Sleaford Mods – Chubbed Up +

Photo by Sergio Albert Fish

Photo by Sergio Albert Fish

If you have yet to make acquaintance with the acerbic and snarling charm of UK duo Sleaford Mods, then Chubbed Up + is a must. Released originally in February this year as a digital release, the album is now receiving its physical unleashing via Ipecac Recordings, and makes an inescapable and irresistible doorway into the antagonistic world of the band. As the earlier unveiling, the album is a collection of tracks making up the bands recent clutch of singles but this time with an additional trio of unreleased songs. Following the acclaimed seventh album Divide and Exit which hit the senses this past April, Chubbed Up + reminds that there has been a long-time impressive assault and presence to the Nottingham provocateurs which may have slipped many by until this year.

Sleaford Mods is unique, a proposition which can be best described as Swell Maps and The Fall meets Pop Will Eat Itself driven by the observation and caustic lyrical ire of Mark E Smith; yet it is different and individual again. This is probably a band which seduces or alienates, it’s strikingly individual and fury fuelled provocation manna or poison for ears and emotions, but it is a challenge which has to be met face on to know your fate. If they hit the spot it is a long term allegiance which as their albums keep showing, just gets more potent and tightly gripping.

The emergence of Sleaford Mods came in 2006 when Jason Williamson drew on his frustrations with life and society to breed a verbal and lyrical causticity which he honed over the next months. A couple of years in London saw him hit the live scene before in 2009 returning to his home of Nottingham and subsequently meeting and uniting with Andrew Fearn in the band. By this point Sleaford Mods already had four albums under its belt but the fifth, Wank, was the first drawing on the lyrical and vocal fire of Williamson aligned to the musical and sample imagination of Fearn. Its success only led to greater invention and acclaim as Austerity Dogs in 2013 and then Divide and Exit has shown. Now like a stock take and reminder of the bands smaller but no less incendiary minimalistic brawls, Chubbed Up + is a call to new and extra treat for existing fans.

Sleaford Mods’ sound is a two prong attack, the lyrical scathing and vocal belligerence of Williamson in league with the predatory rhythmic seduction of Fearn. There is more to the band’s proposals but that is the dual prime bait as shown by opening song The Committee. One of the brand new songs, it snares ears straight away with a gnarly bassline which alone steals the imagination. With vocal sways inviting equally intimidating beats, the song soon embraces the stirring and raw tones of Williamson. A mix of speaking and rapping, his delivery has a great John Cooper Clarke monotony which swiftly binds attention so that every syllable and word is tightly gripped, yet it does not defuse the equally pungent Sleaford Mods ipc-162lure of Fearn’s sounds.

Though each track has seeds in a similar template, minimal flirtations of hypnotic and repetitive rhythms stalking the corrosive wordage of Williamson, all grow individual characters such as the electro pumped Jobseeker with its post punk bass tempting, the funkily incessant 14 Day court, and the punk heroics of Black Monday. The third of the three strolls with a Caped Crusader enticing, bass and percussion a nagging persistence wrapped in just as small but flavoursome keys. Old school punk with a kiss of early Cure and Television Personalities to it, the song stomps with insatiable appetite and irresistible revelry.

If like us you are seduced by addictive and unremitting basslines than Sleaford Mods and tracks like Jolly Fucker in the bands arsenal trigger instinctive hunger. The song pounds and intimidates physically and mentally, challenging thoughts and passions with sublime ease whilst lighting up body and imagination with terrier like persistence and ferocity. Tweet Tweet Tweet is another ridiculously compelling example, though its tone comes with a more restrained but similarly contagious swagger, musically and vocally a feisty striding unafraid to drape slithers of melodies and harmonies over its robust flanks.

   Chubbed Up + is an unrelenting string of addictions, the unique throaty sonic colouring of Bambi sparking immediate lust with a bassline and scything guitar repetition which lies somewhere between Gang Of Four and Morkobot. Lorded by the riveting antagonism of Williamson, the song is one of the band’s loftiest pinnacles, though the majority of their tracks stalk the same plateau as proved by the earthy menace and anthemic prowl of Routine Dean and the sultry shuffle of Scenery, the latter holding a repetitious spine but a cloudy haze to its slim line landscape of sound around lyrical spikiness.

The bestial tone of the bass returns for the outstanding Pubic Hair Ltd; a rhythmically punchy and vocally anthemic scowl loaded with more contagion than found in the world of banker’s greed. Its enthralling and glorious baiting leads into the final two songs of the album, the other pair of brand new tracks. Bring Out the Canons explores a predatory intent and sound, bass and beats almost leering over ears as vocals and choice lyrics grip the imagination. It is an engrossing and intrusive pulsing of lyrical grudge, which along with the opener and last song Fear of Anarchy, hints that the band is worrying even greater invention ahead. The album’s last track seductively sways with bulky rhythmic hips and melodic intrigue, blasts of brass like teasing adding to the incendiary mix grasping the broody vocal incitement.

It is a scintillating finale to an outstanding release. To be fair any way into the creative anger of Sleaford Mods is a choice invitation but if they have yet to infest the psyche then Chubbed Up + is a must. Be warned though, once tainted it is impossible to give them up.

Chubbed Up + is available now, digitally @ http://sleafordmods.bandcamp.com/album/chubbed-up-the-singles-collection and physically with the extra songs through Ipecac Recordings @

http://www.amazon.co.uk/Chubbed-Up-Sleaford-Mods/dp/B00NQZLIS4/ref=sr_1_3?s=music&ie=UTF8&qid=1414432923&sr=1-3

http://www.sleafordmods.com

RingMaster 27/10/2014

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Mary Joanna & The Southern Electrikk – Wasted

Picture 12

Sinisterly seductive, Wasted is one of those songs which gets under the skin and leaves an inescapable temptation to persistently tease thoughts and emotions. The track is the debut single from UK band Mary Joanna & The Southern Electrikk, and easy to suggest possibly the beginning of a big affair between artist and British hearts.

Hailing from Manchester, Mary Joanna & The Southern Electrikk is fronted by actress and chanteuse Mary Joanna Coogan. Behind her comes a wealth of experience and talent provided by guitarists Zack Davies and Stephen Evans (Twisted Wheel), bassist Steven Tatji (Paris Angels, Rude Club), drummer Spencer Birtwhistle (Interstella, The Fall), and Rikki Turner (Paris Angels) on keys. Together they cast a weave of sound which binds essences of post punk, shoegaze, psychedelia, and electronic ingenuity into something which is as unique as it is warmly familiar. As evidenced by the single, it is a heady mix from the band and with the siren-esque tones of Coogan quite irresistible.MJ&TSE WASTED COVER ART

From a virulently coaxing of tempting beats from Birtwhistle, the song soon casts a shadowed emotion over its entrance through a riveting bass tone and the vocal croon of Coogan. Radiant shards of guitar ignite the developing landscape whilst a darker breath of keys only adds to the sultry climate of the encounter. It is a compelling adventure which is as hauntingly mesmeric as it is virulently infectious, the hypnotic rhythms and expressive sounds creating a flavoursome canvas for the stunning voice of Coogan to colour and soak in tantalising expression.

Backed by the similarly engaging You Knew You Knew, the single is a stunning entrance by the band. The second song drifts in on a warm breeze of a melody courted by a shadow kissed bassline. It is another irresistible enticement which expels further mesmeric heat with the gentle but full temptation of Coogan’s voice and harmonies. Binding ears and imagination in a persistent echo like persuasion of guitar and keys enterprise, the track smoulders with suggestive elegance, its sonic fascination not quite matching Wasted but certainly give it a thrilling run for its money.

One release is never really enough to suggest greatness ahead but Wasted definitely has thoughts and passions veering in that direction…outstanding stuff.

Wasted is available digitally now @ https://itunes.apple.com/gb/album/wasted/id906058361?i=906058371&ign-mpt=uo%3D4

https://www.facebook.com/maryjoannaandthesouthernelectrikk

RingMaster 22/09/2014

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Pord – Wild

pord_web

Employing a cauldron of hostile noise rock soaked in sonic causticity, Wild is a proposition which simply lights up ears and passions as it numbs and abuses the senses. The new album from French band Pord, the release is an exhilarating and at times gorgeous violation of sonic ingenuity which inspires a deep hunger for more. Their sound is not going to be for everyone but if the likes of Keelhaul, Melt Banana, or Craw tick all the right boxes then Wild is a must investigation.

Formed in 2001, Pord hail from Lozère and through line-up changes evolved with a raw and imposing sound which was not the initial intention of the band on its emergence according to the new album’s press release. Thankfully the band has taken, whether organically or intentionally, a corrosive and raucous route with their sound which has increasingly garnered potent attention and following. Their well-received debut album Valparaiso three years ago drew acclaim towards the trio yet it is easy to feel that Wild will brew a much more vocal and aggressive attention once its uncompromising claws dig in.

Recorded with Serge Morattel (Knut, Tantrum, Ventura, Basement) at Rec Studio in Geneva and released via Solar Flare Records, the album instantly lights up ears and thoughts with Staring Into Space. The first thing igniting the pord_wildpassions is the bass, its presence from the first second offering more primal testosterone than a pair of rutting stags and never losing its carnivorous snarl and beauty across the whole release. Its bestial predation and animal magnetism is soon joined by scythes of guitar, their sonic swipes no less attractive and spiteful on the senses. Drums as swiftly add their antagonistic punches whilst vocal squalls roar with an element of restraint within the storming mix. It is a riveting mix, the repetitive bass lures irresistible whilst the guitar casts scorched tendrils of enterprise which almost crawl in the songs slower sludgier moments and charge with a melodic tailwind when the song opens up a cauldron of energy.

The song is a tremendous start, hooks and grooves lethally delicious, and swiftly matched by I’m Swimming Home. The second song is like a mix of KEN Mode and the now demised Kabul Golf Club, its caustic melodies and abrasing textures simultaneously threatening and seductive, not forgetting ridiculously addictive. Vocals are submerged in the tempest of sound but still a potent protagonist in the contagion of noise and bullying enterprise. As with most of the tracks, there is a swagger and array of barbed creative hooks which are virulent in their persuasion to slightly temper and often accentuate the hostile tenacity. It is formidable romance of noise which is contrasted impressively by My Bloody Galantine. Whereas the previous song has an endearing side, the third track is a predator of the psyche, crawling over the senses with a sinister gait and intimidating ferocity honed into a primal stalking loaded with sludge thick intensity. It is a carnal beast of a track and no less compelling than it’s, shall we say ‘lighter’ companions on the album.

The short fury of Laguiole Bull’s Balls is outstanding. It just exceeds a minute and digs up old school hostility to its sonic furnace and an ever debilitating bass enticing which recalls early Killing Joke in many ways. The devastating statement is followed by the scarring qualities of What Are Tuesdays For? which from a menacing and ear splitting entrance, unleashes a rhythmic agitation and sonic maelstrom which blisters every surface it touches whilst sparking another epidemic of seductive infectiousness. The track has a real swing to its bones as it launches its own insatiable and senses scorching web of sound and ultimately leaving ears blissfully ringing by the time of its departure.

Pools’n’Chicks is another sparking thoughts of earlier eras. Its raging intent and creative wall of sonic temptation proceeds to evolve through a post punk like cold snap and predation before developing a rhythmic addictiveness and discord driven expanse of noise aligned to a raw aggravation. It is an incitement which reminds of The Fire Engines and The Fall as it uncages its mouth-watering tide of sound, living up to the album title whilst sculpting its own addiction forging glory.

The album ends with On The Couch, a final and individual furnace of sonic oppression and rhythmic ferocity which inescapably thrills as it bludgeons ears, body and. soul. It is a last exhausting vindictive suasion, an eleven minute plus violent, corrosive dance within a haunting and menacing atmosphere, and quite brilliant.

As mentioned Wild may not be for all but with a body and soul which lives up to its name, it is one of the physically unhealthy and emotionally invigorating triumphs of2014.

Wild is available via Solar Flare Records now @ http://music.solarflarerds.com/album/wild

https://www.facebook.com/pordnoise

9/10

RingMaster 08/09/2014

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Ragweed – Parerga

Ragweed Online Band Photo

Raw, abrasive, and sonically uncompromising, Parerga the new album from UK sludge punks Ragweed is one of those treats you did not know you had a lustful appetite for but soon breed an insatiable hunger towards upon introduction. A caustic maelstrom of punk, sludge metal, noise, and psyche rock, band and release is a delicious violation of the senses with hooks and grooves as irresistibly appetising as the webs of corrosive noise wrapping their lures. Imagine a mutated union of XII Boar and Fugazi with Swell Maps and The St Pierre Snake Invasion, all stirred with a healthy spoon of Melvins devilment and you have Ragweed.

Formed in 2012, the Brighton band has gone through a few line-ups before the duo of duo of vocalist/guitarist Tom Adamson and drummer Nick Spooner linked up with bassist Joe Dann at the end of last year (though Spooner has recently now left the band). Gaining a fine reputation and following for their live shows, the Ragweed had already released the well-received Double Chalker EP before the current threesome were united but it is easy to feel that Parerga will be the break through release, certainly to a more potent and wider recognition.

From the first gnarly strains of Dann’s bass which opens up first track Black & Scaly, ears and attention are gripped, with appetite swiftly following especially with the subsequent squall of guitar confrontation leading to bracing grooves. Ragweed Album CoverThe track is soon prowling with a devilry and shadowed temperament, riffs infectious bait to which the swinging beats of Spooner impose greater suasion. Vocally Adamson switches between a discord kissed yet smooth delivery and raging expulsions to match the crawling weight and addictive posture of the track. It is an outstanding start which flirts through the inventive craft of the band but is primarily a predator of the senses and imagination.

The following Dermol Dispenser whips out contagious grooves from the start, teasing and exciting ears with their catchy enterprise and carnal intrusion before entwining them with slower lumbering twists. Elements of Fra Pouch and Therapy? offer hints across the also feverishly compelling song, whilst the underlying twang which erupts to stronger clarity at times is surely Pantera inspired. The track keeps the album a seriously impressive confrontation which is backed just as mightily by Nip The Bud. Offering a funk seeded groove from the off within a less concussive web of noise than previous songs and scything guitar strikes, the track twists and entices with a garage punk ingenuity stalked by another superbly enslaving bass sound and adventure. It is a brilliant proposition, Television Personalities, The Fall, and even a whiff of Red Hot Chili Peppers whispers in the tempestuous warped majesty of the song.

     Strange Colour rumbles in with a heavy weight gait and intent next, bass and beats a primal incitement to which the guitar of Adamson saws and snarls away irrepressibly. The monotone lilted vocals add to the inescapable temptation whilst the guitarist’s coarser roars enhance the ever present punk voracity which soaks the song and whole album. The track alone proves that Ragweed is a band able to provide a rich and captivating meal for fans of punks, metal, doom, and stoner infused sludge rock with ease.

Both the unpolished propositions of Divorce Reality and Gun Fever keep ears and appetite hungry if without quite matching their predecessors. The first is a more metal driven stroll but with a sultry groove which simply smoulders threat and seduction. Vocally the song lacks the bite and invention of earlier ones yet with invention to the causticity of the guitar and imagination to the rhythmic gallop and bordering on sadistic savagery of certain twists, it is a magnetic encounter which gets better and better with time. Its successor is a bruising and brawling slab of punk antagonism which again lacks the spark of others but still breeds a need for more with its merciless and relentless sonic rabidity.

The release closes with George Moshington, another intensive tangle of ravenous grooves, biting rhythms, and virulent sonic temptation. Bass and guitar spin a net of ridiculously addictive endeavour which the swings of Spooner punctuate with just as riveting venom and ferocity. The track is an incendiary and tremendous conclusion to an outstanding album which will and deservedly should, push Ragweed to a new eager and extensive spotlight.

The self-released Parerga is available from Monday 18th August

https://www.facebook.com/Ragweedrock

9/10

RingMaster 17/08/2014

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Kristy And The Kraks – Self-Titled EP

kristykraks

Casting a seductive web of sixties and garage punk, Kristy and the Kraks has a sound which sidles up to the imagination with lips pouted and provocatively swaying hips before adding a sonic glaze to the affair which permeates psyche and passions with equal tenacity. Hailing from Vienna, the band has just released their debut self-titled EP, a release consisting of four songs said to be inspired by Le Tigre and Julie Ruin. It is a raw and enchanting blaze of punk enterprise which croons and teases as its scores the senses in a presence which for us is best described as The Cramps and The Creeping Ivies meets The 5 6 7 8’s and The Crystals.

Kristy and the Kranks is the creation and union of Kate Kristal (Rabe, Dot Dash) and Ana Threat (The Happy Kids, Bretzel Krake Hoffer), the two coming together for the project in the spring of last year. Providing a temptation of two sets of vocals, a single guitar, and a basic stand-up drum set, the pair alternating instruments for certain songs, Kristy And The Kraks mesmerise with their sound. Like the best strains of garage punk the band makes a startling first impression, one which challenges and intrigues predominantly but it is not long before their lo-fi wiles and simple melodic toxicity become an irresistible and captivating temptress.

A resonance of drums opens up the EP as I Don’t Love You No More steps into view, the initial beckoning soon joined by sultry calls of coverguitar, both aspects gentle in their persuasion and gait at first. As the vocals come forward a more flaming voice emerges in the guitar strokes, their acidic tempting deliciously raw edged as they align with the smouldering harmonies which skirt the similarly heated vocal lead. The chorus brings a flush of urgency behind its melodic enticement which then switches to and fro with the previous more even tempered but fiery narrative. The song and sound is quite compelling, like a humid union of The Shangri-Las and The Fall and thoroughly absorbing.

The following Twentyone is forty two seconds of irresistible addictiveness. It is simply a hypnotic stride of beats inflamed by scuzz grilled guitar with intermittent vocal shouts striking across its bow. There is very little more to it but boy is it effective and inflammatory for the passions, riling and lighting them up for the next up No No No No No. The third song, which has also been the source of the band’s debut video, opens on a sensational throaty twang of guitar, its resourceful baiting of the imagination complemented by harmonic waves of vocals and a courting percussive coaxing. The song flirts with its moves and sounds, its swerves and tempting as raw and seductive as you could wish for. There is something primal about the song and the overall sound of the band, an instinctive lure which you cannot tear yourself or emotions away from, with this track arguably the most naturally bewitching of the four.

The just as masterfully magnetic Suicide completes the contagious incitement, the song veining its shadows with sirenesque harmonies entwined in rich guitar colour as well as a rhythmic punctuation. It all combines to provide a gripping drama with a healthy whisper of The Slits to its invention.

The EP is a magnificent debut, a release which increases its persuasion and beauty over each dive into its vibrant uncluttered depths. A release for garage punk, post punk, and lo-fi melodic punk fans, Kristy And The Kraks has announced themselves with one lingering fascination of a debut. Expect to hear and enjoy a lot more of this charismatic band.

The EP is available as a limited edition 7″ as well as a digital download via Totally Wired Records now!

http://totallywiredrecords.bandcamp.com/album/kristy-and-the-kraks

http://www.facebook.com/kristykraks

9/10

RingMaster 19/04/2014

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Cross Wires – Assembly EP

Cross Wires

     Hankering for a slice of post punk infused new wave with that irrepressible eighties originality? Then a healthy purchase of the exploration of the new Cross Wires EP is your next mission in life.  Assembly is a riotous stomp of energetic imagination and deliciously niggling invention, a quartet of songs bred in the birth of those genres but equally ripe with a modern psyche stirring mischief. It teases, taunts, and romps with the senses like a discord draped devil child to quite easily and unrelentingly stir up the passions.

     Hailing from Bethnal Green and Romford in the UK, the foursome of vocalist Jonathan Chapman, guitarist Peter Muller, bassist Pete Letch, and drummer Ian Clarke has been sculpting an impressive reputation for their sound and live performances since their debut at The Others in Stoke Newington in late 2010; subsequently playing across the capital and home county Essex at notable venues including the Camden Barfly, Sebright Arms, Queen of Hoxton, 93 Feet East, The Half Moon, and Hoxton Underbelly. Two EPs, Forward/Repeat and Animal Heat announced the band to a wider audience in 2011 whilst a third, Dark Water, the following year only helped cement and accelerate their emerging presence which the outstanding Assembly will surely add another enthusiastic gear to.

    Cross Wires bring inspirations from the likes of Buzzcocks, The Clash, The Cure, Gang Of Four, and Wire into their own coverinventive devilry as well as that of XTC whose song on the White Noise album, the band named themselves after. To be honest anyone reaping the influences of one of our eternally favourite bands is given a head start with us though their music obviously has to do the talking, which on Assembly it loudly does. From the beginning of the opener Stranger’s Bed, the band lays an infectious hand on the imagination and passions as they cavort with the relish of a maniacal puppeteer. Thumping anthemic drums seize instant attention, setting things up for the jangle of guitars to add their own bait around the expressive vocals of Chapman. Into its infectious stride soon after the track stomps with a rhythmic vivacity and range of hooks which the Buzzcocks would be proud of, indeed the overall sound has a rich essence of the Mancunian band as well as the discordant enterprise of Medway band Houdini. It is an undemanding and thoroughly giving slab of post punk pop with a fuzzy breath to increase the appeal.

     Acid Bath, like the first, makes the strongest entrance possible. This time it is the bass stroking the ears with a riff certainly Gang Of Four inspired, its carnivorous voice and suasion an irresistible lure which only increases with the scythes of guitar and unpolished enticing vocals. The chorus of the song loses some of that initial potency as the thrust of the track softens but replaces it with a virulent causticity which touches on The Fall. Once more band and song has feet lurching around with eagerness whilst voice and energy is seduced into action with ease, the same results achieved by the brilliant I Want To Be Your Man (Again). The best track on the EP swaggers in with a slow swerving of its hips and a persistent flexing of its sonic audacity, the track a hybrid of all the good things already gracing the release, taking those qualities and invention into a loftier frisking of the passions. It is an exhilarating exploit raising a lustful greed once thought lost to those times in the eighties.

   Final song White Dress makes a less dramatic entrance than previous songs but is soon, through a precise hook within thumping rhythms, unleashing another Shelly and co styled persuasion with the Cross Wires imprint. It traps satisfaction in a lustful romp of angular enterprise and refreshing adventure and though the weakest of the four songs, in that it does not unleash the demon inside as certainly the previous pair of tracks do, White Dress still provides a magnetic proposal to sell your dignity for and a delicious end to a thrilling release.

     If any of the bands mentioned or just simply punk, new wave, and post punk in general lifts your temperature then Cross Wires is a band to set a fire in your thoughts and emotions, though as Assembly shows, expect the unpredictable and something which is certainly seeded in those glorious older times but takes you on a new adventure. With the Assembly EP free at http://crosswires.bandcamp.com/album/assembly-ep there is little reason not to be part of this extremely promising and exciting band.

https://www.facebook.com/CrossWires

9/10

RingMaster 21/02/2014

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Sisteray – She Likes The Drama

sisteray

     Since forming in 2012, British rock band Sisteray has been building a rather potent fan base and appreciation through  their live performances and releases, an eagerly followed presence which their new EP She Likes The Drama gives plenty of evidence to the reason why. The four track release is an engaging proposition which from making an initially decent if unsure persuasion emerges as a magnetically appealing enjoyment. It is fair to say the EP does not quite reach in to ignite a flame in these particular passions but from the sure satisfaction definitely found you can easily see that it will be a different proposition for a great many others.

    Hailing from London and consisting of Niall Rowan (lead vocals/rhythm guitar), the Connolly brothers Daniel (lead guitar/vocals) and Ryan (drums), and Michael Hanrahan (bass), Sisteray take influences from the likes of The Kinks, The Beatles and The Who but equally from 70’s Mod Revival bands such as The Jam and Blues bands such as Dr. Feelgood, The Yardbirds, and The Rolling Stones. Those spices are open in the Sisteray sound as are also inspirations from more recent bands like The Stone Roses, The Arctic Monkeys, and Oasis. It is a striking mix which despite that rich soak of inciting flavours, does find a voice distinct to Sisteray as loudly evident on She Likes The Drama.

    The title track kicks things off, a single guitar tempting luring in attention and imagination before being joined by a nice dark 1536716_554607001299650_1249032493_nbassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.

      The following Rollin’ Over also offers a highly coaxing entrance into the song, a lone throaty and slowly parading bassline beckoning ears before the subsequent flame of melodic guitars and crisp rhythms joins the tempting. There is a stronger blues aroma to the song right away which the group vocals around the chorus accentuate into a quite inflammatory suasion. Again the band never erupts into the assumed and hoped to come unleashing of anthemic energy within the track, which does disappoint slightly, but there is plenty in the swagger and voice of the song to draw in appetite for and enjoyment in the encounter.

      I’m Free emerges on a fuzz ball of sonic intrigue increasing further the blues fire which smoulders and burns in each song, whilst a certain Oasis bred croon equally impacts on the ears. Not as tantalising and ultimately impressing as the other songs, it still captures the imagination especially with the constant almost brawling blaze of sonic scowling which cores the musical narrative. Providing the heaviest rock ‘n’ roll moment of She Likes The Drama, the track keeps momentum and strength of the release strong and engaging before making way for the closing Coming Up.

     The song ensures the release ends on the same high as it started, actually an even greater success with the track the best on the EP. It takes a mere second before the irresistible hook of the song steals the imagination, its call switching with a more sobering but inviting swipe of riffs. Into its stride the song is soon urging feet and emotions to partake in its revelry, its presence a mix of the mod power pop of Purple Hearts, the raw punk simplicity of The Fall, and the addictive nature of Arctic Monkeys. It is a masterful and wholly contagious thrill which alone confirms that Sisteray is definitely a choice emerging force in UK rock.

     As previously stated She Likes The Drama fails to spark up the strongest emotions in our personal reactions, well until the excellent final song anyway, but it is impossible not to hear the potential and already toxic strengths of the band which has captured so many hearts already, with plenty more to follow you can only suspect. A release if any of the previously mentioned comparisons take your fancy, to give a big slice of attention to.

http://www.sisteray.com/

7.5/10

RingMaster 15/02/2014

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