The Fawn – Collegium

From the first resonating note of Collegium, the album leaves a deep and evocative touch on thoughts and senses which in many ways is hard to express in words. It is an experience which has to be felt in person to truly appreciate the resonating beauty and provocative touch, anything we say here mere whispered guidance to its potent presence. The first official full length release by The Fawn, an artistic collective led by Nathan Baumann, the album explores the realms of thought and emotion whilst easily igniting those of the listener.

The new album follows a quartet of EPs which with a limited release has bred an intense and dedicated fanbase for the project around Switzerland. Began by Baumann in 2011,The Fawn is a collaboration of the most imaginative musicians, plastic artists and technicians in the country all providing their invention for free alongside Baumann for a project of true DIY spirit. Featuring the talents of members of The Ocean, Coilguns, Shelving, Rectangle, Derrick, and many more, as well as other artists from other medium than music, the experimental and impacting release is a series of small soundscapes combining for one sophisticated experience working on many potent levels.

      Collegium was started in the January of 2012 in the church of St- Imier, his native town in Switzerland. Given the opportunity to have its distinct voice as a canvas for the recording and production for one week, Baumann with producer/songwriter Louis Jucker (The Ocean, Coilguns, Kunz) and sound engineer Christoph Noth, chose to employ a new conceptual approach of recording with the natural reverberation and throat of the building leading the composing and mixing process. Songs were written and explored only once within the walls of the XIth century church with its touch and voice bringing guidance and rich impressions on the recordings and album. For the recording a selection of acoustic instruments were used: piano, 6 and 12 strings guitars, cello, tuba, percussions, drums, as well as the original organ of the building amongst many other factors brought into the intricate and intently crafted preparation to make full use of the opportunity, imagination at large, and the acoustic beauty of the church itself.

From the very first track The Arch, the qualities which ignited the invention and creativity provide a wind through the ear. A melodic drone of organ offers a persistent enticing engagement with a rasp to its invitation whilst leading the listener unreservedly into the arms of the acoustic caress of guitar. The compelling resonate purr of the formidable instrument subsequently lends its exhaustive breath across the whole length of the track to soundtrack the seductive vocals of Baumann and the continuing creative breeze of guitar. It is an imposing but enthralling sensation, an emotively resonating experience which leaves a rich imprint upon thoughts and senses long.

The following Paper Cuts features, as in two other songs, the distinct voice of Jucker; his expressive earnest tones an acidic pleasure within the elegant acoustically caressing narrative crafted by the guitars for an emotional wash. It is a fascinating incitement soon equalled by Two Lines with Baumann returning to coax the deepest heart out of the piece. Already within three songs the echo of the building is a thrilling canvas for the sounds and songs to reach their emotive pinnacles and in the third song with the entry of the cello, it finds the most powerful declaration yet.

The mesmeric Queen of Rain is one of the major highlights of the album, its warm and refreshing waltz through the ear providing a summer walk in an imaginative aural climate of invention and expression whilst Asylum with Jucker returning to lay his individual vocal temptation, is a passion lined conviction of open emotions. Though not every track sparks the same depth of passion and greed as others, Collegium is an album which allows no moment to be wasted, the wave like flow of songs always impacting and bringing strong persuasion before the ear.

Across the likes of Good Friends, the equally haunting and entrancing Nocturne, and the warmly alluring Summerbreeze, the album continues to impress and invite stronger emotion, the tail end of the release its most enriching, whilst closing song Dive uses the building framing its ingenuity, as another instrument of descriptive colour and emotional testament most strongly on the Hummus Records  released album.

Also bringing in to the collective the abilities and invention of two Swiss designers, Gaspard de la Montagne (Spitzhorn) and Jerôme Burgener (Structo) for the album artwork, and Swiss plastic artist Carlo Clopath for photography, The Fawn is a project which is compelling, an imagination of folk pop, to simplify its stance, which deserves to have the chance to bring its undoubted impact before every emotive heart.

Line-up

Nathan Baumann : Vocals, Guitars, Organ, Piano

Louis Jucker : Vocals, Guitars, Cello, Organ, Percussions, Production

Luc Hess : Drums, Percussions

Bertrand Vorpe : Guitars

Philippe Krüttli : Tuba

Pascal Lopinat : Noises and Loops

Christoph Noth: Recording, Mixing and Mastering

Gaspard de la Montagne and Jerome Burgener : Artwork

Carlo Clopath : Photographs

https://www.facebook.com/thefawnweb

8/10

RingMaster 17/05/2013

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James Cook – Reverse Engineering (Vol. One)

2013 is a busy year for singer/songwriter/producer /video artist James Cook, who follows up his impressive and successful debut album Arts & Sciences of 2012 with two full length releases this year. Towards the end of the year there is the release of his second solo album Ausland, but before that the ex-Nemo frontman and songwriter is treating us to Reverse Engineering (Vol. One), a seven track album of cover songs which is one big treat. Consisting of songs of artists from the late seventies and early eighties who ignited his passions and one suggests aspirations musically, the album is a delicious re-invention of classics ignited once again with James Cook imagination.

Reverse Engineering scientifically refers to finding advanced technology that is beyond understanding and taking it apart, then from the discovery of how it works creating a new version from the knowledge. This can certainly be applied to the songs upon the album, Cook, in the words of a room about the release, ‘creating an ‘alien twin’ of the original version by dissecting and redesigning the original.’ Bringing in expressive and skilled musicians (the Dollhouse band) to add their charm and passion to the songs, including once more violinist/string arranger Anne Marie Kirby who he worked with on not only Arts & Sciences but also the baroque pop curio The Dollhouse of 2009, Cook has given a new breath and energy to songs upon the release which emerge as a vibrant and thrilling companion to the originals.

The album opens with David Bowie classic Ashes To Ashes and instantly opens up a new expanse of thought towards the song, the rich emotive tones of violin from Kirby and Ed Bruggeme, viola from Charlie Stock, and the seductive shadows from cellist Terezie Kovalova, wrapping the ear in a rapturous embrace which ignites open feelings. The string quartet is arranged by Kirby who consistently over previous releases with her imaginative arrangements has impressed and pushed songs into deeper impacting textures and evocative visions. As Cook begins the lyrical passage of the song, a new breath seduces the senses from within, the dramatic air and passional strength of the song enveloping with seductive and riveting grandeur but it is a majesty which has no sense of indulgence or self-importance. It is a wonderful version which stands boldly by the side of the original for these ears whilst as mentioned opening up a new shadow and life within the song.

The following track is The Teardrop Explodes song Treason and with its successor Making Plans For Nigel, steals the show on the album. With the guitar of Cook and a wonderfully resonating and throaty bass call from Smity immediately capturing full attention, the track strolls with a sure swagger through to the passions. As with the first and subsequent songs, Cook does not attempt in any way to emulate or cheat off of the delivery of the notable frontmen who bred the originals vocals, but infuses them with his own unique and compelling easy on the ear tones. As the strings of Kirby and Kovalova add their again irresistible presence, the track submerges the emotions in an understated but full wash of melodic beauty with the firm and punchy drums of Tom Marsh providing an equally addictive framework. With the elegance of the strings bringing their suasion through an air of dance and mischief, the track is a waltz come stomp which sparks only the purest adoration.

XTC is probably the first band to truly ignite a full lust of passion towards their sounds for us here but Making Plans For Nigel was the only song which wore out its welcome on the heart though from one of the greatest British bands. Cook has managed to bring the track back to its original glory and surpass it with passion and poetic musical imagination. The same line-up as on the previous track takes the Colin Moulding penned song and turns it into an emotive stroll along the banks of adventure and warm playfulness. They take the simple repetition across the song which helped lose the original version its appeal and treat it to an unpredictable yet familiar energy and sense of pride which itself steps forward to outweigh that of its seed.

Through Hiroshima Mon Amour, a track from the original John Foxx fronted Ultravox! and now given a mesmeric and melodic sunset of a passional sound, and The Go Between’s Bachelor Kisses where vocally and musically there is an incandescent to its invitation which inspires only further submission, the album continues to captivate and thrill. Admittedly as superbly crafted and interpreted as they are they do not match the opening trio of songs but that is just down to the beauty and ingenuity of those earlier gems. Our Lips Are Sealed though does reach up and pull itself up to those heady heights, the Go-Go’s song, also recorded by Fun Boy Three and written by Jane Wiedlin and Terry Hall from the two bands, carving out its own irrepressible niche upon the album with the cello and bass of Kovalova and Cook respectively, offering a deep captivating presence to the wonderfully refreshing and bracing encounter. There is a Walker Brothers feel to the song which only enhances the tonic it brings to ear and soul with each dance within its breath-taking arms.

Completed by an imaginative take on the Kraftwerk track Neon Lights, the song another with the full string quartet painting a unique and inspiring emotive canvas for Cook to lay his narrative, Reverse Engineering (Vol. One) is a passion capturing piece of colour drenched imagination and interpretation, and one hopes is the first of more such projects from the artists as suggested by the title. Though it could be looked at as an appetiser or piece of creativity to bide time before Cook’s next solo album, the masterful treat shows itself as a valid album in its own right even if its appearance comes as a staggered invitation. Released as a free download one song at a time a monthly leading up to Ausland, and with two songs already available, it is an album all should go to without hesitation.

To get the album go to http://jamescook.bandcamp.com/

http://www.jamescookmusic.com

9/10

RingMaster 15/05/2013

 

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Josh Savage – Mountains In Hurricanes EP

Photography by Ben Bentley

The Mountains In Hurricanes EP is a delightful release which with craft and ease plucks at the emotions with infectious vibrancy and potent passion. From the skilled musicianship and imagination of Josh Savage, the emotive blend of acoustic pop with rich classical and folk whispers captivates the imagination and treats the ear with a welcoming and pleasing experience.

Spending his first twelve years of life in Paris, Savage was learning the piano from 4 years of age though his bio states it was initially with reluctance until the threat of losing them ignited his motivation for them as well as to subsequently learn the trumpet and guitar too. Equally adept at singing which saw him as a soloist with the Académie Vocale de Paris which then led him to be a the last minute as a soloist for the Choir of the American Cathedral in Paris, Savage after moving to Winchester in the UK in 2003, continued singing and playing classical music. This found him touring New Zealand and Australia with the National Children’s Choir of Great Britain the following summer. With his first introduction to pop as such through A Rush Of Blood To The Head by Coldplay, he stepped forward with his own songwriting and exploration with involvements in jazz bands, rock bands, and musicals along the way. Since then he has developed and ventured into varied experiences including playing his first gig coming at The Talking Heads in Southampton aged 17, fronting indie/rock band Taming The Savage, and playing trumpet for soul band Soultana. Writing, recording, and producing the album Une Migration d’Oiseaux Sauvages in ten weeks came next, the album inspired by the small novel Le Petit Prince by Antoine De Saint-Exupéry seeing the artist go back to his Parisian roots. Having toured since with the likes of Benjamin Francis Leftwich, Feeder, Razorlight, Reverend & The Makers, Rizzle Kicks, and Roll Deep, his self-released debut Mountains In Hurricanes is the clear mark of an emerging very promising talent.

The title track opens things up, cradling the ear with gentle caresses of acoustic guitar which lay the canvas for the expressive vocals of Savage to picture. It is a simple mix with the richest emotive hold, especially when a wonderful breath of strings adds their shade to the air. Once more the song settles back into the dual union of guitar and voice for an inviting hug on the ear but when the strings bring their melancholic shadows to bear on the equally dark tinged lyrics again the track is elevated to further pinnacles and depth. It is a masterful stroke of restraint and enterprise, the proof simplicity can be a pungent poetic persuasion equal to or beyond the mass confrontation of other styles.

The following Figure It Out is similarly clad but with a more energetic gait to its narrative and stroll across the emotions and thoughts. With a wonderful female accompaniment vocally within its contagious invitation and an equally delicious wind of brass temptation, the track enchants and dances with the senses. It is a summers stroll through reflective shadows and wholly magnetic like its predecessor.

Mountains In Hurricanes is completed by firstly the magnificent Take Off Your Shackles, the strings reacquainting their seduction with the ear whilst Savage again paints an alluring canvas with his fine vocals and guitar. The bulging beats bring further diversity to song and release, their resonating punch pressing welcomingly with darkened intent within the mesmeric air and heat of the song. The best track on the release it is followed by the least successful, a mix of the title track. Maybe it is reflected  by the fact the title is not listed on the sleeve of the CD sent through to us, but as inventive as it is and probably fans of re-mixes will love it, the version removes all the power and emotive depth of the impressive song.

Ignoring that final track, Mountains In Hurricanes is a wonderful release from in Josh Savage, an artist destined to provide and receive great things. A must have release for lovers of melodic and emotive beauty.

http://joshsavagemusic.com/

8.5/10

RingMaster 25/04/2013

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Rose Redd – Perfectly Useless

A surprise and a treat, the debut single from UK singer songwriter Rose Redd is a song which manages to smoulder and romp upon the senses at the same time, its emotive elegance and gentle caress as potent and loud as the energy and eager heat driving it. Expectations were not filled with a pre-determined opinion before approaching Perfectly Useless but it is fair to say they were not biting with intrigue either. The eighteen year old songstress soon changed that with a voice and song which drew submission from thoughts and emotions.

Born in Eastbourne but within six months finding a home in the West Midlands with her family, the eighteen year on was brought up with the eclectic sounds of the likes of Ella Fitzgerald, Iron Maiden, and Kate Bush filling her welcoming ears. It was the discovery of the lyrics and songwriting of Martin Gore of Depeche Mode though which ignited her inner musical flame, the kindred spirit she found inspiring her to investigate her own songwriting and to approach the guitar for the first time. As her first single shows she has not looked back, the Gavin Monaghan (Editors, Scott Matthews, Robert Plant) produced song an impressive following to the extensive time she has had touring and playing shows to consistently growing success.

Perfectly Useless is a pop rock song which is a hybrid of styles and genres, a track holding a sultry mix of Evanescence, Depeche Mode, and March Violets in their pop rock time. It is a vibrant and compelling song as bright as a sun but is also equipped with pleasing shadows, the well-lit pop stroll veined with darker elements of gothic and symphonic rock. The simmering crystalline opening sparkles against the excellent tones of Redd, her voice a blend of Amy Lee and Alison Moyet, and the beginning a mesmeric charm upon the ear. Soon electro beats make their punchy entrance to offer a little uncertainty but it all blends into a tantalising expanse of heated melodic wash, every note and vocal touch wrapping tenderly yet firmly around the ear and beyond. Whether stepping into a reserve of passionate enterprise or a contagious dance of pure pop temptation, the artists and song offers a lingering thrilling embrace which is impossible to refuse.

Perfectly Useless is impressive, an exciting entrance by Rose Redd, a lady we surely will be hearing a lot more of ahead, her horizons destined to be wrapped in welcoming success.

http://www.roseredd.co.uk/

8.5/10

RingMaster 22/04/2013

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Late Cambrian – Peach

Cradling thoughts and emotions in a hug of melodic enterprise and magnetic warmth, Peach the new album from US indie rock band Late Cambrian is one exciting thrilling dance of vibrant personality and matching sounds. An energetic brew of alternative rock, mesmeric pop, and indie individuality, the second album from the band holds moments of sheer brilliance within a constant wash of imaginative and infectious excellence. Across its landscape of summer driven sultry sounds passions are ignited and ardour bred for an album which leaves a lasting glowing imprint on the senses.

Since the release of their debut album The Last Concert in 2011, the Greenpoint, Brooklyn band has stepped upon a steady and potent rise, the album receiving rich acclaim at home and abroad, especially in Japan, whilst the band has won numerous awards and had songs placed in shows such as The Real World and Married To Jonas. Their video for the song Ryan Gosling pulled in massive numbers being picked up by BlankTV and THECOOLTV, and the trio of John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass guitar, backing vocals), and O (Vocals, Synth), made big impressions at festivals such as The KahBang Music Festival, The Dewey Beach Music Conference, CMJ, and The Popfest along the way. It has been a heady time which Peach will surely reinforce and accelerate upon its release on April 30^th.

The album opens with the teasing tones of Lovers Point, its initial quickstep of firm rhythms and fibrous guitar strokes soon wrapped in great vocal harmonies. Taking a small breath for the vocals of Wlaysewski to begin the narrative within a warm hug of elegant melodies and entrancing synths, the song lifts its feet for a strolling flow of aural smiles and keen bounce to its gait. It is an irresistible welcome into the album, its demands minimal but rewards plentiful in their engagement and energy.

The tease of The Label Needed A Single wraps its mischief around the ear next, a groaning bassline veining another heated swerve of infectiousness and melodic enticement. Already two tracks in and references to Wheatus are unavoidable but as this track shows there is more to their imaginative devilment to avoid being so singularly tagged. Part pop punk and fully anthemic pop, the song takes the ear and passions to a hop of fluid irrepressible moves and sounds with an intent to raise others energies and voice in tandem to its own securely successful, something which you can lay at the feet of next up The Year I Cut The Cable too. With a swing to its jazz pop eighties whispering romp, the track exchanges heated ardour with the heart, the dual vocal tango of Wlaysewski and the delicious tones of O, her voice another standout glory of so many on the album, exploring song and listener with buoyant enterprise and keenness to match the sounds.

The pinnacle of the album follows in The Wolf, for this heart one of if not the best melodic thrill heard this year so far. As a fiery guitar opens up the airwaves and beats pounce upon the ear there is an immediate hook which the throaty bass and captivating gait of the vocals sends deeper into thoughts and emotions. The track is simplicity turned into a virulent conspirator to the passions, the wanton whisper to the twin interchanging vocals and Eastern delight lined lure playing in the background, epidemically anthemic.  Everything about the song is magnificent, pop at its most potent and triumphant and another where the varied and seamlessly twisting devilry has the voice and body of the listener adding their, in my case, blasphemous contributions.

Following such a powerful piece of brilliance would mean a dip for most releases but the likes of Patience Of A Monument with its gentle hazy aired persuasion and Made for Love, a track with a beginning which reminds of Wham!, sorry but it does, and goes on to coat the listener in a rich wash of hot melodies and pop punk sinew, without reaching the same heights have their own distinct plateaus of enjoyable textures and absorbing presences. Featuring guest appearances from violinist Tracy Bonham, Kevin Salem on elbow guitar, and Jack Hsu (The Hsu-Nami) on the erhu, the song is an emotive pleasure with a wonderful instrumental closure.

The track Ryan Gosling has led the band to stronger recognition as much as any song and again is a major force upon the album, the bulging rhythms and wickedly crafted hooks a charismatic grip laying an incendiary canvas for the equally galvanic vocals and harmonies. As with all the songs there is an honesty and lack of complication to the track which allows its rich heart to make the strongest arresting enslavement on what by now is rapture for the album.

The remaining songs continue the scintillating joy and craft already reaped with tracks such as the acoustic led summery skip of Poetry, the sultry Recipe, and the glorious Hypgnotica-Afternoon Special stepping to the fore though there is not one weak or track on the album all just powerfully magnetic. The latter of this trio is an imaginative predominantly instrumental canter through hot and suggestive melodic climes with evolving variation and intrigue to its gait.

Closing with Luddite, another bewitching piece of warm, a closing vibrant sunset featuring guest vocals from Brendan Brown and Gabrielle Sterbenz of Wheatus, Peach is a slice of musical brilliance in quality and effect containing most likely the song of the year, quite simply a must have release…

http://www.latecambrian.com/

9.5/10

RingMaster 21/04/2013

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Centre Excuse – Control

Continuing the impressive stature and irresistibility of their previous releases, UK electro rock band Centre Excuse now let out of its cage their new single Control, a song which whips up the appetite with warm and infectious, wholly energetic charm. The track hungrily romps through the ear, the glowing melodies from the keys and vocals offering a magnetic embrace whilst framed by crisp rhythms and sprawling flaming sinewy guitars. Expertly fusing lush sonic temptation with almost brawling punk rock aggression, the song has again provided the persuasive evidence for a continued rich acclaim upon the trio.

From Rutland, the three-piece of brothers Jamie and Alex Rush, and Teddy Lewis have made great strides since emerging in 2010. From their first introduction with debut EP All Systems Go the band has reaped strong and eager responses to their fiery sound, the following Generation Z EP and single In Your Mind only increasing the depth of acclaim and their potent presence. Their music is not demanding but still ignites a passionate return from listeners with inspiring enterprise, the result more often than not eager compliance and dedication to the cause. Their previous releases and equally successful live shows, which has seen Centre Excuse alongside the likes of A Sky Jet Black, I Am Giant, and Tonight Alive over the past couple of years, has set the band up as a dawning bright flame in UK indie rock, Control the register that they have arrived.

Recorded with Australian music producer Antonio Hanna, the single initially is a gentle coaxing of the senses, the keys almost teasing with their smouldering beckoning. It is mere moments though before sound and band erupt into a torrential blaze of grabbing riffs, vocal harmonies, and the swirling loud wind of keys, the combination a delicious burn with seductive intent in its heart. As with previous songs from the band, the hooks and constant lure of the track is uncomplicated and pure contagion but within and beneath that unbridled siren of a call the band unveil skilled invention and mesmeric imagination. It all makes for a song which is simply thrilling yet still makes a case for so much more to come from the band with its open promise.

The single is another thrust to the charging rise of Centre Excuse, a song which stands individual in the already diverse wealth of sound unleashed through the previous EPs and single. Each release has offered surprise and exciting ventures for the world of pop rock, Control is no exception.

http://www.centre-excuse.com/

8.5/10

RingMaster 20/04/2013

 

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Runaway Orchestra – Self Titled

Approaching the self-titled album from Runaway Orchestra it would be fair to say eager anticipation was not really in abundance. The thought of a collection of cover songs was not off-putting but certainly did not fire up any real excitement or strong intrigue. The ten track album proceeded to take barely two songs to slap any doubt or lethargy towards it down to the floor and firmly transfixed and mesmerised thoughts from there on in.  Certainly not every track found the same strength of passion towards it as did others but the album as a whole was one shapely and magnetic pleasure equipped with a powerful and lingering lure to re-join it often.

The album is the work of Tam Nightingale who enlisted the sultry tones of solo artist Sophie Madeline to explore and bring sirenesque radiance to the re-imagination of classic songs. Also featuring musicians from The Divine Comedy, UNKLE, and Cinematic Orchestra, the result is a delicious warm stroll through the charms of an aural sun and its seductive warmth.  Released through Mr Bongo, the album brings the melodic beauty of Madeline and the folk caresses of the music in a summers day worth of luxurious luminance, the release basking and offering a full journey of hazy elegance from its vibrant sunrise to its dreamy sunset. It certainly emerged as a real surprise, a mouth-watering treat easily putting those earlier thoughts in shameful exile.

The release opens up with its potency fully unrefined from the start through the stunning tracks Happy Together and Life’s A Gas. The first, a re-working of The Turtles track, is simply irresistible, the song instantly mesmerises with the bewitching voice of Madeline and the stringed emotive kiss securing an immediate ardour upon impact. Opening up its arms to a full orchestral embrace with compelling textures coaxing further rapture, the song is wonderful and overall steals the show despite the mighty efforts of the other tracks. From its magnetic presence the song passes on to the following T-Rex song and yet another irresistible temptation. The acoustic touch of the guitar and as proves to be a permanent pleasure, the heart thrilling vocals, make an invitation impossible to decline before the track expands into another feast of orchestral light and melodic enterprise with vocal harmonies and the throaty bass shadow adding yet more unbridled enticement. Whereas its predecessor for these simple preferences easily outshone the original, this song does not surpass the richness of the Bolan version, but comes so close it is dazzling.

After such a start there had to come a point where the album loosened its grip but with next up For Lovers the time was not ready, the striking and thrilling cover of the Wolfman and Pete Doherty 2004 hit injecting an energy and vivacity into the tune without losing the originals emotive depths. Within three songs the release shows artists who do even singular covers how to make songs engrained in the heart of the world their own with craft and imagination without losing the seed and core which gave them their stature in the first place.

Tracks like the take on Bob Dylan’s If Not For You and the Lisa Lougheed/ Racoons theme song Run With Us do slip below the immense plateau already reached though both still leave a full pleasure especially with the ukulele craft of Madeline in the second of the two, whilst splitting the pair is a great version of It’s A Beautiful Day, another senses grasping wash of melodic grandeur with a restrained heat but wholly seductive charm from voice and sound.

The next major highlight comes with a storming cover of The Beat Goes On, the band turning the Sonny and Cher song into a hypnotic alchemy of primal beats and angelic glamour, its melodic reserve and celestial harmonies eager conspirators with the pulsating heart of the track to total submission of the passions. It is stripped down mastery elevated into something more powerful and impacting through imagination bred craft soaked in whispers of longing.

The final trio of songs do not quite live up to what came before though again it is just the brilliance of the likes of the just mentioned track which confines their appeal rather than any shortcomings. Nevertheless songs like Daniel Johnston’s True Love Will Find You In The End and the closing Two Of Us with a full dual vocal presence for the first time only ensure the album ends on a satisfying high.

If you have any doubts about Runaway Orchestra project or album allow us to say dismiss them and enjoy one impressive musical attraction.

8/10

www.facebook.com/RunawayOrchestra

RingMaster 15/04/2013

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Mice Parade – Candela

    Mice Parade has never created music which feeds the unadventurous and lazy, and has always conjured up sounds to stretch and inspire the imagination as well as in many ways challenge the senses with its diverse and eclectic use of aural ideas and textures. New album Candela is no different, the seventh full length release from the band being in their own words their ‘pop’ album, and one which certainly takes time to make its full persuasion but rewards richly for the extended effort in exploring all its shady corners, inviting shadows, and thrilling light.

Essentially the solo project of New Yorker and multi-instrumentalist Adam Pierce for which he additionally recruits musicians of equal vision and inventive mind set, Mice Parade is again a release which explores a multitude of sounds globally and in style for an impacting experience which can seduce or equally trouble the senses, both extremes equally rewarding and magnetically pleasing. Released via Fatcat Records, Candela is named after a late-night bar in Madrid which is renowned as a flamenco guitar players’ Mecca. As with previous releases the album has a hunger to investigate and develop not to forget share, numerous rhythmic and melodic world searched aural discoveries re-invented into unique and compelling new shades and voices. The band has never been an immediate persuasion for personal tastes and Candela is no different but as is generally the norm once asked and given that extra attention and time it unveils another enjoyable flood of inspiring and intriguing enterprise from the band.

One essence of the band which has always found an inexhaustible acceptance here is the veining of discord which either whispers or prowls amidst their music and none more so than in opener Listen Hear Glide Dear. The track is a caustic wash of sonic unrest and folk invitation coated in an unsettling distrustful ambience which intrudes and permeates every atom of the senses to disrupt their ease and open the doors to provocation. Dirge like in its gait and abrasive in its embrace, the track leaves the emotions ringing from its jangly rub allowing the following Currents to slip in to its place with ease and bewitching temptation. From its restrained start big bulging rhythms and a lovely throaty bassline saunters across the ear whilst the fiery touch of the guitar ensures that there is still a sinister element at play. The delicious vocals of Caroline Lufkin (Temporary Residence) lay a siren like hand upon the passions to temper and equally feed the now agitated formidable rhythmic dance which almost bruises the listener within the rising and coarse sonic embrace permeating the air. It is a tremendous opening to the album, the two tracks in their distinct individuality uniting for a startling and inciting introduction to the release.

Next up This River Has A Tide continues the potency with further intensity and beauty which rival and complement each other. It starts with a continuation of the rough handling of the ear with the rhythms as punchy as ever and the bass developing a carnivorous appetite to its great corrosive sound matched by the guitar. Either side of their first appearance though there is a flamenco whispering elegance which is just irresistible, the spiralling melodic keys and soft guitar beckoning the scalding snarl mentioned and regaining their control on the other side with further  magnetic weaves of melodic enterprise and that vocal mesmerism. The merger of the two is a towering wall of almost savage intensity and greed veined by elegant and transfixing melodic beauty. It is a masterful merger and thrill aided by the dual switching vocals of Pierce and Lufkin.

Across the lively funk appetite of Pretending within a more reserved cage, things take another pleasing turn of variety and adventure. As the twin vocal attack take their turns to express the narrative things brew up in energy and stance to explode in a rumbling rhythmic and feisty dance of pop excitement. As the album, the song twists and offshoots into further engaging looks and exploration whilst holding clinging to its spine driving destination. The track does not ignite the same strength of fires as previous songs but still enthrals and opens up a well of thoughts and emotions with its invention and unpredictable ingenuity.

Through the wonderful instrumentals of The Chill House, a piece which is as meditative as it is an itch upon the senses and Look See Dream Me with its immersive temptation the sun of the album discovers its easiest yet warmest hold whilst the folk swagger of Las Gentes Interesantes is like the rising sun, hot, enchanting, and easy to bask within without any resistance offering objection. Admittedly the ‘quieter’ latter half of the album does not quite inspire the height of ardour as the first but with songs like this there is never a moment not to acclaim.

With a final highlight in Contessa and a return of those big sinewy rhythms framing the ever stunning vocals of Lufkin as well as a sonic tango of riveting and interplaying melodic expression and invention, before the pulsating closer Warm Hand in Narnia, the album is a striking and deeply satisfying endeavour. It takes and needs time to reveal all of its glories and purpose but Candela makes sure the rewards far outweigh the effort.

https://www.facebook.com/miceparade

8/10

RingMaster 15/04/2013

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Sound Of The Suburb: Self-Titled

Formed in late 2005, North London band Sound of the Suburb has earned a good reputation around their local area of East Finchley for their enjoyable live shows of cover songs. A ‘pub band’ of the finer persuasion, their energetic performances has brought strong responses and an equally firm fan base their way not only to their versions of classic songs but also their self-penned compositions which they brought into their shows since 2008. Now with a collection of only original songs the band is releasing their debut album, a release packed with variety and fun.

Based in Hampstead Garden Suburb (The Suburb), the quintet of vocalist Rafael Landicho, guitarists Chris Berlingieri and Martin Ross, bassist Steve Phillips, and drummer Mike Solomon, wear their influences and tastes on their sleeve and openly within the songs on their album. The release rather than mixing up essences of rock, pop, rockabilly, and folk rock into a distinct and unique sound prefers to devote individual songs to one flavour which works as well as it fails. The result is a release which feels like one of those old Top of the Pops record compilations where some songs persuade the passions and just as many do not. The album is like one assumes their live shows, a record catering for numerous tastes with at least one song but lacking a real identity of its own. Despite that it is a lot of fun and raises numerous smiles along the way.

Opening track Take A Chance immediately woke up the ear and passions with its rockabilly stroll within a classic rock n roll presence. The guitars jangle and tease with accomplished mischief whilst the bass romps with a heavy lilt and with the smouldering guitar solo mid song it is a pleasing and satisfying start. With the flavour it is steeped in a favoured treat here hopes were high for the album but instantly dashed by the following ‘70s Girl. The first single from the release, the track is a classic rock soaked companion with a punk edged chorus ripped from the late seventies though the exact source escapes as this is written. With dulled cow bells and blues drizzled guitar the song is an accomplished and catchy encounter if lacking a spark to really lift it to greater heights especially alongside its strong predecessor.

One of the biggest flaws upon the album is the vocals sad to say. Though the first two songs suited the style and voice of Landicho others such as Run Against The Wind and Missunderstood suffered from his flattened and at times weak delivery. With reflection and a different approach it is not a defeating problem but does on the album defuse the promising strength of some songs. It has to be said though on the opener and the endearing folk tinged The Ballad Of East Finchley he equally adds to the stronger engagement as the sounds.

Further tracks like Power Of Attorney and Salvation fall short of hitting the mark whilst still being decent enough songs to please a pub or party audience who want to have fun and entertainment, something to be fair the album as a whole easily succeeds in. Splitting the pair is the best song on the release, I Gotta Know (Twangy), another rock n roll treat with rockabilly urgency. With a potent Eddie Cochran tease to its exhilarating presence it, along with the first song, suggests this is the area where the band should explore as it is no coincidence that the really exciting and successful moments on the album, where it truly comes to life, are rockabilly stemmed.

      Sound Of The Suburb is an album which may flounder for many but equally could find a greedy appetite in others especially if they are looking for, like the band provides live, a great backing soundtrack to a party of some sort where attention is divided in many directions but the body wants to feel accomplished eager sounds to dance to.

Website: www.soundofthesuburb.com

6/10

RingMaster 23/03/2013

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Argonaut: Self Titled

    From its first gentle kiss the self-titled album from UK indie band Argonaut never relinquishes its spell on thoughts and emotions not to forget holding an unbreakable grip on the ear. A shimmering sun of evocative ambiences and provocative warmth, the album immerses the listener in ethereal elegance and persuasive imagination whilst quietly enslaving the passions.

The quintet from London state influences as the likes of Sonic Youth, Garbage, Hole, The Pixies and many more, essences which whisper loudly from within the ten track release. To those you can also add the likes of Propaganda and The Sundays as a strong eighties wind blows from within their invention, as well as from the now The Mouth Of Ghosts. Argonaut holds their own distinct stance though despite the rich spices and over recent months has begun to truly catch the imagination of a widening awareness awaking to their creative sound. The band were signed up by Criminal Records for the release of their recent single and album, the band gaining interest on the London ‘toilet circuit’ whatever that means but surely nothing as seedy as imagination dares think up.

The album begins with the single Monet, a song which invites the listener into its arms with a brewing resonance with glowing bass caresses drawing in fiery guitar sonics and the golden voice of Lorna Lyons, her voice a temptation impossible to refuse. Guitar spires light the magnetic ambience of the song whilst the infectious chorus seductively nuzzles the senses, the track itself working under the skin and submerging the emotions in a sunset of aural colour to reap the fullest ardour from its recipient.

The following Touch Electric opens up its sinews, the bass a grumbling prowl around the ear whilst electro cascades light the way for the guitars to flash and graze across the heart of the song. Occasionally a B-52s flicker winks in the pop tease of the song whilst within its scintillating coarse surface and almost childlike vocal tones the likes of Daisy Chainsaw mischievously peer out. With a grunge feistiness to its encounter the song instantly shows a depth to the songwriting and invention of the band and a continuation of their skill to enchant and enthral.

More Life and 2 Lights continue to show a variety and skilled invention from the band, the first a smouldering stroll through a weave of sonic beauty and melodic grace steered with raw energy and blistered intensity whilst the second works on the passions with a persistent bass lure and niggling guitar barbs. The vocals scorch the heart with their lush allure and all combined with creeping shadows skirting the finesse of the song, there is a Breeders/Belly enticement.

The latter part of the album immerses into an even deeper dreaminess with enveloping sounds which arguably elude reaching earlier set heights on the album or sparking raging fires inside but the likes of the delicious They Can Bury You, the haunting Spectres where Lyons is at her most Clare Grogan-esque, and the alluring Chemistry never fail to leave an eager thirst for more quenched.

Amongst these songs there awaits the further triumphs of Vintage Dress and the closing track Sleep Tight. The first is an entrancing sway which takes no time in offering influences of The Cure through the bassline which has cheekily been cloned from A Forest but is just irresistible so all is forgiven. The song itself saunters with beacons of melodic grandeur pervaded by encroaching shadows, the result a pulsating bewitching that holds the listener lovingly whilst gently passing over dark emotive tinges. The final song is also a darker companion but one which fuses shaded emotions with a compelling luminance. Like the most rewarding enchanting dusk that any day could offer the song allows the album to leave on a warm breeze which beckons an immediate return.

Argonaut with their album confirms that the buzz around them is more than justified whilst suggesting the band will reach greater more impressive heights over the near horizon. This is simply an album not to be missed.

https://www.facebook.com/argonautband

http://argonaut.info/

8/20

RingMaster 14/03/2013

Copyright RingMaster: MyFreeCopyright

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