By The Rivers – Self Titled

Initially persuaded like so many by previous single Take Control that the 6 strong original new age reggae band By The Rivers was a unit which just had to be watched closely as their fresh and soulful melodic craft to grew into even greater things, the release of their debut self-titled album confirms and enhances all those previous thoughts and emotions. The eleven track release is a stroll through the heat of summer with all the warm caresses of the sun and the heart at tantalising play in its tender and emotively engaging arms. It shows that the previous single and releases were mere appetizers for the seductive feast of sound and invention to follow, a record which easily confirms all the acclaim and eager declarations surround the band since forming.

Formed in 2010 by friends since birth, Nile Barrow (lead vocals/guitar) and Jordan Birtles (drums/vocals), By The Rivers honed and sculpted a unique sound fusing a weave of reggae/ska/soul/afro-beat, all flavours igniting a driving passion in the duo. The cultural aspects of the sounds also aided to the influences as the pair began writing songs with a social commentary as well as just as potent love songs and positive takes on things that affect the youth of today. Joined by Matt Willars (bass), Sam Read (keys/guitar/vocals), Will Todd (Tenor Saxophone), and Leo May (Trumpet), the Leicester band was no stranger to acclaim from their first steps into view. Within their first seven gigs the band was lined up to play alongside the likes of Dawn Kinnard, Neville Staples, Fun Lovin Criminals, and Toploader, sparking an appetite within promoters and venues for their distinctive and refreshing sounds. The first year continued with the band sharing stages with the likes of The Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, and The Specials whilst continuing to earn impressed responses from people such as  Lynval Golding, guitarist and vocalist of The Specials/Fun Boy Three who declared “They are the new The Specials”. Their two EPs drew press and fan acclaim with debut single One Word and its successor Take Control both like the album released via Kompyla Records sparking up a strong anticipation for the album, a hunger which is easily fed.

The album opens with the instantly magnetic Vulture, the song a melodic blaze of vocal harmonies and expressive seduction from the off, even before the music adds its compelling swagger and elegance to proceedings. An energetic but respectful romp which holds the ear and emotions by the hand as it dances across the brass flames and flashing guitar strokes, it is as infectious as it is lyrically provocative, the vocal persuasion of Barrow and co as irresistible as the perfectly sculpted melodic teasing and narrative colouring the intent of word and voice. The full combination is simply a magnet for the passions and senses setting the album off on the perfect start.

The following Make Your Own Road lifts the immense start to another plateau of excellence and steals one of the top honours spots on the album. Heralded by a restrained but bright brass call the song is soon offering a sultry stroll of deep throaty bass lures and group vocal calls as the chorus opens up the scintillating encounter. As the guitar picks and plucks the greedy heart the trumpet and sax offer a defined wantonness which enflames an already brewing ardour incited by the vocals and deliciously emotive bass sound. Every element of the song is passionate and expressive, each aspect an individual tease and narrative in tandem with each other and in union a piece of melodic alchemy which lights up every shadow and corner of thoughts, heart, and the day.

After such an immense start there was bound to be a dip in temptation but if there is it is barely recognisable as the likes of This Love, You Got It Wrong, and Don’t Look At Me with the aforementioned Take Control slipped in their midst, enchant and evoke further pleasure. Certainly the songs do not reach the same elevation of the opening pair but with the beauty of the first of the four a radiant kiss upon the ear and the persuasive ‘call to arms’ of the single with its deep temptation lined coaxing just two outstanding moments from this part of the album alone there is no slip in its fascination and strength.

The album ends as powerfully and contagiously as it begins with firstly the irresistible Rise Up stroking the ear into an enamoured rapture with its reggae honed siren call and brass fire erupting to deepen the temptation and soon matched by the Caribbean soaked rhythmic/melodic tango of Run Home, a song with an eighties whisper which reminds of Haircut 100. The closing pair though almost steal the whole show with the sweltering allurement of Don’t Say You Love Me raising the temperature with an epidemic cursed melodic enterprise and the closing Rocksteady a thrilling crescendo of ska shaped melodically grooved splendour to what is a stunning album.

By The Rivers, band and album, is a treat the summer of this and every year hence forth will adopt as its mesmeric soundtrack and the heart as its long lasting invigorating companion.

http://www.bytherivers.co.uk

9/10

RingMaster 07/05/2013

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Pigbag: Year Of The Pigbag

    The presence of UK Funk Afro-Jazz combo Pigbag may have been a short burst of energised time in the early eighties but they certainly left a lingering and impacting legacy with their song Papa’s Got a Brand New Pigbag, a piece of music which has continued to bring agitated life to feet and emotions. Releasing two albums between 1980 and 1983 as well as touring extensively across Europe, Japan and the United States, the band disbanded in that final year due to musical differences. In its time the Bristol based band certainly brought a breath which invigorated and refreshed all areas from post punk to Jazz and funk to pop, their sound effortlessly find a welcome in a wide genre spawn and eager fan base. A band which apparently was banned from Top Of The Pops for trying to bring fun to their performance, Pigbag return thirty years later with their third album and certainly time has not dampened their creative enthusiasm and potency to seize senses and limbs and make them join their vibrant cause.

The band reformed in 2011 with founding members Chris Lee (trumpet) and Ollie Moore (saxes) as well as another original member in Kofi Adu (Congas/Percussion). Bringing in a quintet of new equally minded musicians in bassist Sven Atterton, guitarist Max O’Donnell, drummer John Sam, plus Karme Caruso and Matt Dowse, keys and trombone respectively, Pigbag has released an album which fuses nostalgia and brand new essences into one pleasing and engaging melody doused encounter. Released on Bristol imprint Sugar Shack Records, the album without really igniting the impetuous mischief and irresistibility of their renowned single, offers an elegantly and relatively subdued yet passionate presence across its the collection of tracks which inspires a rich affection and compulsive hunger as strong as their earlier triumphs so magnificently achieved.

The album opens with the delicious Cuban Rice (Is Very Nice), a stroll through a balmy Latin soundscape with the seductive lures of rhythmic temptation and the deeply contented blazes of horn persuasion. It is an addictive dance for heart and feet which across its enthralling presence caresses entice, and pulls emotions to their eager to jive toes. The picky guitar teases which mischievously work behind the melodic fires and golden harmonies also bring not for the first time on the album, a ska seeded fun whilst bass, drums and percussion, enlist an instinctive rapport from start to finish.

Through the shimmering strut of Disco Mama with its seventies funk boast and electrified breath, and the intriguing Out of Chaos, the release continues to trip all the right switches to magnetise the senses and attention their way. The second of the pair is an evocative mix of crystalline ambience and shadowed mystique which opens its suggestive arms into another warm and provocative embrace before handing over to the similarly heated Tabula Rasa and its sultry saunter through inviting hazy climes and reflective sounds.

Each track on the album has its individual character but together it feels like a connected travelogue of passion and sun soaked imaginative revelations. The energetic Beluga steps forward next to generously samba with the ear before stepping aside for the biggest highlight of the album to leave its thrilling touch upon the passions. Jumpers for Goalposts takes its seeds one senses from the signature tunes of football shows in the seventies, re-inventing their whispers into something impossibly addictive. With a ska base which reminds of The Specials song A Message To Rudy, the piece is a joyful and energetic playground for fun to bask in the warmth of innocent times and melodic laughter. It is a wonderful romp which holds the ear and thoughts long after it has physically left their shelter.

With the remaining Brains with its sophisticated persuasion, the picturesque Honeydew Lady, the song a canvas for lush colours and sounds to conjure a romance tinged image, and the closing Afrodite on the Horizontal which for no reason other than the name and its free form essence reminds of the work of art Tony Hancock was ‘creating’ in the movie The Rebel, the band leave emotions and passions entranced. The thought of the return of Pigbag alone raised a little excitement but Year Of the Pigbag just re-ignites all the pleasure and joy which marked them the first time around with a craft and invention which arguably is them at their best yet.

www.pigbag.co.uk

8/10

RingMaster 25/03/2013

 

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The Vox Dolomites -The Dirty Work Tour 2012 Movie.

   

     UK band The Vox Dolomites has been making great impressions and strides within British and European music scene with their infectious and provocative blend of punk and ska. Their EPs and online released tracks have ignited eager and ravenous responses plus critical acclaim, all a confrontation of irrepressible sound found with equal passion in their outstanding energy sapping live shows. The Stockport quartet of Antony Walsh (guitar, vocals),Will Farley (guitar, vocals), Chris O’Donnell (bass, vocals) and Simon Dunnington (drums) since forming in 2011, has continued to inspire and ignite the passions of an ever growing fan base with no more potent a reception and enthusiasm than in Japan where the band is greedily and warmly followed. The Dirty Work Tour 2012 is a short film which covers a tour of the same name in the Land of the Rising Sun last October, an unobtrusive yet open recording of the band and their time which visually declares the passion and warmth inspired and felt by the band from probably the most energetic and enthusiastic fans any band could wish for, a passion it must be said the band readily returns.

The film is produced and recorded by Chalkman of Chalkman Video, a film maker from the evidence of this film alone who can be clearly seen as having an understanding of how music and emotions inspired can paint the fullest colourful picture. A musician himself (in punk folksters Paper Town and other bands before), Chalkman has already given a visual potency to The Vox Dolomites with their Losing Hands video as well as creating pieces for the likes of One Man Stand, Yo el Rey, and his own band, his musical side one suggests giving him an understanding on how to let things naturally tell a narrative through the music and its arguably larger than life persona.

As the opening credits hit the screen the voice of a Japanese flight crew member of the airline bringing the band to Tokyo welcomes passengers and viewers to the feast of visuals and sound ahead. The screen then splits into three with fans excitedly awaiting the band in one box alongside another showing the busy aspect of life and the cosmopolitan style of the country, both surrounding a live track from one of The Vox Dolomite shows. As the band explode with their impressive live presence, the clarity of sound of the show unleashing the full power and craft of the band, Chalkman keeps everything vibrant, intriguing, and magnetic by varying the splitting of the screen and the constant caress of images. At times it might be just a full screen look at the band playing and other times two or three simultaneously playing films of continued looks at Japan, its people, and fans side by side with live performance. The craft and skill within the film is that at no moment does this full helping of visuals over power, distract, or slip by, everything devoured by the eye with keen attention and appetite.

With live performances at various venues on the tour of songs such as Losing Hands, No Split Ends, Break Down The Walls, and Horrorshow, the film is a continual treat of live unbridled energy and passion from band and hungry fans which alone makes for a compelling treat for the eyes and senses but with the potent and diverse images of the country and its people, the film becomes an even richer documentary of The Vox Dolomites within the magnificent giant ‘venue’ warmly entertaining them. Particular favourite moments alongside the outstanding live performances, always a given with The Vox Dolomites, include the band recording a cover of the classic Menace track GLC at Roxy and Green Brew studios in Tokyo with Taizo Hayama providing the vocals, the array of stunning guitars designs shown at one point in a store, and the closing live track, a version of DREX song We Will Have Our Say which sees tour organiser Takumix Mitsuda leading the song with passion and unrestrained energy.

The Dirty Work Tour 2012 movie is a real treat and pleasure to watch, listen to, and return to over and over again. An honest and complete emotional canvas of sound and vision with no indulgences or ego, this is one music film which deserves all the attention it can and should get so go and hit the link right now… https://www.youtube.com/watch?feature=player_embedded&v=tuwjfClHZbU

www.thevoxdolomites.com

www.chalkmanvideo.com

10/10

RingMaster 05/03/2013

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From eager seeds to mighty sounds: the rise of Savage Henry

The musical journey for Colorado band Savage Henry and its members has been long and undoubtedly exhausting for a group whose seeds began with a group of teenagers who started out on a musical quest in 1994 as the band On Second Thought. The musical exploration and venture of the Denver band is still an expanding and growing experience with already plenty of highlights but as 2013 opens its welcoming arms the feeling that Savage Henry is standing on the precipice of a deserved wider reaching recognition is a strong warm wind in their creative skies.

From that summer the original members of the band from the those first days and those who joined as Savage Henry emerged in 2004,  earned their musical spurs through releases and hard work leading up to the band’s introduction through the album All In the following year. With a line-up of vocalist Damon Guerrasio, guitarist Stu Miller, bassist Ryan Morrow, drummer Mike Rice, and keyboardist Jeremy Lawton, the band found the impressive record strongly received record upon its debut in July 2005 at the legendary Red Rocks Amphitheater (part of the Film on the Rocks series) and showed the creative prowess and imagination of the songwriting was back to its creative best with extra instinctive flourish and rock passion to the new songs, though less of the previous ska and reggae teasing, though it still whispered loudly at times. Constantly rippling with great tracks like the wonderfully engaging Daisy, the tantalising Alive & Kickin’ where the band switches feet and styles with consummate ease and skill, and the feisty Monkey, the biggest highlight of the album, the release incorporated many essences and flavours into its pulsating passage The last of the three mentioned offered a potent Squeeze like warm rock pop beauty, just one compelling example of the thoughtful diversity within the release. It is a record which re-ignited the emotions the first album of OST sparked and more, its varied and riveting array of ideas and sounds going a long way to helping the band find themselves with again plenty of radio attention which included performances at Denver rock stations 93.3 KTCL and 99.5 KQMT amongst a full on charge of gigs and shows, over 175 including sharing stages with the likes of Cowboy Mouth and Better than Ezra to name a couple.

Changes in personnel occurred in 2007 with bassist Morrow joining fellow Denver band, Black Blood Orchestra and drummer Rice turning to solo projects. Replaced by John Jeffers and Mike Boyd respectively and with the additional joining of second guitarist Glen Esparza, the band sculpted another striking evolution to their sound for next album Step Lively which was unveiled in 2009. Again the even stronger rock voice of the band ignited the passions whilst the pop and ska breezes added extra relish to their increasingly potent music. From its very start with the magnetic Shot In The Dark and the immense Broken, the album is a wonderful storm of sinewy riffs and thumping rhythms entwined with a heated melodic majesty as well as a seamlessly fused intelligent caress of emotive and golden elegance in songs like Melody and Call On Me. The release also found a rich vein of pop punk to ignite certain songs as in the excitable and brilliant Unrequited and the equally scintillating Vice. Without doubt the album is the band’s finest moment to date and the strongest of many reasons why you feel the band is standing on the verge of breaking into that worldwide recognition.

Since the album the band has continued to make an impression on the radio and live, as well as having their song 300 Miles which was inspired by a terrible bus accident with a Fed Ex truck during a tour of the mid-west, licensed by Eddie Bauer and First Ascent ski clothing company to use in a video to advertise their clothing around the world from 2010-2011.The past year was noted for a video produced by the band’s passionate P.R. Manager Hal Jester, for the track Hero which was written to honour fallen soldiers and those that have made the greatest sacrifice for us, as well as generally a growing intensity in the media through blogs and radio play with the likes of http://www.audioburger.com. Their increasing presence thanks to the online drive of Jester has put the band in a prime position to make 2013 a major landmark in the eighteen year history of the band whilst news of new songs in the works has already raised the appetite and anticipation of all those to have discovered the band and their great sounds so far.

Savage Henry is a band everyone should get acquainted with and surely will over the coming months.

​http://www.savagehenry.net/

Pete RingMaster 02/02/2013

Copyright RingMaster: MyFreeCopyright

By The Rivers: Take Control

   

    Take Control is the new single form the highly rated UK sextet By The Rivers, a band which has already earned eager praise and a loyal following around their home town of Leicester and further afield. The single is a warm and vibrant blend of reggae and ska tinged enterprise which teases and caresses the senses into a warm and satisfied bliss.

Formed in 2010 by friends Nile Barrow (vocals/guitar) and Jordan Birtles(drums/vocals), By The Rivers has certainly been on a steady and rapid rise. Taking their passion for the sound, culture, and style of reggae and its roots, the pair soon recruited Will Todd (saxophone), Leo May (trumpet), Matt Willars (bass), and Sam Read (keyboard/guitar/backing vocals) to the mix. The first year saw the band venture into the live arena to rapturous responses and within their first seven gigs had lined up to support Dawn Kinnard, Neville Staples, Toploader, and Fun Lovin Criminals. The band was in strong demand with venues and promoters with the following year seeing the band support the likes of The Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, Neville Staple, and John Holt & The Specials. Their second EP repeated the success of their first with fans as did their debut single One Word, both earlier EPs receiving a full release as a single package in 2011, the release reaching second spot in the iTunes Reggae Album Charts, behind Bob Marley.

Released on Kompyla Records, second single Take Control shows with ease why the band is hailed as something special. Opening with pulsating bass strokes and gentle yet fiery brass calls the song is an immediate temptation, its heated elegance and sinewy heart an instant magnet for the ear. A musical infection sets in even before the vocals have a place in the scheme of things with the fine tones of Barrow and Birtles elevating the existing satisfaction to greater depths. Limbs are recruited before the willing passions, both without defence to the magnetic melodic wash and inciting passion of the song musically and lyrically. It is a gentle yet formidable coaxing, a persuasive ‘call to arms’ which engages on every level, voice and thoughts willing recruits to the heart and breath of the song. Our knowledge of reggae and its history is sketchy at best but the same emotion and pleasure spawned from the best moments of UB40 and the current enterprise and emotion of Onlyjoe is prevalent throughout the song.

The track is accompanied by a remix by Radio Riddler (Fast & Frank Benibi of Fun Lovin Criminals)of the single and the excellent acoustic version of the song Don’t Stand Alone. The remix is a more than decent engagement which lights different shadows and flames from within the original song whilst the last song is a deeply impressive and pleasing wash of acoustic guitar, melodica, and the again delicious vocals and harmonies of the band founders. A fresh and uncomplicated breeze of emotive energy and mesmeric craft, the track would have made an irresistible single all on its own, the living melodic and harmonic contagion quite delicious.

By The Rivers is on the verge of big things and Take Control the compelling persuasion that it will be sooner rather than later. Just starting a tour of England, this is a band which brings something invigorating musically and emotionally to UK reggae and melodic enterprise.

https://www.facebook.com/bytherivers

RingMaster 22/01/2013

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Molotov Jukebox – Bang EP

To incite the gypsy in us all and to make each day a summer blaze of enjoyment, the Bang EP from London sextet Molotov Jukebox is a stunning riot of infectious melodies, feisty hooks, and insatiable energy. Combining the heated elements of swing, jazz, ska, punk, Latin fires, and sultry rock n roll, or as they call it gypstep, the band ignites hungry fires within and a lustful urgency to share their irresistible melodic dance. Like a mischievous blend of Gogol Bordello, Sonic Boom 6, Mano Negra, and Bang Data, Molotov Jukebox set new unique adventures for the senses and weave delicious wicked teases to tempt and seduce the heart.

Bang is a revelation, a wholly refreshing and exciting release which continues the impressive creativity given and acclaim received by the band. From their singles Laid To Rest and Get Ready to their previous EP Double Dare, the six piece has lit up the passions with their sensational sounds. It is impossible not to be excited and exuberant when describing the band, and especially so with Bang, the four songs which make up the EP grabbing hold of limbs and emotions from first note to last whisking them in to a breathless and fulfilling contagiously melodic tempest.

First song Tick Tock instantly throws the senses into an enthralled and agitated frenzy, its bubbling tones eager and successful in inciting an immediate and energised reaction. The song steps back slightly in its energy as the alluring tones of vocalist Natalia Tena spread their warm and soothing flavour across the expanse of the song to provoke and a deep grin inside and out. Also known from her acting including important roles in the Harry Potter movies and TV show Game Of Thrones, Tena is simply mesmeric, a stunning singer who spices and elevates the songs as impressively as the startling imagination which conjures the sounds. With her accordion skills accompanying her vocals and the keen swagger of the song wonderfully, the track is a tender stomp which has one hypnotised and in mutual union physically and emotionally. At times the flaming trumpet cries of Angus Moncrieff shoot across the skies impressively whilst the sonic whispers which swoon within the song just invite further evocative thoughts and feelings to accompany the partying.

Trumpet flames spark the air again as Tena caresses the ear with sultry vocal fumes to bring Don’t Panic into view, the song simply bewitching from its slow entrancing initial introduction. It soon erupts into a full body of magnetic grandeur to burn the heart, with expectations of an orchestral epic, weight wise, rife. This band though do not deliver the expected and the song is within seconds a ravenous swagger of pulsating prods and wicked melodic taunts, the song winking its eye throughout and chuckling with sonic devilment. The song lifts and enlivens the senses with its swinging elegance and passion, the bass of Tom Wilson and beats of Max Burnett the instigators of mischief whilst the guitar of Adam Burke fire the rockabilly like romp with endeavour and skill. The song is stunning, a melodic furnace to devour and be consumed by brought through inventive imagination and inspired invention.

Give It A Go takes one deep into the Caribbean sunshine with Latin textures to thrill further. Impossibly catchy with the vocal additives of violinist Sam Apley running perfectly by the side of the ever captivating voice of Tena, the song has bits on board its listeners swaying which have no rights to be and the heart smouldering with adoration. There is a slight mariachi feel to the song to add to the diverse flavouring which leaves the soul breathlessly submerged in its contagious presence. By now subservience to the immense ideas, musicianship, and most of all glorious sounds is a sealed deal but the band still ensures the pleasure is a full event with the closing song.

Trying weaves in with a subtle gypsy punk coaxing which fires up into a fully vibrant festival of thoughtful melodics and enticing grooves. Yet another fiesta to swing hips and voice to, the song is a charismatic sunset with full glowing skies and emotive peaceful rays of light from its rosy setting sun. It is the perfect finish to a perfect release, the band and EP defying criticism or anything less than ardour.

Molotov Jukebox is a band all should have and need in their lives, the purveyors of warmth and instinctive pleasures to bring the deep rooted fun in all to the surface, and the Bang EP the vehicle leading to bliss.

http://www.molotov-jukebox.co.uk/

RingMaster 03/10/2012

Copyright RingMaster: MyFreeCopyright

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Janice Graham Band: Assassiner

Sometimes you just have to kick yourself at being so slow to discover certain bands whilst the mystery as to why is a frustration hard to erase but made up for with insatiable energy. Such is the case with the Janice Graham Band. The young band from Manchester has been pulling in great acclaim all year at the very least but it is with the release of their new single Assassiner that our introduction is made and as they say, better late than never.

The single is immense, a refreshing and ingenious song which is bursting with imagination and uniqueness from the heart of their musical home city and British eclectic invention as a whole. The song is a piece of brilliance, a wanton and wicked first meeting for all newcomers and the continuation of what came before for existing fans from their strongly and eagerly received debut album It´s Not Me earlier this year. The young quartet, averaging 21 years of age, have thrilled and earned nothing but impressive responses for their live shows along with their previous release. Now with the new single through Acid Jazz Records and taken from their forthcoming album, one can only expect the horizon, near and far, to be burning with big things for the band. All this from hearing one song you say…yes but what a song.

     Assassiner is stunning, a mesmeric and enrapturing piece of composition and imagination. It is a mesh of rhythms, textures and sound brought through a filter of ska, jazz, rock, hip hop, punk and more. Think Sonic Boom Six, Cypress Hill, Wu Tang Clan, Arctic Monkeys, The Specials, and nineties band Honky and you get a flavour of the quite delicious treat awaiting within the song. From its opening brewing breath around a throbbing pulse soon joined by a dark velvet bass croon, the song instantly draws full attention and lip licking anticipation. Bassist and vocalist Joe Jones prods and probes the senses with his accent driven swagger and lyrical sharing, aided perfectly by drummer Tom Scott and trumpeter Josh Hunt, whilst the guitar of Andy Morton is a shimmering heated and sinister breath amongst the dub heartbeats and electronic whispers, the sounds of Hunt bringing further character and atmosphere to the shadowed presence.

The song is a powerful and irresistible companion with a haunting yet hypnotic ambience wrapping its feisty and attitude lined masterful invention. It is rare to be stopped in ones tracks by anything these days, something which ignites emotions barely inspired by music today but the Janice Graham Band do it with ease. If you are looking for truly skilled originality and natural imagination then these inspiring young bucks will easily and fully feed your desires and more, just go and bask in their ingenuity.

https://www.facebook.com/pages/Janice-Graham/249549890595

RingMaster 16/09/2012

Copyright RingMaster: MyFreeCopyright

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The Vox Dolomites – Dirty Work: Japanese Tour EP

UK punk rock band The Vox Dolomites is a band which without fail ignites the passions with each release and every show they unleash. Earlier this year their debut demo EP came out to thrill and raise the temperature within UK punk, and immediately sent the anticipation for more from the band into fever pitch. October sees the next instalment of their creativity when the band releases their Japanese Tour EP, Dirty Work to coincide with a five date tour of the country. The EP is a Japan only release through Modernedge Records, but with the four songs within its vibrant body, as well as those which made up that first demo, to be re-recorded and included on their forthcoming debut album in the autumn, it is definitely worth covering and exalting about.

From Stockport, the quartet of Antony Walsh (guitar, vocals),Will Farley (guitar, vocals), Chris O’Donnell (bass, vocals) and Simon Dunnington (drums) came together as The Vox Dolomites in 2011, its members already ‘veterans’ at making good punk/rock music previously in the bands One Man Stand, The Leif Ericsson and Spiteful WayModernedge Records,. Their music is a feisty mix of punk and ska though ‘not combined in the same song’ the band is keen to point out. Whichever gait their songs do come they are created and delivered with accomplished skill, but it is fair to say the ska/ska-core sounds the band create do have a feistiness and attitude to them which is borderline ska punk.

The EP opens with the excellent Battle Scars, a song which fires up the engines from its first electric riff. The track is a bruising and hungry brew of eager energies and sonic enterprise brought with combative guitars, mighty rhythms, and passionate anthemic vocal harmonies. Fully infectious yet bristling with confrontational sounds to wake up and ignite the ear and passions, the track is a Rancid/ Hagfish/Dog Eat Dog like mix and arguably a slab of American punk though distinctly brought with a British flare. It is a mighty heart racing start which has one mentally if not physically, punching the air and stomping around in union with the track.

The following Frank And Joan shows the other side of the band, its warm ska caresses and addictive sonic strokes soon deeply sunk within the heart. As the guitars tease and fire up the senses with their choppy and heated play alongside the heavy rhythms and the absorbing bass tones of O’Donnell, it is impossible not to be swaying along with the swagger of the song and captivated by the unfurling grisly tale. The tonic for the soul sound of the keys light up every shadow within the song to further captivate and thrill, and though merely two and a half minutes company the song is a glorious mischievous companion.

The Human Condition steps up next, again with a ska driven breath within its eager to incite the passions riot. Smacking of the likes of [Spunge], Random Hand, and Mad Caddies, without distilling the distinct Vox Dolomites presence, the track is a storming rub to trigger the fires of sheer contentment.

The release closes with the excellent No Split Ends, a song which like an old not seen for years buddy comes at the ear with a familiar but fresh and explosive keenness. The most catchy of all the songs with its vocal chorus and magnetic chops of guitar and jabs of beats, the track is and ignites pure insatiable addiction. Imagine Face To Face meeting The Clash in a frenzy of ska spliced punk and you have the mighty triumph that is No Split Ends.

The EP is easily the best advert and teaser for the forthcoming album possible, a release which if it does not appear in the near future will have impatient riots on its hands. The Vox Dolomites are easily one of the most exciting bands in not only UK punk but its music as a whole, and with a preview track from the EP available to tease the heart, now is the time to make your introduction to a great band.

http://www.thevoxdolomites.com/

RingMaster 12/09/2012

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Black Hats: Austerity for the Hoi Polloi

To be honest when the songs from the outstanding debut album from UK indie rock band Black Hats graced the ear there was an instant thought it was a new release from Young Knives even though the CD said differently. As Austerity for the Hoi Polloi unveiled its full might and collection of infectious and striking tracks there was obvious that there was much more going on within the songs but there is no mistaking that the band which came to mind first is a big influence to Black Hats, which can only be a good thing.

From Oxford, Black Hats consists of Ian Budd (bass, vocals), Nick Breakspear (guitar, vocals) and Mark Franklin (drums, vocals). Eighteen months or so as a band has seen them consistently and increasingly grab attention as they unveiled new songs, grabbed radio play including a live session for BBC Introducing (Oxford), and released their first EP Magnets. With the release of their debut album Austerity for the Hoi Polloi, one can only see bigger and more urgent things coming to hound and throw acclaim at their door.

As the opening guitars shower the ear with crystalline melodies, first track You Make Us What We Are immediately has the ear offering full attention. With a slight ska lilt to the riffs the song pokes and insists the senses take notice as a delicious dark bass line meanders wonderfully through the centre. It is very Young Knives which made the double take at first but as the song plays and captivates more and more the distinct and different qualities of Black Hats is easily apparent. The song never ignites into a full out frenzied party but borders it closely to make a song which is deeply engaging and openly infectious.

     Death By Record bounces in next with a punk urgency and inspired melodic mesmeric teasing. Checking into the band before writing the review there were quite often comparisons with Gang of Four mentioned which the first song never suggested at all which had one wondering where they were coming from. Here there is a definite feel of that band which spices the flavoursome song, to which you can add essences of Maximo Park and Baddies too. By this point an affair with the inspired basslines of Budd has been nurtured, his reggae grooves and punk moodiness an easy and impressive meld.

Already the album is destined to only acclaim which Blood And Space with its jazzed bass invention and thoughtful structure only enforces and the following and amazing Impossible View ensures is an even greater affection. The best song on the album it is instant addiction. The rhythms of Franklin cage the sirenesque melodic conjurations which light up the ear and beyond. Breakspear and Budd dazzle with inventive play and the sax that strikes ingeniously is glorious. With its ska lined riffs and rhythms alongside its indie pop heart the song is a full pleasure.

Impending single Fall Out and current one Kick In The Doors complete the album just as impressively as up to this point. The first is another ska riffed, dub beat spined feast of post punk power pop. A mouthful but it brings it all into its excellent vibrant body. The closing Kick In The Doors with its acidic striking keys clasping and squeezing the consistently striking guitar and bass invention leaves one as the release ends simply breathless and with no option but to dive right back inside Austerity for the Hoi Polloi again. To be honest any song would be the perfect entry point into Black Hats but this track certainly scoops one up welcomingly in its irresistible arms of intelligent and articulate pop-punk.

Normally when a band reminds of another as closely as Black Hats did initially there is a doubt about them but this trio soon put all those thoughts firmly away with their skilled, inventive, and completely absorbing impressive sounds. There is a new energy for indie music starting and it is in the shape of so pick up Black Hats and their simply wonderful EP Austerity for the Hoi Polloi.

http://www.blackhatsmusic.co.uk/

RingMaster 30/04/2012

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The Nine Ton Peanut Smugglers: Drop Some Leg!

Sometimes a day just does not go to plan with frustrations bringing their mischievous devilment to taunt and obstruct whilst other times everything is blissfully on course and one can bask in warm glories and self pleasing satisfaction. For those days and anything in between one needs a soundtrack to feed and ignite the inner sun and inspire the reaction required to fight or fully enjoy. This is where bands likeThe Nine Ton Peanut Smugglers come in. They heat up the emotions and stir up the heart with irresistible sounds and feel good energy that is impossible to ignore or avoid. So with a collection of songs to fulfil any need meet the soul reaching pleasure that is Drop Some Leg! It is a pulsating re-energising array of Jamaican-style bluebeat and rhythm’n'blues songs with a concentrated dash of ska and more that leaves one pumped up and swaggering like they just won the lottery.

Now we will make no claims of knowing much about the sounds that have inspired the music of The Nine Ton Peanut Smugglers but we know what we like and Drop Some Leg! definitely falls into that category. The band is Oxford based and consists of the ubiquitous guitarist, vocalist, and song writer Sir Bald Diddley (Hipbone Slim and the Kneetremblers, Louie and the Louies, Sir Bald Diddley And His Right Honourable Big Wigs to name just three of his expansive list of exploits), drummer Bash Brand (Milkshakes/Headcoats/Link Wray/Holly Golightly), plus trumpeter AJ (Intensified/Laurel Aitken/Dave Barker/Dennis Al Capone and Winston Francis), trombonist Napolean Trombonaparte, Kid Wig on piano, Johnny Loafer on tenor sax, and  the double bass of ‘Later’ Ron McRobbie (previously of Sam Brown’s band). Labelled Oxford’s Skatalites’!! the band feed from influences such as the Skatalites, Prince Buster, Laurel Aitken, Derrick Morgan, Fats Domino, Huey Piano Smith, Rosco Gordon, James Brown and Ike Turner, to create tunes that makes one just get involved, music to elate and inspire the emotions with a smile on the face and grin in the heart.

If you were a fan of the late seventies/early eighties ska boom Drop Some Leg! is an exhilarating feast of sounds though the music of The Nine Ton Peanut Smugglers has a wider and more expressive depth which will please everyone. From the opening brass charms of If The Coast Is Clear the album lights up the ear. Ska guitars nudge and poke  whilst the piano strolls boldly behind bringing an instant engagement. Sir Bald lays down his vocals with a fifties blues rock n roll gait whilst the brass take the emotions on a hazy saunter into warm vibrant climes.

The sultry temptation of following instrumental The Elusive Mr. Kaplan takes the hand next leading one through a beckoning tease into the excellent title track. Drop Some Leg opens with a glorious throaty bass from McRobbie which instantly recalls the wonderful deep moody equivalent sounds of The Beat. The song transports one into a welcoming and sweaty smoke filled dancehall, everyone blissfully swaying and matching bodies in a relaxed mass exultant dance. There is nothing complicated about the music but not many songs sweep one up into an inner peace and wanton giving of their hearts as here, a reflection of the genre in general .

The foot provoking persistence of instrumental Bare Our Souls comes next to continue an eclectic mix of sounds with its jazz/soul stomp to be equalled by the likes of the captivating Everybody Ska with its obvious but irresistible jaunt through the ear, the brilliant instrumental Hugh Mingus where the band simply own the heart with its soulful emotive passion and imaginative craft, and the rock n roll blues gem that is Shot Full Of Holes. As mentioned the album is openly varied with these four songs alone coming from different corners and inspirations.

Every track on the album is an outstanding treat but the side by side Baldhead and Pempelem create the deepest affair. The first is just one of those sing-a-long triumphs that has one engaged within a few notes, its cheeky amble though the ear picking up emotions like hitchhikers to drop them off at a party of pure elation. There is no way if you have a pulse you can resist joining in with the chorus and vocal returns. Pempelem quite simply takes thoughts and feelings downtown into another inviting house of hungry and insatiable warm sounds. The song swings with and seduces with clean and rousing musical passion.

    Drop Some Leg! is pure pleasure, an album to turn every day into one of joy and stirring animation. Place The Nine Ton Peanut Smugglers on your daily soundtrack right now and feel the warmth and energy wrap around you.

RingMaster 25/04/2012

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