Desert Ships – Skyliner

Desert Ships press image 2014

Four mesmeric flights flooded with celestial hauntings and shoegaze fascination, the Skyliner EP from UK band Desert Ships is as both band and release names suggest, an expansive and sultrily aired adventure. A release which is cinematic in its touch on the imagination and warmly sensuous in its lure on the senses, Skyliner shimmers and radiates like a mix of The Horrors, House Of Love, and Brian Jonestown Massacre with just a tinge of Inspiral Carpets for spicy measure. To be honest that is still a loose description of the psychedelic fuelled exploration found within the release but a good starting point for something distinct to Desert Ships.

Formed in 2012, the London trio of Mikey (vocals/guitar), Daniel (bass/vocals), and Claude (drums/vocals) swiftly sparked attention and acclaim with the release of their debut album that same year. The Mark Gardener (ex- Ride) produced Doll Skin Flag soon drew regular comparisons to the likes of Brian Jonestown Massacre, The Flaming Lips, Tame Impala, and occasionally the film scores of John Barry. Its success was backed by the band’s equally praised live presence which saw them tour with bands such as The Prodigy, Band of Skulls, The Rifles, and Babyshambles as well as play numerous festivals over the past couple of years. Reuniting with Gardener again in the studio, Desert Ships now unveil their new EP, a release taking its predecessor as a launch pad for broader and more expressive aurally visual experiences.

The release opens with its epic title track, a seven minute plus excursion into magnetic harmonies, sonic exploration, and fuzzy show gaze seducing. From its first breath there is a fresh and smouldering temptation at work, guitar coaxing Desert Ships-Skyliner-artwork -Final-HRthe lead into a weave of vocal harmonies and expression from across the band. That in turn is cradled by a tapestry of keys bred elegance and enterprise. The song emerges as a gentle maelstrom of gripping ideation and aural fascination, the vocals as varied and riveting as the spatial grooves and rhythmic shuffle courting their narrative whilst every immersive note is an exotic kiss upon the senses. Like soaring through a refreshingly muggy landscape, the track is enthralling leaving body and emotions submerged in blissful exploration.

The slightly slimmer length of Shell Shock is no less eventful next, embracing ears with a synth pop spiced temptation straight away. Laying down an eighties flavoured yet modern canvas of melodic hues, bands like China Crisis, Modern English, and The Flaming Lips coming to mind, the track croons with cosmic lustre and psychedelic colour. Again the imagination is sparked by and emotions immersed in an ethereal tapestry of sound and voice, the song the perfect pop proposition. It is a description which almost applies to the following Heart Beats and it’s more grounded but no less transfixing splendour too, though the magnetic offering does not quite have the infectious glow and compelling grandeur of its predecessor. All the same the feistier track is a masterfully and enticingly grooved invitation which is hard to resist as it reveals further shades and turns in the band’s creativity.

Skyliner is concluded by another epic holding of ears with its longest and relentlessly suggestive track, Ausgang. Somewhere between cheerfully funereal and livelily meditative, the persistent breeze of sonic and melodic enticing is a vibrantly repetitive affair which probably outstays its welcome but still provides an instrumental soundscape to create imaginative tales within. Though the EP is not one of two halves, like the previous track the closer lacks something of the first pair of songs but has plenty to entice and feed an already keen appetite for release and band.

Desert Ships has provided a treat of an encounter which is at its stunning best at the start and whilst slipping a level of persuasion or two in its latter part, perpetually leaves expectations and anticipation of big things from and for the band ahead rife. Ultimately Skyliner is a gorgeous flight which more than deserves a full investigation.

The Skyliner EP is available now @ http://desertships.bandcamp.com/

http://www.desertships.com

RingMaster 11/11/2014

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Kobadelta – Remain Distracted EP

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Having been enthralled by their rousing EP, The Hidden Door earlier this year, there was keen anticipation waiting for the release of its successor Remain Distracted. Both EPs come from the creative minds and resourceful imagination of UK band Kobadelta, and each provides a fascinating climate of sound and excitement to greedily immerse within. Remain Distracted takes the strengths and potency of its predecessor into new emotive and adventurous sonic flights, pushing the potential and emerging presence of the band into riveting and sultry landscapes. In some ways it is a slow burner compared to the last release but through a quartet of fiery and seductive songs, sets down the most potent and heady pinnacle from the band yet.

The release of Remain Distracted comes in a potent year for the Newcastle quintet which has seen them chosen to play Newcastle’s Evolution Emerging festival, as well as Stockton Weekender (with Happy Mondays and Public Enemy headlining) and Split Festival (with Maximo Park, The Cribs and Dizzee Rascal). Added to that there has also been a live session for BBC Introducing as well as numerous successful shows with bands like Allusondrugs. The new release adds another strong moment in the band’s year and one more irresistible enticement to develop a rich hunger over.

As soon as the sultry stroke of guitar from Alex Malliris opens up first track Siam, there is a potent temptation at work, its smouldering yet ripe lure a swift caress and announcement of the dark psychedelic invention the band is already acclaimed for. Another breath sees the hypnotic throaty basslines of Jon Marley join the evolving enticement of the guitar and the enterprising rhythmic framing of Chris Malliris. It is a glorious flame brought further to life by the mellow yet nicely raw tones of vocalist Dom Noble, all this against the already tantalising weave of melodic expression cast by the keys of Jordan Robson. It is a stunning track, elements of The Doors colluding with other whispers of bands like early The Horrors, 13th Floor Elevators, and Thee Exciters in an original fire of sound equipped with infectiously imposing hooks and grooves.

Repetition steps up next and instantly finds a heavier growl to its riffs, though that weight is not quite transferred to the crisp beats and elegant bassline. That restraint on some aspects and the mix of dark and light within the song works kobadelta epa treat all the same; its steady but feisty canter evolving through a sultry slow flight of immersive keys before breaking back with increasing tenacity in energy and attack. The Birthday Party like song is an intriguing shadow blessed proposition, not as dramatically gripping as its predecessor but growing into another absorbing and incendiary involvement of the imagination and emotions.

Its successor is less slow in gripping the passions, They Can’t Hurt Me floating in on another delicious almost sinister bassline. Its dark tone inspires a haunting essence to the minimalistic melody of the guitar and vocal croon of Noble, the merger offering a noir wrapped sultriness in presence and sound. There is a definite Cramps essence to the song as well as that of Jim Morrison and co, as well as hints of Damn Vandals and The Dropper’s Neck, but with an ingenious addiction sparking bait from bass and guitar aligned to similarly anthemic beats, the track is a slice of brilliance distinct to Kobadelta and their greatest song yet since forming.

The EP is closed by The Heretic, a sizzling sway of sonic causticity and melodic temptation driven by a swaggering rhythmic and riff crafted enterprise. As in other songs there is a prime hook which is inescapable for ears and passions, its coaxing leading the senses into the scorching haze of guitar and atmospheric heat of the keys. With the delivery of Noble again parading the song’s narrative with an unfussy but magnetically expressive texture, the song is a mesmeric consumption of the senses and a fine end to another impressive release from Kobadelta.

The band just gets better and better as evidenced by Remain Distracted ensuring whatever comes next from Kobadelta will be met with greedy anticipation.

The Remain Distracted EP is available from September 26th @ http://kobadelta.bandcamp.com/

https://www.facebook.com/Kobadelta/

RingMaster 26/09/2014

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Jubilee Courts – Go From the Blue Light into the Moonlight

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

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

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

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

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

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

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

http://jubileecourts.com/

9/10

RingMaster 04/08/22014

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Clouder- Sister Raygun

 

Clouder

     It is fair to say that 2013 was a big year for the re-emerging Clouder, the US band finding a spark to reignite their appetite and adventure after a hiatus which left the future of the band in doubt. With the release of their second album Sister Raygun, they and we can expect this year to not only follow the last in success but push the band into greater wider spotlights. Pulsating and brawling with the band’s unique mix of garage and psyche rock driven by punk/power pop energy, the band‘s new release offers a tantalising bait which is contagiously irresistible and irrepressibly belligerent, a glorious mix in the hands of sonic devils like Clouder.

        The Brooklyn quintet took little time to provoke passions from their coming together in 2011, playing over 100 shows around New York City in their first year building and earning a reputation for their fiery live performances. Debut album Freakin’ Out the Squares was uncaged the following year, again to strong praise and reactions from fans and media alike. Then came the eight month hiatus full of personal trials and tribulations for some members which almost brought the band to an end and saw vocalist Eric Gilstrap move to North Carolina. Thankfully the band resumed to writing new songs and spending months sending back and forth rough demos to each other as a new release became flesh. Uniting with producer Jeff Berner (Psychic TV, Heliotropes, Dead Stars) in his Brooklyn studio, the band emerged with Sister Raygun, a release which worries, solicits, and pleasures the imagination like a demonic temptress.

     Released via Fleeting Youth Records, Sister Raygun lays an initial stroke of guitar upon the ear as opener Dancing in the Album CoverProving Grounds moves into view. Its reserved first touch is aided by a rhythmic tempting before the band explodes into a potent stomp of guitar sculpted enterprise guided by the distinct cause yet magnetic vocal tones of Gilstrap. With a sixties punk throat to the voice of the guitars and a raw edge to the sonic suasion, the track provides an enticing entrance into the release, a compelling doorway which is impossible to resist crossing the threshold of.

    The following Lost in Reverie equally shows no restraint in opening up its broad rhythmic shoulders and energetic stroll. There is a swagger to the song from the off, one which soon welcomes the darker delivery of Gilstrap within the acidic invention of guitarists Steve Spinella and Matt Revie. Into its dramatic stride with further deliciously teasing imagination from the guitars and a moody tempting from bassist Max Goransson, the song intimidates and seduces with equal potency. The sound of Clouder is certainly distinct to themselves but imagine a mix of Damn Vandals and early The Horrors with at times the irreverence and haunting howls of Pil and you get an inkling of the menace and beauty on offer.

    The excellent feisty pop call of Lady Retrograde unveils an infectious vivacity and magnetic garage rock canter to continue the impressive and appetite raising stomp of the album, whilst its successors Psychic Cities and The Ballad of Sister Raygun provide further individual bait to bring a greedy hunger to. The first of the pair rides in on another highly persuasive enslaving of the emotions by drummer Jim Wood, his thumping rolling rhythms the prelude to a melancholic but lively web of melodic and sonic endeavour beneath the John Lydon reminding effect wrapped vocals of Gilstrap. There is a mystique and scuzziness to the track which equally lures in the imagination, a psychotic edge which only accentuates the bait of the song whilst its successor slowly walks openly and hauntingly through a shadowed inventive balladry, both songs leaving a lingering inventive suasion.

    Phantom Girl unleashes a new level of addiction forging contagion next, the punk bred garage rocker brewing up essences of past decades into a politely dirty schizophrenic drama. Again The Horrors meets Pil come to mind within the fresh and original character of the sonic storm with just a touch of Spizzenergi to the vocal squall and insatiable hooks. Its glory is swiftly succeeded by All the Royal Years Are Gone, another unpolished treat of dirt clad rock ‘n’ roll with the snarl and honesty to antagonise and ignite the senses.

   The mesmeric black toned Damaged Sun comes next, its sonic acridity aligned to a shadow spawned, discord filtered atmosphere. There is a Mary & Jesus Chain glaze to the track whilst an Inspiral Carpets/Birdland blend seems to infect the melodic and vocal traits of the song; a feel which less openly also spices up the transfixing and enthralling Western Wastelands. Though neither song stands out as forcibly as others on Sister Raygun both engage and satisfy thoroughly though they are not helped by standing right next to the brilliant overpowering closing song, Doldrums. Armed with a groove which simply steals attention and passions from its opening lure upon the ears, the track romps and commands with a swagger and relish that cannot fail to overwhelm the imagination like an epidemic, the repetitive hook an irresistible focus of all the craft and energy at play within band and song.

     Sister Raygun is one of those shot in the arm releases which may not come to be called a classic but has the ability to inspire a genre to explore itself further, though Clouder will be during that anyway if they can hopefully avoid any more breaks in their conquering of garage and psyche rock.

www.facebook.com/ClouderNY

http://fleetingyouthrecords.bandcamp.com/album/clouder-sister-raygun

9/10

RingMaster 05/03/2014

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The Black Black – One Blunt Death Party / You’re A Danger

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Creating a sound with a schizophrenic edge to its virulently contagious imagination, The Black Black has instantly thrust themselves to the heart of the fullest attention with their new double7″ single, One Blunt Death Party / You’re A Danger. It is a compelling, ridiculously infectious three track excuse for the passions to show some lust and a release which makes the Brooklyn trio a band to keep a close eager eye upon.

Formed in 2011, The Black Black brew up a distressed dance of sound bred from a mix of post punk, psyche rock, and punk. Latched to grooves which are epidemically riveting, it all combines for a presence which leaves a hungry appetite in the ear and passions.  Released via Money Fire Records, the single takes little time in stealing the fullest focus and appetite for their offering, the opening bass growl and similarly voiced guitar of first song You’re A Danger an immediate rich temptation which gnaws at and snatches the listener’s focus from anything else in the vicinity. Once settled in an invitingly repetitive but irresistible swagger a melodic guitar starts to entangle its sonic tendrils gently around the core of the song, its enticement matched by great harmonious vocals. The track is like a mix of Baddies and The Passions with a spice of The Gaa Gaas and Scars added for extra invention and as it continues in its romp with restraint but open energy and fevered passion, the song sculpts a highly potent declaration veined with discord kissed enterprise and melodic bewitchment, hypnotic persistence and sonic causticity also as equally ripe and convincing.

One Blunt Death Party continues the scintillating start; again a raw gnarly opening softening up the ears before sonic scythes of guitar and vocal intimidation parade their welcome barracking. As with its predecessor the rhythmic probing is inevitably thrilling, predation soaked beats and bass riffs alone caging and enslaving thoughts and hunger whilst making the perfect canvas for the guitar to unveil its mouthwatering narrative. The song has a garage punk like glaze to its sound at times, a raw and scuzzy surface which is pierced and punctuated by the imagination of the songwriting, a complete lure which offers thoughts of the likes of Wire and The Strokes a place to make suggestions. Like the first the track it is impossibly infectious, totally commanding in its presence, and simply an ingenious suasion.

Closing up the release is Cleptogina, a track which steals the show even against the brilliance of the first two slices of sonic alchemy. Taking that previously mentioned schizophrenic air into full on aural bedlam, the song is a spiteful but wholly enthralling web of rhythmic lashing and sonic acidity, again discord and uncompromising adventure raging within a honed vitriolic blaze of fury that mutually seduces and withers the senses. There are whispers of Alien Sex Fiend and early The Horrors spiking throughout the ferocious engagement but also from within the tempest a corrupted melodic acerbity which toys with the ears and brings excited hues to the aural rabidity. The closer shows the depth of the songwriting and along with the other two songs stretches the promise and further possibilities within The Black Black to highly anticipated climes.

The One Blunt Death Party / You’re A Danger single is an exceptional base for one exciting band and an introduction which you suspect will make for a great many The Black Black a new plaything for their passions.

http://theblackblack.bandnada.com/

https://www.facebook.com/theblackblack.nyc

10/10

RingMaster 01/11/2013

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The Felines – Daddy Walk

Within the musical shadows of Denmark there is a gem of an all-girl garage punk band called The Felines lying in wait and with the release of their debut single Daddy Walk August 6th, ready to step out into a broader and fuller spotlight. Their four track release is a thrilling and irrepressible feast of garage rock/punk, an instinctive stomp across the senses showing where the real girl power in music is thriving.

The trio from Copenhagen of lead vocalist/bassist Asta Bjerre, guitarist/ vocalist Ditte Melgaard, and drummer/ vocalist Mei Long Bao, formed in 2010 to as their bio states, ‘cause a bit of a stir’ at the Musicology Studies department at the University of Copenhagen. Inspired by their mutual love of 60’s garage rock, 77s punk rock, surf and 80′s revival girl groups, the direction of their sound was never a debate. Creating a garage punk to trigger inner primal urges and soaked in insatiable musical wickedness their sound has seen them since uniting leave stages alongside the likes of David Peter and the Wilde Sect, Thee Gravemen, and Black Magic Six, dripping in affection.

October of last year saw the girls record the four songs which make up Daddy Walk at the Grave Cave Studio in Malmö. Using an old school 8 track tape recorder to grab the raw nostalgic sixties sound the tracks combine to make a release which plays with a vintage air and modern freshness. Released as a 7” EP via Spanish record label Hey Girl! Records and digitally through Dirty Water Records, the single is pure and simple uncluttered bliss.

The song Daddy Walk immediately engages the ear with pumping riffs and beats accompanied by sweltering harmonies and unbridled energy. Strolling with a mischievous swagger and bursts of fiery guitar play the track is a wholly infectious slice of simple and inspiring rock n roll. With an element of The 5.6.7.8’s and The Ghastly Ones about it the song leaves one grinning from ear to ear and ready to further unleash ones inner mojo.

The A side of the release is completed by instrumental The Sneak, a track with a graveyard ambience and shadowed heart. It plays like a beach party between a field of tombstones with the dark pulsating bass tones and mesmeric sinister sonic fingerings raising a sinister and invitational ambience.

The flip side consists of Boots and Black Joe, two more songs to ignite the fullest pleasure. The first erupts with rampant rhythms from towering drums and enthused riffs ready to tease and whip the senses into a frenzied state. With vanity over relationships treated to The Felines touch, all songs of the band touching everyday life and elements with a style as simple and honest as the sounds, it continues the sheer contagion for the heart brought by the release.

Final song Black Joe brings a blend of early days The Horrors and The Pleasure Seekers plus again more than a flavour of the previously mentioned Japanese band. It has a melodic kiss which sends tingle down the spine and surging electric bursts to ignite further passions. Vocally it was by this song that the similarity to Fay Fife of The Revillos dawned on the thoughts with the cheeky and fun loving side of both bands also more than evident.

Daddy Walk is a brilliant introduction to a wonderful band and with their unique take on all eras of garage rock and punk we will be hearing and seeing a lot more of The Felines, thankfully.

https://www.facebook.com/thefelines

RingMaster 29/07/2012

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Thee Vicars: I Wanna Be Your Vicar

It has to be said that whenever there is a new release on Dirty Water Records there is always a twinge of anticipation and excitement, rarely has there been deep disappointment in the quality of the music from their bands. The same applies to the new album from Thee Vicars, a release that thrills and excites whilst lifting emotions no matter their starting point to a height of grinning satisfaction. Following up their excellent single Everyday, the band from Bury St Edmunds, England have released a collection of unfettered and eagerly pleasing garage rock, mod, 60’s beat, and R&B rock tunes that light up the emotions and heart.  Simple, direct and hell of a lot of fun I Wanna Be Your Vicar is nothing but a piece of irresistible pleasure.

I Wanna Be Your Vicar is the third album from the band which is now down to the trio of Mike Whittaker (bass/vocals), Chris Langeland (guitar/vocals), and Alex De Renzi (drums). Released May 7th the album sees the band even tighter than ever and still fuelled by their irrepressible garage sounds but with an even more varied and flavoursome result. To date the band has shared stages with the likes of The Horrors, Black Lips, and The Mummies to name three and it is obvious they have absorbed and twisted the inspiration gained into their own extra spices as shown on the album. The music of the band is not the height of originality though there are not many that bring the vibrant mix this band do, but it is completely and deeply captivating and infectious.

The release opens with the playful and feisty title track, its mischievous beckoning charm an instant connection for the ear and beyond. The guitar of Langeland jangles and slices through the ear with sharp skill whilst the bass of Whittaker is a boisterous yet almost shy presence alongside. Leading it all to bear is the excellent beats of De Renzi, her rhythms direct and enthused but tight within the compact structure here and of each song perfectly. With the added keys laying their impulsive fingers and palms on the song it is an opening gem that only raises the enthusiasm for what is to follow.

Next up I’ll Be Gone raise things another level with its sparkling sixties punk flow, each note and word carrying a wink and a smile that only inspires further emotional applause and adoration. The infection really started from the first note of the release but as this and each subsequent songs swaggers and teases one is drawn defencelessly into adding their own willing vocal sounds and eager limbs, the contagion impossible to prevent.

What follows from now on is an unrelenting pleasuring of the senses from the next up Johnny Cash tinged Lights through tracks like the early The Horrors meets the Stones I Feel Alright with its agitated energy and disruptive beats and the impassioned love song Your Eyes with its more than strong sense of an illicit longing through to the rock n roll/mod stomp of Crocodile Chomp, a mix of Sam Cooke, Chuck Berry and Thee Mighty Caesars. Each and every song in their different guises ignite and warm the senses with an excited love of their inspirations and what they bring that can only be transferred to the listener and their hearts.

As great as the album is to this point the band save the best tracks for the latter stages starting with the brilliant Hauser & O’Brian. With a Troggs meets My Red Cell sound the track is glorious, a patient stroll with rasping riffs and caustic melodies and a siren touch. It is caked in the garage dirt and scuzzy sound that simply excites like a wanton temptress, the always distinct vocals of Whitaker finding an extra nasally and emotive depth. The song is soon equalled by the bristling Kinks tasting Satisfy You and of course the magnificent previous single Everyday. The more the single has pleasured the ear in recent weeks the more it has captured the heart with its insatiable mixture of the doo wop of 70’s band  Darts and the electrified rawness of 13th Floor Elevators and again The Horrors, all treated with the inspired uniqueness of Thee Vicars.

I Wanna Be Your Vicar is a fully rewarding pleasure, a release to make you feel good no matter the nature of your day. Thee Vicars stood right at the front of garage styled rock and punk and with his album have announced they plan to be there a long time.

RingMaster 19/04/2012

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