tremendous start with Leave Me Alone; a single guitar teasing the ears with its gentle strum before combining with an eager vocal sigh and another coaxing of strings for a highly magnetic entrance. There is a riveting surface discord to the emerging sound which glances off the brewing melodies, a tempting added to by punchy beats, a wonderfully dark bass stroll, and the excellent vocals of Wilson. Instantly that air of familiarity welcomes ears and imagination into the unveiling heart of the song, backing vocals from Ian McIntyre lighting up the background at times as the track evolves into a ridiculously addictive proposition. Everything about the bait of the song is irresistible, from the fluid sonic enterprise and the guitar bred colour permeating every turn of the song to the deliciously heavy throated basslines and rampant yet controlled vocals. It is a scintillating start to the release which sparks a certain hunger for more.

The following Live Free Or Die brings an acoustic led protest with emotive keys and expressive harmonies wrapping their own potent narratives around the lyrical core of the song. Though it lacks the spark and impact of its predecessor, the song easily grabs its own slice of attention with its skilled composition, accomplished presentation, and resourceful passion before making way for the superb Public Execution. From a distant siren like squall overlaid by defiant voices of the people, the track evolves through a hazy ever increasing wind of sonic dissidence which comes into full focus with a web of guitar sculpting, the band aided by the skills of Dave Scott for the song, and the ever moody voice of the bass, all painting an imposing image of shadowed and dissatisfied times. Vocally Wilson drives the lyrical intent home strikingly; his distinctive tones a gripping ‘narrator’ whilst around him a throbbing nagging of The Cure in their early years and that previously mentioned McCulloch and Wylie essence invigorates ears and imagination. The track is glorious, an aural Orwellian painting with the chilled breath of Joy Division to its charm which incites and inspires as well as inflames mind and emotions. Like the first track, each individual element of the song combines for a formidable and impacting triumph, guitars especially inflammatory on the passions alongside the similarly potent vocals.

Dogfathers swiftly cements those thoughts as its jagged stomp of reggae seeded riffs dance with the imagination as mischievous harmonies play within the flight of the song. There is also a greater revelry to the vocals of Wilson whilst musically the song waltzes with the passions like a fusion of The Members and Tankus The Henge, the keys of Wilson and the guitar endeavour of again Scott bringing rich evocative hues to the devilish smile of the song, a grin fuelled by the excellent fiddle niggling provided by Ste Rothwell. With the only the less potent strength of the chorus against the tremendous ingenuity of the verse and courting twists of the song a vague dip, it is a captivation to raise the stock of the band once more.

The closing My Heart with its opening and slightly choppy range of riffs and the always welcome velvety call of the bass continues the richly pleasing might of Drink Me. More restrained than previous songs in its adventure but easily as contagious and addictive in its presence and structure, it is hypnotic stroll which simply draws the listener into its provocative script. Less dramatic than maybe other songs of the EP but right to the fore as a persuasion it brings a fine release to an outstanding end.

Drink Me took a few passages to unveil all of its bait and lures but once absorbed provides all the evidence to suggest that KynchinLay is something all melodic/alternative rock fans need to check out though they may have no choice in noticing them anyway if future releases build on this tantalising start.

The Drink Me EP is available now!

https://www.facebook.com/pages/KynchinLay/242399799167716

8.5/10

RingMaster 13/05/2014

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