The BeauBowBelles – To The Moon

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London quartet The BeauBowBelles is a refreshing treat that is hard to pin down sound wise on the evidence of their debut To The Moon EP, but with rich essences of gypsy punk, folk, country rock, swing, classical elegance, and much more conjured by the quartet of multi-instrumentalist singer songwriters into one melodic blaze of virulent fun, a description of riotous beauty is all that is needed to tempt your intrigue.

Consisting of Bertie Anderson (vocals, violin), Emma Price (vocals, flutes, accordion, bells), Ros Wilks (vocals, violin, keytar), and Marcus Daborn (guitar, kickdrum), The BeauBowBelles has earned a fine reputation for their live shows whilst breeding a strong anticipation in a great many for the release of their debut. Recorded at Soup Studios (The Kills, The Maccabees, Roots Manuva), To The Moon does not let any expectations and hopes down, in fact you suspect it leaves them breathless with its insatiable enterprise and thrilling devilry, musically and lyrically.

Finely plucked strings tease the ear as opener These Days steps into view to start things off. Soon joined by the purely tempting vocals amidst a slowly brewing romp of folk and country bred festivity, the track slips into an energetic and invigorating jig of eager enterprise which switches back and forth with a restrained narrative until stealing the floor for a raucously contagious climax where feet and emotions are enlisted in the feisty dance.

The title track takes over next emerging from a celestial beauty with a melancholic kiss to the opening string sculpted classically honed ambience. From the expressive entrance thoughts are led by wonderful provocative vocals and harmonies alongside an acoustic guitar narrative into a compelling and mesmeric evocative tale and aural caress. With a beacon of light and beauty bursting out of every direction within the song, it is a gloriously bewitching flight of imagination and scintillating craft.

The best track on the EP comes in the shapely drama and sultry mischief of Alien Tango, a song declaring an investigation all boyfriends have probably been under. The potent tango stomps over the senses with relish and incendiary invention, the vocals soaring magnificently across the passions whilst musically the song ebbs and flows through creative brilliance pulling an intensive rapture from the heart in its wake. Like a mix of Molotov Jukebox, Holly Walker, and Cate Ferris, the track is a riveting and inspiring playful frolic, a devilish ‘showtune’ which has thoughts and emotions lusting after its startling charms from the first note through it its last lingering breath.

The release is finished up by the country gaited Need Someone To Talk To and the outstanding Banger. The first of the two stomps along with big beats coring a heated canter through acidic melodies and as ever transfixing vocals, its Western Country lament an easy lie on the ear. It does not quite match up to previous songs though that is down to personal tastes in regard to anything country tainted, but the skilled composition and accomplished presentation is beyond dismissal. Its successor is another impossibly infectious stroll through a gypstep/swing bred celebration, inciting strings painting a richly hued canvas for rhythms and vocals to dance out their call upon the passions whilst the sway of the guitars and energy coats extra layers of seductive mastery upon the senses.

To The Moon is a real treat of thoughtful craft and rampant imagination wrapped in an expansive and varied energy fuelled melodic boogie. The BeauBowBelles just might be like for us your new musical best friend; certainly their EP makes the loudest invitation to that lingering link up.

http://www.thebeaubowbelles.com/

https://www.facebook.com/thebeaubowbelles

9/10

RingMaster 13/09/2013

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The Autopsy Boys – Crushing On Cynthia

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Riotous with an antagonistic breath to its virulently contagious sound, Crushing On Cynthia from UK punks The Autopsy Boys, is one of those songs which comes along and seduces the passions whilst simultaneously chaining them up in a blood soaked wrap of sinister devilry. Combining old school punk with eighties electro pop, though the song is even more flavoursome than that descript suggests, the single leaves hunger and emotions alive and greedily hankering for much more from the West Yorkshire quintet.

The seeds of The Autopsy Boys were sown in 2006 when vocalist William Brunskjill and synth player Gary Hargreaves united to create and perform as a post punk outfit using drum machines, synthesizers and the occasional guitar. Theming their songs with inspirations from 80’s TV, horror movies, gaming and marijuana borne through offensive lyrical content, the pair’s sound was compared to the likes of Big Black though it subsequently evolved over time to a more truculent punk confrontation influenced by bands like The Dwarves, Germs, TSOL, and The Queers. 2011 saw the duo approached to open a local hardcore punk and heavy metal all day event BEEFSTOCK IV, to which they agreed and set to expanding their line-up for what was intended as a one off occasion. Bassist Jamie McKenzie (Freaks Union, Dead Pets, Dun 2 Def),guitarist Alan Laird (Steroid Freak Pussy, Me and My mates, The Hydropaths, Dead Pets), and drummer JP Robinson were drafted in to help out and the rise of The Autopsy Boys was off and running with the single the next riotous instalment.

Electro spots hit the ears first on the song, drawing them into a raw graze of scuzzy synth swiped with crisp rhythms whilst the vocals of Brunskjill glance off their surface to engage the listener with an attitude reaped quality. Musically seductive in its verse and caustically brawling in its chorus the song bristles and buffets the senses with a feel of The Adicts and Peter And The Test Tube Babies aligned to an OMD synth persuasion. There is also a slight whisper of post punk involved in the enterprise, a certain Joy Division chill pervading at times from the core of the outstanding song.

Simple in its attack but skilfully crafted in its effect and seizure of the passions, Crushing On Cynthia is a thrill of an introduction to the band and another example of how varied and potent UK punk rock is right now. Watch this space in regard to The Autopsy Boys is the recommendation as we have seen nothing yet one suspects.

http://www.autopsyboys.com

9/10

RingMaster 13/09/2013

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Strange Names – Self Titled EP

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The self-titled EP from US electro pop band Strange Names is best described as an exploding star of warm mesmeric radiance and rich melodic hues falling upon the senses with varied flavoursome and refreshing warmth. It shows with ease why the duo of New York born Liam Benzvi (vocals, percussion, keyboards)and Minneapolis hailing Francis Jiminez (vocals, guitar, keyboards) has created such a buzz around themselves back home and now the UK release of their debut EP should act as a magnet for the imagination and passions of plenty more eager appetites this side of the blue too.

The two musicians met whilst at the University of Minnesota in 2010 and soon were collaborating with live performances following in2012, the band growing to a quartet live with the addition of bassist Andre Borka and drummer Fletcher Aleckson, who also play on the EP. It’s and a single’s successful Stateside release to strong acclaim via White Iris Records followed Strange Names being named as the Twin Cities Best New Band of last year. Live the band has also garnered strong reactions including shows with the likes of Yeasayer, Mac DeMarco, and The Walkmen. With the pair working on their debut album right now, the EP gets its timely unveiling on this side of the pond through Minor Times Records September 16th  to equal response.

Potential Wife starts things off with electronic starlets of sound expelling their sonic beauty in the sky of the song before beats rupture 644462_450928411612262_606119642_ntheir elegance and the track is led by a delicious bass croon bursts into a contagious blaze of jangly guitars and melodic dance. With the bass adding extra funk to proceedings the sound sits somewhere between Talking Heads and The Tom Tom Club before evolving into even juicier affair as the great dual flames of harmonies and mesmeric vocals from Benzvi and Jimenez kiss and caress the ear.  It is an absorbing start to the release with elements of eighties new wave and modern electro brewing further enticing whispers within the elegantly grooved waltz.

Strange Revelation continues the impressive start and instantly shows the variation and diversity ripe within the songwriting and its sound, a haunting post punk breath wrapping every note and lyrical coaxing whilst a melodic breeze stokes up further irresistible heat. The bass and excellent chilled guitar taunts have a Joy Division cold beauty whilst the contrasting warm melodies and vocal exploits pull thoughts of China Crisis into play. It is a mesmeric weave of masterful and evocative craft which confirms the potency and temptation of band and release.

     Luxury Child finds seeds back in the pop well of enterprise though the throaty pulsating dark tones brings welcome shadows to contrast the excellent Haircut 100 like guitar stroking and the ever impressive and smouldering warm vocals. Simultaneously tender and vibrantly energetic the song is an enthralling venture soon matched by final song Young. The closing track is a deep wash of potently hued electronic incandescence and slightly raw but invigorating sonic colour which continues the immense bewitchment and creative heights of the EP. It does not quite match the success of the previous songs but is arguably the most intense and imaginative of the four, and the most telling of the strength and expanse of the band’s songwriting.

Strange Names is poised to seduce the UK and Europe just like it has its homeland, their first EP an undeniable persuasion of that assumption and future promise, the first step towards many exciting horizons for them and us.

http://www.strangenamesmusic.com

9/10

RingMaster 13/09/2013

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Pump Action Radio – Cheating Perfection

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To get the obvious out of the way with Cheating Perfection the debut EP from UK pop punks Pump Action Radio, there is nothing startlingly new about the four track release, its sounds bred from well-drawn wells from the likes of You Me At Six and Kids In Glass Houses. Against that though is an energy and creative passion from the band which simply turns each song into a memorable and excited blaze of melodic enterprise. Ultimately the EP is a richly satisfying romp which leaves only bold favourable reactions in their wake, and as for a unique breath the release simply says enjoy and we will sort that out later.

Formed in 2008 from the ashes of the band’s previous identity Our Time Heroes, the Bournemouth quartet of vocalist/guitarist Jim Dyke, lead guitarist/backing vocals Richie Blandford, bassist/backing vocals Chris Smith, and drummer Mat Jessop have built an eager following in the south of the country  whilst sharing stages with the likes of Attack! Attack!, Sonic Boom Six, Spunge, 4ft Fingers, Reef, Gavin Butler (The Blackout), Natives, and Tiger Please. Cheating Perfection is the key to working on the rest of the nation and such its refreshing presence it is hard to see it failing to ignite a wealth of further passion for the band.

The thumping appetite of Famous starts things off, riffs greedy for the ear and hungry rhythms making an initial riot for the senses to Pump Action Radio Cover Artworkgrip onto before the song nestles into a reserved gait for the arrival of the strong vocals of Dyke. Into its full stride the song prowls and taunts with excellent bursts of intensively keen bursts of melodic fire and anthemic temptation punctuating the potent continually shifting charge of the track. There is also a great snarl to some of the guitar craft which adds to the fullness of the encounter and its persuasion. It might not be, like the EP, carving out new unseen adventures but it is certainly unleashing exciting ones.

The title track steps up next, resting a melodic enticement over the ear before opening up its sinews around the temptation, its intent driven by rolling provocative rhythms and again a well-crafted mix of riffs and sonic invention. With a chorus even more contagious than that unveiled by its predecessor, the song strides into the passions with a rigorous and fresh aural attitude and lyrical passion. Epidemically engaging and catchier than a viral contagion, the track shows plenty of thought and imagination leading to an almost fury like crescendo just before the final hook of chorus and anthem bred potency.

The Difference continues the excellent start even if it fails to emerge from the shadows of the first two triumphs. Again rife with sharp hooks and devilish rhythms, the song is a pleasing and effective companion with plenty to enjoy and little to dismiss. The same can be said of the final song Pow!! Right In The Kisser, another stomp of strikingly composed invention and instinctive energy. With a more than a whisper of Blink 182 to its underlying raucousness, the song makes for a thumping pleasure which sums up the whole release, energetically wholesome and melodically ablaze slice of creative virulence.

There is a hidden track on the EP, a dub infested version of the title track which is not worth talking about, but as four tracks of enjoyable high tempo power pop/pop punk, Cheating Perfection is a great introduction to a band in Pump Action Radio which has plenty of promise and time to hone their own aural distinction.

www.facebook.com/pumpactionradio

8/10

RingMaster 13/09/2103

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End Of Green – The Painstream

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There is a familiarity to The Painstream, the new album from German metallers End Of Green, which for anyone else would more than likely go down as a negative but such the at times anthemic and certainly generally infectious charm of the release this only adds to the pleasure offered. Though inconsistent across its eleven track journey through emotive shadows and gothic flames, the Napalm Records released album is simply a satisfying encounter.

The seventh album from the Stuttgart and Göppingen hailing quintet, The Painstream continues the earlier bred success and invention found on previous albums  Dead End Dreaming, The Sick’s Sense, and High Hopes in Low Places whilst finding a stronger dare one say poppier aspect to their fusion of heavy and gothic rock with doom and alternative metal tendencies. The release is a provocative and heady venture of light and dark with the latter coating emotions and reflective depths more often than not. As mentioned there is something recognisable about the songs within the release, a breath and essence which calls forth numerous thoughts of other bands but equally this recognition comes with a twist and contagious imagination borne solely of End Of Green. A description in numerous permutations of Dommin and Type O Negative meets The Mission and Three Days Grace with a splash of Paradise Lost and Deathstars for good measure, is a more than decent comment on the album but it comes with little extras which leaves it a refreshing companion.

The album opens on an immediate high with Hangman’s Joke, its initial melodic tempting attached to sonic drama leading into a 498_endofgreen_CMYKcharging ride of contagious riffs and thumping rhythms ridden by the strong vocals. Its moments of cantering energy and hunger ignite the passions with ease whilst the entwining slower emotive caresses only make stronger persuasion before the triumphant darkly compelling chorus. Accomplished and irresistible, the track is a formidable and delicious introduction to the album sparking strong anticipation for what is ahead.

Both Holidays In Hell and Standalone continue the immense start, the first through an intensive and oppressive doom breathing expanse of melodic imagination and stirring rhythmic provocation. A thrilling mix of dark and light, with a lumbering and energetic gait matching the song’s mood, its riveting web of intrigue and evocative grandeur holding essences of Bush around the Pete Steele like vocal delivery and Danzig/Dommin lit weighty sound. It successor opens with a heavy metal muscular antagonism, riffs and beats giving no inch in their demanding lure whilst the again impressive vocals almost slow dance over the sinew clad surface. The fiery guitar play and solo add a burn of blues to the encounter which only enhances the pull and depth of the easily engaging and deeply anthemic slice of enterprise.

The first half of the album is completed by Final Resistance and the exceptionally virulent De(ad)generation. We say half as from the end of the second of this pair The Painstreet becomes fails to retain the passions to the same extent as the first five songs. The first of these two though is another crawling fire of imaginative enticements wrapped in suggestive and emotionally drenched shadows which simultaneously smother and invite thoughts and passions to delve into their own cloudy corners. Its successor is for the want of a better term a pop rock storm of inventive beguilement with stomping rhythms and anthem driven sound. Impossibly addictive and thoroughly charismatic with a hint of Rammstein to its spiritual call, the track is the pinnacle of the album and the obvious lead into the release for newcomers.

Home On Fire steps up next to provide a satisfying if underwhelming proposition, especially against the previous joy, its sound again with a familiar presence which makes it an easy if less inspired friend. It is followed by the smartly textured ballad Death Of The Weakender and the impacting Chasing Ghosts, two stylish and well sculpted songs which do little wrong and are strong in all their aspects but are unable to recreate the spark to send the appetite into overload, though between them Don’t Stop Killing Me after its gentle emotive start climbs into an intensive blaze of rewarding and exciting fervent passion with plenty of invention and smart thoughtfulness to light a few flames inside.

Completed by the again hard to reproach but less potent than others, Miss Misery and The Painstreet, a Poets Of The Fall like satisfying finale, The Painstream is an enjoyable and absorbing album. With the track order it certainly feels like a release in two halves in regard to pleasure but there is never a point where thoughts and a hunger for other things are allowed to appear. The album is definitely well worth a listen and End Of Green a band hard to ignore.

https://www.facebook.com/endofgreenofficial

8,10

RingMaster 13/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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