Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

All At Sea – Systemized

It is fair to say that All At Sea are pissed off; driven by a rage and fury which makes no compromises for the injustices and crimes of modern society. It is an anger which escalates in their new EP and a sound which uses the fuel to create one seriously rousing and thrilling incitement. Fusing the raw and instinctive essences of hardcore and groove metal, the UK outfit roar and trespass with the combined irritability of a bear and the lithe prowess of a predatory pole dancer, a union ensuring that Systemized is much more than a mere attention grabbing proposition.

From England’s North East, All At Sea first hit out from quickly incited local success with the release of debut EP Divided in 2015. It was a potent nudge of national awareness which did not quite find the strength of success its visceral bellow warranted. It is hard to see Systemized not finding richer success devouring its presence, its voracious nature commanding and antagonistic voice a demanding trespass easy to embrace.

Opener Wake Work Repeat offers a few seconds of controlled coaxing before unleashing its emotional and physical blaze. In no time riffs and rhythms unite to badger the senses as vocalist Jack Tyreman brawls with a variety of snarling growls supported as potently by the just as irritable tones of Ross Adam Blackmore whose guitar alongside that of Scott Marks conjures tides of bracing and abrasing riffs. Like a furious mix of Rage Against The Machine and Converge, nu-metal and punk rock involved in the band’s instinctive fusion of animosity, the track breeds an infectious virulence as invasive as its sonic and vocal ire. Grooves continue to entwine and incite the listener, the rapier swings of drummer Tom Cox bone splintering as Josh Walker’s basslines crawl across the damage.

It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins  punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.

That bluesy toning is even richer within the grooved lattice of Life Value, the guitars spinning a deceptive web of invitation as their sonic dexterity sears and rhythms raid the senses. With the blend of vocals and their delivery as magnetically choleric as ever, the track is primal rock ‘n’ roll to lose inhibitions with; exhaustion and aroused argument ensured before Business Of Faith offers its own kind of raptorial rhythms and sonic bad blood. Vocals challenge and incite as riffs plunder and grooves share venomous yet captivating intoxication. Like a grizzly with the lustfully flirtatious moves of a feline, the track is a sly and artfully seductive vendetta of enmity bringing one gripping exhilarating encounter to a masterful conclusion.

The song is not as feral as others within Systemized but adds a just as fiercely enjoyable and blistering moment in its barbarously inventive and intensively charged tempest. If Systemized does not put All At Sea firmly on the biggest metal maps, attention succumbing to its unbridled storm, something will be seriously amiss.

Systemized is out now @ https://allatseauk.bandcamp.com/album/sytemised

https://www.facebook.com/AASNEUK/

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Pigeon Lake – Barriers Fall

Three years after the release of their striking and quickly acclaimed debut album, Tales of a Madman, Norwegian quartet Pigeon Lake return with its successor in Barriers Fall. The time between has seen changes within the band and a reassessment of the way forward; a shift sparking an evolution in sound too which is actually hard to pin down but openly inflaming the Oslo outfit’s new offering and release which like its predecessor at the time, will make a definite rival to those around it for one of the most essential investigations of the year.

Since emerging in the opening smiles of 2012, Pigeon Lake has grown to be one of the most compelling propositions on the melodic rock/metal landscape. Founded by vocalist/guitarist Christopher Schackt and completed by childhood friend and drummer Andreas Prestby and bassist Kenneth Stiansen, the band instantly sparked attention and praise with the I: Mindrape EP later in that first year. Its themes of domestic violence, sexual assault, and mental health were as striking as the raw sounds inciting ears. The three became four with the addition of lead guitarist Magnus Engemoen soon after while the following year saw Stiansen replaced by Anders Børresen. As their sound moved towards a flavouring more akin to the likes of Katatonia, Stone Sour, and The Ocean, the band’s live presence escalated before they got down to work creating Tales of a Madman, its release coming in the Autumn of 2014 and followed by the band heavily hitting the road again including taking their first steps touring Europe.

Linking up with Wormholedeath Records in recent times provided the spark for that previously mentioned re-assessment and the resulting highly amicable departure of Børresen and Prestby which was soon followed by the joining of bassist Håkon Bechholm and drummer Jonas Rønningen. Now the new line-up has unveiled Barriers Fall, an encounter feeling darker and rawer than that first album yet their most melodically seductive and inventively mature adventure yet.

The album opens with Ragnarok, grooves instantly wrapping ears with shadow lined radiance. There is a portentous edge to them though, nothing imposing but clearly there as rhythms jab and riffs collude around them. Magnetic straight away, the track settles down into a heavy prowl where all those imposing elements erupt for a few rapacious seconds before Schackt’s cleaner tones steer the tempest into kinder waters. Abrasive growls remain alongside him though as the song merges predatory and seductive sides, luring the imagination into a provocative squall of emotion and intensity.

It is a striking start soon eclipsed by the just as tempestuous roar of Lyra. Nagging riffs align with Schackt’s distinctive tones initially, the bass prowling around them before the incendiary heart of the track erupts with fiery melodies and antagonistic tendencies. Harmonies and melodic tempting bewitch as the song subsequently shares its evolving soundscape, contrasting textures blending their potencies in one beguiling encounter. There is definitely something of the aforementioned Katatonia to the song and indeed album but equally the likes of Opeth and Swallow The Sun come to mind though in all honesty Pigeon Lake here and across Barriers Fall only reveal their own character of sound and imagination.

The album’s title track is next, seducing with a mesmerising poetic melody and calm vocal reflection before Rønningen’s beats add increasing threat. In time, as things increasingly simmer with greater intensity, everything comes to a head, vocals spilling their psychosis as a sonic causticity descends. A relative relief in the storm comes with the closing breaths of the excellent track before the more mercurial presence of The Futility of You takes the listener into a controlled yet seemingly unstable emotional embrace. Again the music is a web of trespass and radiance, vocals matching the changeable mood with suggestive prowess as wiry hooks and almost toxic melodies tempt and trap the imagination. Epitomising the album as a whole, the track only reveals new layers and textures with every listen, each time within it seeing growing attraction and the blossoming of image painting thoughts.

Hide and Seek runs a fine line of control and lawlessness, its cauldron of corrosive energy restrained and held back by the harmonic and melodic beauty hugging the senses though it is never more than a breath from breaking free while within Sunder it shapes the predatory nature of a track which equally is as much an oasis of elegance and gentle repose as a turbulent tempest; a beauty and beast of inner and worldly turmoil.

Senses harrying riffs brings A Familiar Problem to bear on ears next, delicious bait opening up into a just as enticing fusion of roaming grooves and brooding rhythms around feral toned vocals. That previously mentioned raw element of the release has its head with the harsh throated presence of Schackt adding to the psychotic edge of the track with clean and melody woven radiancy just as powerful before Perfect Place casts its variable cyclone on the passions. Irresistible within its first moments and only stealing greater lust thereon in, the track breeds an addiction as rich as its unpredictability to provide if not the pinnacle, one of many.

Closing track Let’s Pretend takes the listener into one final embrace of emotional restlessness and creative anxiety, the song as the album whilst being intricately woven and layered is almost anarchic in its nature and heart. It is a fine end to another encounter with Pigeon Lake which simply blossoms and further impresses with every listen.  To be fussy, personal tastes would see Schackt’s throat scarring vocal side reduced to allow his excellent clean and emotionally suggestive tones to have an even larger say but it is a mere passing thought in a release which stirs every part of body and mind.

Barriers Fall is available now through Wormholedeath Records across most online stores.

http://www.pigeonlake.no/    https://www.facebook.com/PigeonLakeMusic/   https://twitter.com/PigeonLakeMusic

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

The Parallax Method – The Squid

A couple of months or so short of two years after the release of The Owl EP, British instrumental progressive rock trio The Parallax Method release its companion piece, The Squid. Continuing the theme of “space and a perpetual battle between the owl and the squid to convey their unique sub-genre of modern prog” started with the first EP, its successor takes ears on another groove infested, colourfully inventive, and technically captivating shuffle sure to have the body enthralled and twisted as eagerly as the imagination.

Emerging from the ashes of hard rock band Isolysis, The Parallax Method stepped forward in 2014 with old friends in guitarist Danny Beardsley, drummer Dave Wright, and bassist Daniel Hayes. Drawing on the inspiration of bands such as Between The Buried And Me, Tesseract, and Karnivool, they nurtured and bred the compelling tapestry of sound to grace debut EP The Owl in 2015. Its acclaimed release and complex yet easily accessible escapade announced The Parallax Method as an exciting prospect to watch and an adventure to devour. The departure of Hayes post the recording of the EP saw Ben Edis (Spirytus/Breed77) come in and complete a line-up even creatively bolder and mischievous within The Squid.

Let’s Get Kraken gets things underway; its title the first hint to the knavish and spirited escapade within song and EP. From within a busily engaged crowd, a swing guided bassline joins the jazzy flirtation of guitar, beats skipping along with them. It is an inviting collusion soon luring hips and feet into the waiting net of enterprise; every initial attribute and lure soon infested with lustful intensity and creative boisterousness as things get funky with the arrival of Donald Sutherland And His Magnificent Mane. Evolving from its predecessor, grooves captivate as hooks ensnare, all the while Wright’s swings landing with real bite and snap as the track gets down to laying a web of intrigue and beguilingly evolving adventure. There is chunkiness to its body which sparks the appetite as much as its gentler wanderings across the senses, all making for a compelling incitement for body and imagination.

Its final vocal sigh sparks the similarly spirited and energetic shuffle of You Gotta Be Squiddin’ Me’, the track slyly entwining ears with seductive grooves with a whiff of predacious devilment as around them melodic interplay blossoms its own beguiling enticements. Electronic spicing only adds to the tenacious and imaginative touch of song and guitar, Beardsley weaving another rascality of sound through his strings as Edis’ bass prowls with its own coltish instincts and intent. Fuelled by mood swings of enterprise, the track at times heavy and rapacious whilst in other moments crafty and sprightly, it has body and thoughts leaping and inventing respectively.

As too does the creatively athletic and kinetically energetic canter of Owl Pacino Vs Mega Mango; a piece of music which can feel in certain moments like a stand-off between battling textures and attitudes but at other times a heated yet respectful collusion of both sides; though it is the aggressive instincts of each side which drive the outstanding track.

Its funk lined finale flows into the epic melodic epilogue and dynamically entrancing theatre of I Squid You Farewell (Owl Be Seeing You). The final track is a drama of sound and texture; an imagination woven and guided frolic of the rich craft and strikingly inventive versatility of all three musicians as they lead the listener on a fruitful gest as much of their own as the band’s making.

Every listen of The Squid brings escalating joy and adventure as new twists in the imagination flare up as fresh nuances and layers are discovered. The EP is a stunning move on from The Owl yet still works perfectly with its earlier companion; the full glory of The Parallax Method ingenuity and creative fertility best served with both releases played back to back and given full attention of ears and mind.

The Squid is out now digitally and on CD @ http://theparallaxmethod.bigcartel.com/

http://www.theparallaxmethod.com/  https://www.facebook.com/theparallaxmethod   https://twitter.com/parallaxmethod

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Carnival Club – Magdalena’s Cape

Woven from the threads of numerous flavours which alone instinctively grab attention, the Carnival Club sound is a tapestry which certainly on the UK rocker’s debut EP, Magdalena’s Cape, blossoms from a rich first temptation to a lustfully devoured introduction thereon in. It is an infestation of the imagination nurtured in the creative mystique of prog rock, the hearty emotion of blues rock, the bold roar of sixties punk, and the hazy climate of psych rock. In truth, it is all that and more in a proposal and release which is as fresh and striking as it is the return of familiar sonic strains; an EP which offers the potential of a new essential force from within the ever pregnant Manchester music scene.

Emerging April 2016, the quartet of Eddie Moxon, George Peel, Joe Lodge, and Kai Jon Roberts quickly made a potent impression on the local scene. Now national awareness is being readied and stirred by the outfit’s maiden EP, its mature presence and rich web of sound belying the youth of its creators whilst consuming ears in an adventure bordering on the essential.

Opener House of Cards instantly entwines ears in one spicy groove, its psych blues tang soon aligned to the heavy throb of bass and crisply landing beats. Vocals make for just as potent bait as the song almost crawls into view before settling into a boisterous rock ‘n’ roll shuffle. With every groove and melodic tendril seemingly becoming thicker and richer in psychedelic/hard rock tenacity as impressive vocals equally grow in energy and presence, the EP quickly becomes a captivating proposal only increasing its grip as Mistakes Troubles and Kisses takes over.

The second track has a lighter touch compared to the heavy presence of its predecessor but an infectious swing built on pure rock muscle and emotive intensity. Its pop rock temptation is as much modern indie as it is seventies heavy rock, another fusion already revealing the kaleidoscopic canvas of the Carnival Club songwriting and sound. Its inescapably catchy body and unpredictable but fluid twists only seduce, passing on a willing submission to its bold charms to the following You’re So Hostile. It is a track even more virulently infectious with its eighties pop hooks and brooding rhythmic seducing which within seconds has the body bouncing and hips swerving with its flirtatiously weighty stroll while roaming the psyche like a blend of The Cult, My Baby, and The Doors; essences of Hendrix and goth rock only adding to its best track grabbing magnificence.

The EP’s title track steps forward next, Magdalena’s Cape a mellow caress wrapped in psychedelic wooziness and prog rock musing but with a tart spicing to its melodic  tempting, kind of like a distantly related fusion of The Jesus and Mary Chain and The Electric Prunes to try and give an impression of its sultry beauty.

Another mighty moment comes with the EP’s closing track, Headache a web of crunchy riffs and imposing textures around prowling vocals and stalking rhythms complete with sixties bred punk rapacity. Those stabbing riffs alone ignite the passions, the scythes of guitar and predacious grooves of bass escalating the primal attraction as the ever magnetic vocals seal the devilish deal on offer between song and listener.

It is a masterful and irresistible end to a just as successful release, one still carrying the potential of bigger, bolder, and greater successes ahead for Carnival Club. Magdalena’s Cape is the declaration of something mouth-watering and truly exciting breaking out within the northern music scene. With more of the same, national attention is surely guaranteed and with the realisation of the raw promise within, watch out world.

Magdalena’s Cape is out now through Demolition Diner Records as a digital download, on CD with an additional Ltd Gatefold CD version, and on Ltd Vinyl @ https://carnivalclub.bandcamp.com/track/magdalenas-cape

https://www.facebook.com/carnivalclubuk    https://twitter.com/carnivalclubuk

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Mosley Bar – Royalties

Following up their well-received debut EP, Another Record Sleeve, which sparked strong attention the way of the band and airplay from the likes of BBC 6 Music BBC Introducing, Mosley Bar uncage successor Royalities this month to show that the potency of the first was no flash in the pan. Offering four tracks with a fine line in instinctive catchiness and enterprise, the EP reinforces the British North West hailing quartet’s potential of making a real impression on the UK rock scene.

Formed in 2015, Mosley Bar draw on the inspiration of bands such as Arctic Monkeys, The Libertines, Catfish and the Bottlemen, Two Door Cinema Club, and Circa Waves in a sound which has a certain familiarity to it but equally a freshness of youth and imagination. Certainly the first pair of artists in that selection of influences comes to mind easily with the band’s sound but infests without disguising the potential of bolder adventures ahead; a promise which is richer and already more imaginative in their new offering against the strong showing within Another Record Sleeve.

Royalties opens up with a song which has already lured praise carrying attention, Two Apart quickly enticing ears with its initial guitar jangle around the distinctive tones of vocalist/guitarist Ryan Ward. In no time, the swinging lure of Tim Williams’s bass and the melodic enticement of guitarist Adam Eccleston add to the song’s blossoming, the lively beats of Matthew Wright driving things with spirit. It is easy to see why the infectious exploits and dynamic prowess of the track has drawn keen plaudits, its boisterous exploits and web of melodic and sonic enterprise an accomplished and riveting proposal lined by that enjoyable Arctic Monkeys spicing.

With increasing drama and emotive intensity roaring through ears, the excellent opener makes way for the similarly instinctively catchy Wide Awake. Its own line in hooks and flirtatious industry is even swifter in persuasion than that of its virulent predecessor, Eccleston and Wards’ guitars infesting feet and hips as the latter continues to bring his magnetic voice to the rousing mix. For us, the track simply outshines the first and pretty much anything from the band to date; its body boisterous and character a fine blend of recognisable and new essences colluding in one irresistible incitement.

The punchy stroll of next up Philip is aligned to a melodic shimmer and psych pop flavouring, contrasting textures which unite with evocative imagination around the hearty stomp of a song erupting with persuasive zeal. It is another frisky and buoyant landscape of sound which grows listen by listen into a rousing temptation; a growing temptation also emulated in Chasing which brings things to a fine close. The slow burner of the bunch, though its breezy energy and playful nature is a quick success on ears and appetite, the song simmers and shines with increasing potency to provide another highly enjoyable outing with Mosley Bar.

Listening to Royalities, it feels like now is the time for Mosley Bar to add bolder, more unpredictable elements to their music. Their new release does have a whiff of that evolution to be fair and added to the band’s natural weaving of infectious music around insightful words, there is no reason that the journey ahead for band and fan will not be eventful and thoroughly enjoyable.

Royalties is out now across  most online stores.

https://www.facebook.com/mosleybar/    https://twitter.com/mosley_bar

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright