Spooky Jefferson’s Ideal Lunchbox – House of Dolls

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Ever wondered what the warped and twisted offspring of Madness, Oingo Boingo, and Mr Strange would be like? Then welcome to the dark ska-deville world of Spooky Jefferson’s Ideal Lunchbox.

Entwining the revelry of ska with the insatiable temptation of psychobilly and dark hearted vaudeville theatrics, Spooky Jefferson’s Ideal Lunchbox is an irresistible incitement to question your sanity to. Hailing from Tyne and Wear, the septet is a full on drama and irrepressible mischief which through their new five track EP takes ears, imagination, and passions on a non-stop mystery tour. House of Dolls is a thrilling proposition which makes you wonder why ska and horror has not prolifically mixed before. Better late than never though, and if you are enjoy walking with the dead, aliens, and the kind of fantasies only the mind of Tim Burton can conjure, all to the swinging sounds of devilish invention then this is a band for you.

The opening of Spooky’s Lunchbox sets the Graveyard Calling released EP, a UK-based cassette/digital label, off in fine riveting style. A lone piano offers its haunted expression initially to tease thoughts and nudge the imagination. It has coveran air of a dusty run down theatre holding a steampunk breath of old and modern. The instrumental soon has the senses and thoughts embraced in its noir bred shadows, the keys continuing to evocatively colour the scenery under melancholic sax lighting. It is a mesmeric enchantment which leads straight into the celestial charm of Aliens. It is a coaxing soon immersed in a ska driven stomp, the steady rhythms of drummer Raggz Chandan hand in hand with the dark lures of bass cast by Rob Carrol enslaving an already firm appetite for ska. It is barely seconds before feet are jerking in unison with the jagged riffs of Allen Humes whilst the delicious expressive keys of Davie King incites ears and the flaming sax lures of tenor sax player Dean Wiseman and Ben Creaser on alto sax take care of the imagination once again. It is a gloriously striding song which if you ask us is basking in the attention of its alien abductors and their invasive investigations. The vocals of Kieran Jobling have a rawer less polished feel, his expression flirting and enhancing the drama of the scenario and song perfectly. At times the song apart from those earlier references has an essence of Mojo Fury about it and also for unsure reasons eighties punk folk band The Dancing Did. As eccentric as it is virulently infectious, the track is a riveting adventure which is as impressive crooning as it is running with nostrils flaring.

The following Do You Know? is another breath-taking instrumental dance, this complete with manic chuckles and demented urgency. Like Night Boat To Cairo off course and going through the tunnel of a Ghost Train, the track is inescapable bait for body and soul and it is a sad parting as it drifts into Freak Show. The track soon creates its own unique and seductive adventure though, to hold all attention and thoughts. Adding a carny like atmosphere with Jobling like a side show barker, the band writhes suggestively with its inventive bedlam of lyrical intrigue and musical unpredictability. Like the final blast of devilry for lost souls, the song’s finale is a crescendo of wanton melodies and lustful rhythmic lunacy which could be a distant cousin to those found in Cardiacs.

The title track brings the release to a close, a sonically sepia piece of drama linking it with its predecessor before the song dances into ears on its melodic toes led by another delicious tease of piano. Veering to the more folk side of sound, think Tankus The Henge, the track strides with an air of knowing that it has the listener in the cups of its hands. Melodies sway and caress whilst rhythms swing with a robust tenacity, and as for the brass they croon with a slightly melancholic breath to complete the soulful yet haunted landscape of the song.

With a healthy diversity and compelling drama across its tracks, House of Dolls is pure pleasure, especially if a rich dose of ska and theatrical madness is a tasty brew for you. Spooky Jefferson’s Ideal Lunchbox is not exactly creating a new style of music but they are certainly crafting a template as yet undiscovered.

House of Dolls is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/house-of-dolls digitally and on very Ltd Ed Silver-screen grey cassette.

www.facebook.com/SpookyJeffersonsIdealLunchBox

9/10

RingMaster 28/08/2014

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Gorilla Punch Radio – Self Titled

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Embracing a wealth of rock spices and varied flavours, Gorilla Punch Radio on the evidence of their self-titled debut album, tries and succeeds in making every song a slice of impacting revelry whether they are crooning the emotions or making irresistible incitements to feet. Offering ten tracks which leave lingering impressions with their tenaciously crafted and presented exploits, band and album makes for one attention grabbing, ear pleasing introduction.

Hailing from Leeds, the quartet of vocalist James, guitarist Boothy, bassist Sam, and drummer Paul, from the little you can find out about the band online, formed the band at least three years ago and have certainly honed their sound over time to a thoroughly magnetic proposition. Taking inspirations from the likes of Kasabian, Red Hot Chili Peppers, Foo Fighters, Coldplay, James Brown, Radiohead, Green Day, Muse, Nirvana, and Michael Jackson and more, many which can be heard as spices within the album, Gorilla Punch Radio parade a maturity of musicianship and songwriting which suggests experience and definitely imagination is ripe in the band.

The album opens with the single Bragging Rights, a storming stomp of a song which alone has sparked an eager interest in the band. Fiery riffs warm ears right away before the equally appealing vocals join firm rhythms in building up 884477_505528759557315_2743931573666742889_oan attention awakening start to the song. In full swagger, the track finds a blues breath to its melodic endeavour and garage rock urgency to its stride, infecting the imagination and emotions like a horny mix of The Stones and The Killers. It is a richly contagious start to the album ensuring appetite and satisfaction is at a high ready for the following adventures.

Pick Yourself Up, the second single from the album, comes next and instantly swings a mellow tone over the senses, acoustic enticing and again the impressive vocals of James caressing ears with reflective expression. The song soon lifts its feet for the feistier engagement of the chorus whilst the earthy yet elegant croon of the song continues to embrace thoughts. The song is a gripping proposition which gains strength with every listen, much like the album. With bulging beats and group harmonies pushing its climax to greater potency, the excellent track makes way for the melodic rock stroll of I’ve Got Your Back. Though the song does not quite match its predecessors in presence and magnetism, it is a lively proposition blessed with a jazz funk jangle and sultry flames of guitar but it is it’s the rousing quality which the band instil in all their tracks, even the ballads, which steals the imagination.

Starting with a burst of sixties garage rock, thoughts of The Monkees swiftly hinting, Burn this City to the Ground erupts in a blaze of raw rock ‘n’ roll with hooks and riffs creating a scintillating tapestry. The track stands like a union between the more mod like rock of The Who and Secret Affair and the stronger blues bred enterprise of a Bad Company. The track continues to twist and turn with relish in its invention and passion in its expressive colour. The bass provides its own sublime throaty temptation whilst the magnetic guitar craft of Boothy simply ignites the track further for another major moment of the album.

Both Shadows and Follow You wind things down a little, certainly against the previous treat, but each immerses the listener into scenery of down to earth life and emotion. The first of the two glides with another impressive acoustic seduction aligned to reserved yet pungent rhythms which punctuate the evocative vocals and their lyrical narrative. There is an intimacy to the track, as many on the release, which draws in thoughts and connections. The second of the pair has that same charm as it bewitches from the start with a slow brooding expression and sound before erupting in a folk seeded romp which swiftly has feet and emotions waltzing with its punchy persuasion. A song which you could not dislike if you tried, it adds another string to the creative bow of Gorilla Punch Radio and texture to the album.

As does the excellent funk festivity of Tease, a sultry boogie primed for personal and dance-floor use. With a gnarly tone to the bass as flirtatious as the melodic vivacity and Red Hot Chili Peppers like rhythmic agitation, the track is an addiction waiting to prey on body and soul. It is a powerful weapon for the album emulated by the smouldering melodic flight of Breathe, its glowing melodies and enticing vocal harmonies absorbing hues in a riveting weave of emotional and sonic exploration.

The album is brought to a close by firstly the climactic power of Song for the Underdog, a track with thumping rhythms courting a compelling anthem of strenuous riffs and incendiary hooks. It is a glorious call to ears and passions, the best track on the album and incredibly virulent in every individual casting of the band’s lines as well as their combined explosive ingenuity. It epitomises the band’s songwriting, huge hooks and binding grooves locked into expressive and intricate invention. It is followed by Jane, the song another mesmeric ballad where vocals and guitar simply shine. To be honest the big sinew busting songs from the band have the edge for personal tastes but there is no escaping the elegance and beauty of their balladry or its persistent suasion.

Gorilla Punch Radio is a band you are destined to come across time and time again, as they can only get even better which is a truly exciting prospect after the impressive triumph of their album.

Gorilla Punch Radio is available now @ https://itunes.apple.com/gb/album/gorilla-punch-radio/id888458114?ls=1

https://www.facebook.com/pages/Gorilla-Punch-Radio/126158307494364?ref=h

9/10

RingMaster 28/08/2014

Copyright RingMaster: MyFreeCopyright

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

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The Courtesans – Genius

Photo by Janet Reidman

Photo by Janet Reidman

A dark seduction which wraps ears and imagination in a sinister embrace of sultry pop beauty aligned to a doom bred haunting, Genius the debut single from UK quartet The Courtesans is a blissfully captivating introduction to the exciting London band. A flame of smouldering enterprise and magnetic elegance, the song bewitches from start to finish. It is a temptress of vocals and melodies aligned to a climactic heavier rock breath and alone a spark to want to know and hear much more of the band.

Formed in 2011 and consisting of vocalist Sinead La Bella, guitarist Saffire Sanchez, bassist Agnes D. Jones, and drummer Victoria Brown, The Courtesans explore the realms of eroticism, feminism, sexuality, passion, and equality amongst a host of inspirations in their songs. Ahead of their album 1917, the band’s new single makes the perfect temptation and awakening caress for their full-length proposition breeding an inevitable impatient anticpation of its delights.

From its first breath, Genius is coaxing ears with a peaceful yet humid atmosphere which soon boils up into a more intensive gothic kissed, doom bred climate. It remains an elegant start though; Sin’s vocal seducing an alluring welcome which also furthers the more haunted essence of the song. Through floating harmonies and emotive keys the song envelops and grows within the imagination. There is further drama too as the blossoming chorus provides a pungent sunspot of crystalline pop and evocative melodic colours within the more restrained but no less warm and emotionally humid landscape of the song.

Genius is a gorgeous slice of pop brewed melodic rock, a canvas employing an array of flavours to create a portrait of passion and emotive adventure. Roll on 1917 we say.

Genius is available now @ https://itunes.apple.com/gb/album/genius-single/id906430316

http://www.thecourtesans.org/

9/10

RingMaster 26/08/2014

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Band of Holy Joy – A Place Called Home

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

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

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

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

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

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

8.5/10

RingMaster 26/08/23014

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Cole Childers – Aurora EP

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Providing an intriguing and seriously captivating blend of hard and alternative rock with also a slight tendency for metal, the Aurora EP is one of those potential soaked treats which catches you by surprise and opens up a certain appetite for more. The debut solo release from Cole Childers, the impressive six track encounter is a bed of drama and evocative enterprise which roars and seduces with equal potency. It is not a proposition to explore new avenues for fiery melodic rock but certainly one making a tasty addition to its ranks whilst marking Childers out as a striking presence to contemplate and keep a keen eye on ahead.

The Bainbridge Island, Washington hailing, now Seattle based musician brings his experiences from being a member of the United States Navy since 2000, as well as other personal moments and insights into his songwriting, lyrically and in sound songs gaining a dark and often challenging texture to their incitement. Returning from a six month deployment in 2006, Childers formed rock band Chasing Corona which released the critically acclaimed album Black Eye and Candlelight as well as going on to share stages with artists such as Motley Crue, George Clinton, Creed, and Joan Jett. In 2010 he left the band and also since leaving the military, found in his words that “I was able to move back to where it all began, with new purpose and clear direction.”

As soon as the opening track from Aurora embraces ears there is recognition of that passion you sense in the man running through the release in sound and vocal delivery. Save Me straight away casts a wall of demanding riffs and ImageProxy.mvcrhythmic swipes which awaken attention and imagination instantly. It is a feisty entrance by the song which is soon entwining senses in taught grooves before relaxing into a melodic and emotive caress clasped by evocative shadows. It is a fiery relaxation though which is soon aflame as the rigorous chorus erupts with similar vocal causticity from Childers. It all combines for a gloriously magnetic lure aided by the great throaty prowl of the bass and those firm swinging rhythms which punctuate every twist and emotional expulsion of the song. As lyrically gripping as it is in sound, the song is like a mix of Johnny Wore Black and Sick Puppies, and a scintillating start to the release which alone fires up a hungry appetite for more in the passions.

Childers latest single comes next to continue the immense presence of the EP, Fall With Me also entangling the senses in raw and strongly imposing scythes of guitars at first before Childers begins unveiling the emotively striking and stirring premise of the song. It along with an accompanying video, potently tries to portray the turmoil and sacrifice in war which goes unrecognised or certainly felt by those on the outside. It has a metal edge which makes for a predatory essence whilst a 3 Days Grace like angst and expression adds further rich hues to the incendiary and thrilling encounter. There is equally a skill and poise to the musicianship of Childers which hones the emotion and aggressive flavours that drive the heart of the song into a thought sparking proposition.

The evocative balladry of Addict is next, keys and voice making a captivating embrace which flourishes further as Childers explores a flowing harmonious presence whilst embraced by shadow kissed strings. An electronic agitation adds its resonance across the brewing climate of the song, a whisper of Linkin Park spicing up a Pearl Jam/Breaking Benjamin like croon. It is a mesmeric blaze of dramatic enticement which makes way for the tempestuous air and energy of Run Away. Again Sick Puppies comes to mind as hooks sparkle and riffs rub their captivating bait on ears whilst a raw energy colours the song’s emotional bellow. As with all the tracks, there is an inescapable contagion and ferocious beauty which wraps and ignites the imagination whilst forming a lingering lure in the passions.

The EP is completed by firstly the heavy rock fuelled Impossible, a track which lacks the spark of its predecessors yet still has plenty to ensnare and draw back eager attention, especially the potent and increasingly impressing vocals and expression of Childers. It is followed by the title track to being things to a potent close. The acoustically cast track looking at a broken relationship and its twist, is a smouldering caress of a song where vocally Childers again shines and melodically is an evocatively flaming sunset of sonic richness and emotive endeavour. It is an excellent finale to an outstanding release which just gets better with every listen. As mentioned at the start, Aurora is not setting new plateaus to emulate but definitely provides one captivating promise drenched adventure which suggests to expect big things from Cole Childers ahead.

The Aurora EP is available now via Vanity Digital Music on iTunes, Amazon, Google Music and other digital download sites.

colechilders.com

8.5/10

RingMaster 13/08/2014

Copyright RingMaster: MyFreeCopyright

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Tree Dwellers – Midnight Sixteen

Tree Dwellers Logo

After the release of their widely acclaimed debut single Come Up and See, Manchester duo Tree Dwellers provide another intriguing and captivating enticement in the shape of new song Midnight Sixteen. Brewed from the same striking and vibrant fusion of electronic endeavour with rock tenacity and funk revelry, the new single explores an even more immersive and suggestive landscape of sound to keep the imagination and satisfaction busy.

The father and son pairing of Mark and Jake Haslam, Tree Dwellers take their name from the mythical meaning of their surname “he who dwells beneath the bough of the Hazel Tree”. The duo spent five years honing their sound and experimentation and swiftly earned eager responses and attention with the aforementioned debut Come Up and See. That and the new track shows an intricacy and care which openly reflects the time the band spends on their creativity, each texture and layer set within and given the most potent and expressive colouring aligned to adhesive infectiousness.

Midnight Sixteen opens with a percussive dance which instantly recruits ears and thoughts, its shuffling revelry swiftly joined by a melodic coaxing of guitar and a vocal sample. The track soon immerses the imagination in a night lit adventure, sonic colours and melodies drawing in the imagination and senses as crisp rhythms and provocative keys accentuate a vivacious glide around a social hive of activity. It is a piece which can be interpreted with a new slant every time but always the song sweeps emotions up in a refreshing and vibrant enterprise which reflects a fascinating landscape of sound, life, and emotion.

If pinched to make a choice Come Up And See provides the strongest contagious bait out of the two singles but Midnight Sixteen pushes the emergence and creative adventure of Tree Dwellers into another enthralling and richly pleasing proposition of its own, an incitement which has ears and appetite licking their lips greedily.

Midnight Sixteen is available now.

https://soundcloud.com/tree-dwellers

https://www.facebook.com/pages/Tree-Dwellers/1432174900357297

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

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