Jingo – Make Some Money, Buy Some Love

jingo_RingMasterReview

March 11th sees the eagerly anticipated second album from British rock band Jingo and it is very easy to say that it does not let expectations, bred from the band’s previous impressive releases, down. The ten tracks making up Make Some Money, Buy Some Love are the band’s most eclectic bunch yet, at times in an understated way with closer attention revealing the new myriad of flavours and broad imagination bringing them to life. Just as importantly, it is another mesmerising collection of songs feeding in us and their growing wealth of fans an already eager appetite for the band’s invention and carrying the potential to excite another hungry wave of newcomers to the world of Jingo.

Formed by husband and wife, guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, Jingo seem to have made a strong impact with every move since Jingo played its debut live show was supporting Blur’s Graham Coxon. Through a clutch of captivating singles, creatively provocative EPs, and striking debut album The Art Of Loving of 2014, as well as a live presence seeing the London based band take their imagination and craft across the UK and over to the US, France, Germany, and Belgium, Jingo has enticed rich interest and fan support which has through a highly successful pre-order campaign enabled the band to release Make Some Money, Buy Some Love on CD and vinyl as well as digitally.

With its line-up completed by the invention of Nima Safai, Michael Hussain, and Kelly Lenahan, Jingo has from day one never been easy to pigeonhole. They are generally tagged as alternative rock and have found themselves compared to the varied likes of Portishead, The Magic Numbers, Not Blood Paint, Fleetwood Mac, Interpol, and Jess & the Ancient Ones along the way. As Make Some Money, Buy Some Love again proves Jingo spins broad tapestries which explore diversity with zeal to match their eagerly creative imagination.

art_RingMasterReviewRecorded in New York with producer Kahan James, and mastered by Kevin Blackler (Raconteurs, RHCP etc.), Make Some Money, Buy Some Love opens up with Lifer, the alluring tones of Katie cradled by melodic coaxing as the bass strolls with a controlled but carefree grace. Crisp beats add to the enticement instantly flirting with ears, the song’s underlying funkiness infesting its gait and the listener as pop catchiness and lyrical romancing tempt. Drama is never far from a Jingo twist and turn, its boldest attraction lining Katie’s vocal prowess especially here in a gem of an introduction.

All of the track’s qualities and more emerge in the following Sirens and Vices, Its rhythmic bait quickly infecting feet as melody woven grooves seize hips. Both elements add to the flirtatious nature of the song, impassioned vocals and raw, fiery textures growing in the blend of smouldering and raucous seduction. Grabbing ears and imagination from the first second, it only tightens its grip second by second squeezing lustful responses out before making way for the pop revelry of Money. It is instinctive catchiness with a steely backbone and bold attitude though, dancing persistently and mischievously as the song teases with playful coquetry.

From a busy bedlam Gaia emerges with its own melodic grace and emotive eloquence next, Katie joined by the equally potent tones of Jack as keys and guitars paint their own poetic picture over a more forceful rhythmic spine. It is pure magnetism with a just unveiled eye catching video to match.

Never Love Again also has little trouble winning attention and pleasure as its evocative melodies and warmly invasive essences hug captivating vocals. The song never quite reaches the heights of its predecessors but never lacks a second of enjoyable adventure before the outstanding Death Counts takes over. The track is nothing less than melancholic beauty becoming more exotic, almost sinister, and relentlessly beguiling with each passing seduction of passion fuelled notes and vocal fascination.

The body is back jumping around with Let’s Be Friends next; its noir lit drama and tenacious rhythmic dexterity enough alone to enslave the imagination. Katie is like a devious puppeteer in the midst of the brew of fire bred grooves, agitated beats, and frequently concussive energy; her lures as inescapable as the gloriously tempestuous textures making up another mighty highlight within Make Some Money, Buy Some Love.

Last year’s sensational single Sweet Anne follows, Katie and Jack united in crooning temptation as initially the song gently grows in ears. Soon it is in full swing with boisterous rhythms skirting the tangy funk infused hooks and lecherous grooves uniting and barging against each other. It too has an irresistible tempest like texture to its body but equally melodic calm makes a compelling persuasion in between the song’s moments of vociferous and explosive carnival like devilry.

The album is completed by firstly the melodic romance and harmonic charm of Supersymmetry, one simply bewitching encounter with fire in its heart and finally by the pop rock seducing of The Shell. Both tracks solicit emotions and body to get involved in quick time and each leave only a want for more, the perpetual hunger which seems to come with every Jingo encounter.

For Make Some Money, Buy Some Love, Jingo has honed their sound into something as diverse and bold as ever but exploring both with a more seamlessly and easily flowing touch; the result being another Jingo moment which makes the world a better place.

Make Some Money, Buy Some Love is released March 11th

http://jingomusic.com/   https://www.facebook.com/jingomusic/   https://twitter.com/JingoMusic

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

MiXE1 – Don’t Break Apart

cover_RingMasterReview

It has been a fair while since the release of their debut album Starlit Skin, two and a half to be more accurate, but MiXE1 has leapt back into view with an ear grabbing roar of a new single which just demands attention. Showing an even greater meatier edge to the band’s emotionally fuelled melodic and electronic beauty, a fusion of textures which has been already explored to great success by them previously, the release is an imposingly stirring and provocative proposal with a B-side just as equipped and likely to draw a new wealth of ears and fans the way of the band.

Formed by Mike Evans (vocals/synths) in 2010 as a solo project, MiXE1 began heading towards being a full band with the addition of Lee Towson (guitar/bass/synth/vocals) two years later, today’s line-up completed with the subsequent addition of Lee O’Brien (drums/synth/samples). Singles and EPs along the way have all lured new spotlights and greater attention to match the growth in the band’s sound and Evan’s evocative songwriting. Starlit Skin was an acclaimed result of that on-going evolution with its lead single Talking In Our Sleep alone exciting new appetites. It has been a publicly quiet time since the excitement of their release died down but as Don’t Break Apart swiftly reveals it has not been a creatively infertile time or seen a lull in their sound’s development.

Don’t Break Apart instantly pulsates upon the senses, its golden harmonic touch laying on jabbing rhythmic pulses. Evans’ swiftly engaging tones step forward soon after, his ever expressive tones courted by synth bred caresses whilst that initial rhythmic coaxing persists. It is a gentle yet commanding lure with an underlying intensity which erupts as the chorus in time envelops the senses, warm and harsher textures united in infectious enterprise. That snarl infects the following twists and emotive throes of the track, the union of contrasting essences a magnetic web around an openly inflamed heart. Metal and heavy rock spices only add to the drama and adventure of the dark and rapacious incitement, the song showing the fresh move in the MiXE1 sound.

Accompanying the song is Meteor, a fireball of a proposition descending on ears with predacious intent from its first breath. A flame of guitars incites a wall of industrial toned synth bred intensity within which Evan’s warmer expressive vocals glow, backed by the similarly alluring tones of Towson who simultaneously offers a lively brooding bassline to get greedy over. With scything beats and bracing riffs building an industrial metal collusion with the synth rock endeavours of the synths, the track is a glorious blaze of sound and energy matching and occasionally over shadowing its companion.

With the release completed by the increasingly engaging remix of Don’t Break Apart by Ruinizer and featuring guest vocals from Richard K of Machine Rox, Erlend Eilertsen from Essence of Mind, and Roman Marisak out of Professional Murder Music/Spacetime along the way and extra synths from Studio-X, MiXE1 has returned brighter and bolder than ever before. Don’t Break Apart also provides a powerful teaser for the band’s second album due later this year, something we are already getting a touch impatient for.

Don’t Break Apart is available now @ https://mixe1.bandcamp.com/

https://www.facebook.com/mixe1   https://twitter.com/mixe1music

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Gravves – Rattle

gravves-promo-shot_RingMasterReview

There is no foreplay involved with Rattle the debut EP of British noise inciters Gravves. It is a release which, certainly for us, careered straight to lustful instincts from its very first roar of breath and sound, thereon in proceeding to entwine us around its little creative finger. Having an already well-established love for The Eighties Matchbox B-Line Disaster, an open inspiration to the North West hailing trio, certainly helped its persuasion but the four tracks making up Rattle soon established the band and its sound as something individual, unique, and quite irresistible.

Since forming, the threesome of bassist/vocalist Adam Hughes, guitarist/vocalist Dave Thomas, and drummer Tom Williams have persistently lured attention and a fine reputation with a stage show seeing Gravves play with bands such as Slaves, Nothing But Thieves, DZ Deathrays, God Damn, Heck, and Misty Miller, as well as impress with festival appearances at the likes of Focus Wales, Tramlines, and Threshold Festival. Radio has also eagerly embraced the band and its striking sound, a success easy to see expanding as Rattle takes the band towards a new broad tide of ears and fans.

gravves-cover-artwork_RingMasterReviewRecorded with Michael Whalley (Mums, Kong, Bipolar Sunshine), Rattle simply explodes on the senses as opener My Pet Rihanna unleashes its sonic tirade. Within the clamour though, a virulent groove is forming, escaping and driving the song from thereon in as vocals clash and collude in noisy emotion while guitars and bass flare up and seductively groan respectively alongside each other. There is an inner calm in the turbulence too, a magnetic lure which breeds monotone vocals alongside the established outcry in a reflection of the dark touch of bass. There is no escaping the air of the previously mention Brighton band and at times there is a touch of fellow Brit up ‘n’ comers like The Droppers Neck and The St Pierre Snake Invasion too, but the track swiftly breeds its own identity.

Heartbeats is just as impressive as it reveals another aspect to the Gravves character. It has a controlled hand on its tempest of noise; still offering a fuzzy infestation of ears but with a dark composed gait echoed in the vocals and rhythms. Thomas’ guitar certainly sears air and flesh, its scorching touch infused with sharp hooks and abrasive grooves which trap the passions with their intrusive infection. There is a slight scent of The Birthday Party to the song and of Mclusky too in some ways while Future of the Left also comes to mind but again as its predecessor what emerges is all Gravves.

From its opening rhythmic enticement aligned to melodic acidity which has a bit of early U2 to it, Tribes storms the barricades next; subsequently sonically and vocally raging around that persistently infectious first hook and another great blend of vocal persuasion. It is a virulent blaze as catchy and imposing as anything around right now, manna for hungry senses and appetites as too the following Hollow Bones.

The closing track also has a more stable energy and storm to its heart, its body prowling almost stalking the listener as melodic vocals and keys entwine with harsher textures. Though it hints at fiercer eruptions, the song retains its control to fine effect, providing a thrilling end to a stunning release.

Rattle is an introduction to stir things up and Gravves one of those propositions which quite simply re-ignites a lust for music.

Rattle is out now across most stores through Loner Noise Records.

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Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Fragile Things – Broken Sun

fragile-things-promo-shot_RingMasterReview

Formed last year, British rockers Fragile Things have already began luring close attention and are intent on making 2017 a big year with a full UK tour for starters. They kick it off before that though with a reboot of their debut EP Broken Sun; four tracks of heavy rock bred in the inspirations of bands such as Alice In Chains, Guns ‘N’ Roses, Black Stone Cherry, Velvet Revolver, Audioslave, and Pearl Jam.  It presents a sound as familiar as it is refreshing; a proposition proud in its influences but showing signs and potential of its own individual character.

fragile-things-cover-artwork_RingMasterReviewFeaturing former members of Heaven’s Basement and Endless Mile, Milton Keynes based Fragile Things have recently completed a host of dates alongside the excellent Slam Cartel and are now, as suggested, concentrating on breaking national exposure starting with Broken Sun, a proposal getting straight down to action with its opener Enemy Is I. With acidic riffs and robust rhythms, the song bounds in from a distance with vocalist Richie Hevanz leading the charge, his tones impressive and expressive. Once in full view, it settles into a feisty stroll with tangy grooves from Mark Hanlon lighting up crunchy beats and steely riffs, all subsequently entwined in fiery melodies. Group vocals are the rousing icing on the infectious enticement, the track not particularly surprising but richly satisfying to start things off.

Its striking traits are just as potent within the following Open Cage; its body heavier and darker though as the grumbling bass of Steve Lathwell colludes with the hefty swiping beats of Hugo Bowman. With a snarl in its heart and touch, the song swiftly has body and spirit involved; its anthemic prowess inescapable as it brings both to the boil ready for the EP’s title track. Showing another slight shift in the style and design of the band’s sound, the track is a web of hooks and mouth-watering grooves around less forceful but commanding rhythms; vocals again striking a chord in word and touch. As those around it, those earlier mentioned influences are easy to pick out but again flavouring adding to the potency of song and release.

Closing with So Cold, a track which takes longer to persuade as fully as its companions but only ever satisfies, the Broken Sun EP is a strong and highly enjoyable introduction to Fragile Things.  It is easy to hear why the foursome is persistently grabbing new fans and spotlights and if they can build on this strong start that broader recognition should be a given.

Broken Sun is out now.

https://www.fragilethingsofficial.com/     https://www.facebook.com/fragilethingsofficial/

https://twitter.com/fragilethings_

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Andy J Gallagher – Boy Racer / I Don’t Wanna Be Like You

andy-j-gallagher-pic-5_RingMasterReview

If Andy J Gallagher, once of punky avant-Britpop band The Shopkeeper Appeared, sparked real anticipation for his new album with previous double A-sided single Because We Are/ Sheena’s Big Night Out, he has brought real lust to the wait for Ego with its successor. Again offering two tracks which leap from the speakers with relish, Gallagher’s new proposal is as fresh as it is nostalgic with punk and new wave instincts colluding with indie nurtured rock ‘n’ roll daring.

Though it has been seven years since releasing his well-received debut album Helicopter, Dolphin, Submarine, Gallagher has stayed busy playing live and creating in the studio. The past months have seen him link up with like-minded talented musicians for the upcoming Ego and also ex-The Damned member Roman Jugg who produced, as its predecessor, the album. As mentioned, the last single alone awoke an eagerness for the forthcoming full-length which the twin attack of Boy Racer and I Don’t Wanna Be Like You only concentrates.

andy-j-gallagher-artwork-boy-racer_RingMasterReviewBoy Racer traps ears with its opening hook, a delicious lure soon joined by punchy beats and a groaning bassline. Opening up its vocal and melodic enterprise, the song teases and flirts like a mix of Television Personalities, BabyShambles, and Ste McCabe; continuing to surprise and entice with whiffs of seventies punk pop and rock ‘n’ roll for extra spice of Buzzcocks meets Showwaddywaddy like mischief.

The track is pure infection, minimalistic in body and sharp in touch and swiftly matched by I Don’t Wanna Be Like You. With a rawer breath and more forceful attitude, the song similarly springs inescapable hooks amidst rapacious riffs and rhythms. Like the ringleader to the devilry, Gallagher further stirs attention vocally in the midst of the forcibly magnetic and enjoyably dirty romp with its uncompromising persuasion. Again it is a fusion of eras and styles honed into something unafraid to bare its inspirations but present a unique temptation; both tracks sharing that success.

Fair to say Ego cannot come soon enough with the promise of some more great adventures to relish. Andy Gallagher has not really been away but certainly he is back in the public ear thanks to two mighty singles providing a quartet of irresistible treats, the latest two set to draw bigger spotlights for creator and album all on their own.

Boy Racer / I Don’t Wanna Be Like You will be released March 17th.

http://www.andyjgallagher.com/    https://twitter.com/andyjgallagher

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

SJ and the Flying Pigs – Fireball

sj-pic_RingMasterReview

Few can escape the lure of a feel good proposal and that is exactly what is on offer from UK band SJ and the Flying Pigs and new single Fireball. With an engaging spring in its step and an infectious swing in its heart, the song simply gets under the skin and shows plenty of reasons why the band is igniting the music scene in their home city of Cambridge.

SJ is a country singer songwriter who has already lured attention and acclaim with her debut solo album, Nashville Sessions, which was recorded in Tennessee and released 2014. Since then she has frequently gigged across the UK and the Cambridge live music scene where she brought together her own backing band, it coming together within the walls of and taking its name from the City’s prestigious pub The Flying Pig.

sj-firebal-artwork_RingMasterReviewWith Kieran Morgan on banjo, Nicky Terry on fiddle, Ian Griffith on drums, Oli Steggles on slide guitar, and Joe Taylor on bass alongside the vocal and guitar craft of SJ, the band quickly show why they have gone down so well at festivals such as Secret Garden Party and Strawberry Fair with Fireball. From its opening melodic sigh, the track strolls with zeal and purpose, rhythms marking their territory as SJ’s voice calls upon ears and appetite with ease. Like flowing wine, that familiar country twang infests guitar and melody as warm harmonies tease, it all adding up for a rousing good time raising a smile in the listener as broad as the song’s own.

Written with her American songwriter friend Meghan Saletta and inspired by the popular Nashville whiskey Fireball, the song romps like a liquor fuelled shanty; a spirited proposition sure to spark fun in ears and hearts even within those not normally captivated by its source genre.

Fireball and the same-named EP it is from are out now through iTunes and Spotify.

Upcoming Live Dates:

29th March – Hard Rock Café, London (‘Hard Rock Country’)

8th April – Kings Head, Orford Suffolk

16th April – The Burston Crown, Diss

19th May – Faerie Fest, Sussex

3rd June – Strawberry Fair Festival, Cambridge

http://www.sjmortimer.net/   https://www.facebook.com/sjandtheflyingpigs   https://twitter.com/sj_mortimer

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Pryapisme – Diabolicus Felinae Pandemonium

band-_RingMasterReview

The press release for Diabolicus Felinae Pandemonium, the third album from the creative diablerie that is avant-garde/experimental metallers Pryapisme, declares it is “definitely the album of immaturity”. In truth it is the most accomplished, dare one say inventively mature offering from the Clermont-Ferrand hailing outfit yet. That growth has not defused the rousing bedlamic imagination of the band, in fact it seems to have escalated its mischief but where previous releases might be called schizophrenic such the mayhem of their head spinning diversity, Diabolicus Felinae Pandemonium feels in control of its creative chicanery; the result importantly again, a hell of a lot of fun and another irresistible infestation of psyche and spirit by the French outfit.

Their latest release is the first recorded with the band’s actual live formation rather than the core trio, the full quintet of Benjamin Bardiaux (keyboards), Nils Cheville (guitar), Antony Miranda (bass, guitar, moog, vocals), Nicolas Sénac (guitar), and Aymeric Thomas (drums, clarinet, keyboards) revealing their off-kilter craft and imagination. The album itself reveals the “advent of the Era of the Cat, the one which will replace mankind. After the arrival of the lol-cats all over internet, which constitutes the last conspiracy, well after the one of Ancient Egypt where the cats were already ruling the highest spheres of power, the diabolical felines are now preparing the birth of Satan’s cat, the Chosen One which will tame humanity and in the end, conquer the whole galaxy with the help of its pentagram of cat food.” Further music to our ears as we always claimed they were the devil’s spawn.

It opens up with Un max de croco, coaxing Middle Eastern vines escaping the guitar as rhythms shuffle around, ready to dance in the subsequent blossoming of melodic frivolity. There is a restraint to it all though, a reserve which accentuates the glint in the eye of hooks and keyboard spun melodies. In saying that, the infectiousness of the track is rampant and only strengthened by the jazzy twist and throaty throb of the contrabass provided by guest Matthieu Halberstadt (Ogino, Please lose battle). Never predictable but as expected and welcomed, the band and song turn on a spin of notes through varied styles and flavours, each move enslaving body and imagination in active participation.

artwork_RingMasterReviewLa Boetie stochastic process follows, flowing with summery warmth and flirtatious catchiness through darker shadows and dirtier street corners, every crevice a well of human drama and devilish enterprise. As with every song, thoughts have a field day interpreting and playing with the suggestiveness offered and the melodic painting shared, hips swinging with zeal to funk infused turns as the sax of Adrien Daguzon (Zibeline) flames in the midst of it all. There is a touch of 6:33 to the track, a whiff of Trepalium in its rowdier twists but as ever expectantly unique to Pryapisme.

The tenacious stroll of 100 % babines, pur molossoïde! roams ears and imagination next, its wave of hookery and sonic theatre if not cinematic resembling themes of those old sixties detective/sci-fi shows around floral melodies and darker, almost sinister beauty. Its individual escapade and canvas of sound just confirms another release driven by unbridled diversity, A la Zheuleuleu backing its affirmation with its celestial, moon lit saunter into a hectic and aggressively boisterous romp while Tau Ceti Central immerses the listener in another jazz scented, smoky adventure.

The album is like a travelogue, glimpses at landscapes and intimate insights discovered and invaded by its theme’s protagonists though Tête de museau dans le boudoir (Intermezzo) is more of a captivating and increasingly weird caress allowing for mental refreshment though to be fair it engages with the imagination as much as any other proposal within the album such its loco array of styles.

Myxomatosis against architektür vol IV is equally a rich tapestry of styles, its psychotic nature a trespass of extreme and melodic metal bound in the virulent revelry of varied flavours and pure manna for body and soul before Carambolage fillette contre individu dragon non-décortiqué casts its Nintendo spun contagion, a lure becoming more tempestuous with time as guitars and rhythms add their cartoonish devilment.

The album is completed by firstly C++ and its mesh of cosmopolitan spicing and endeavour, not forgetting mewing cats, and lastly Totipotence d’un erg, an epic thirteen minutes of dawning power, imposing contagion, and majestic wickedness. Flying by such the consuming potency of its evolving drama and kaleidoscopic soundscape, the track alongside its predecessor provides a compelling end to another thrilling outing with the instinctive insanity of Pryapisme.

Diabolicus Felinae Pandemonium is arguably the band’s most fluid and persistently contagious release yet, certainly it is their most skilfully woven and a treat for the bold and the insane.

Diabolicus Felinae Pandemonium is out now through Apathia Records @ https://apathiarecords.bandcamp.com/album/diabolicus-felinae-pandemonium

https://www.facebook.com/pryapisme    https://twitter.com/Pryapisme

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright