By The Rivers – Vulture/This Love

By The Rivers Field July 2013_1

Re-igniting the impressive and exhilarating presence and success of their self-titled debut album last year, UK reggae band By The Rivers release new double A-sided single Vulture/This Love. Taken from the album, the songs tell you all you need to know about the melodic beauty and vibrant creativity of the band and their mouthwatering sound. It is another irresistible call for those yet to discover the splendour of the Leicester sextet and another reason for us in the know to let feet blaze over the ground with one of Britain’s most exciting bands.

Formed in 2010 by friends, Nile Barrow (lead vocals/guitar) and Jordan Birtles (drums/vocals), By The Rivers has mesmerised fans and media alike with their unique fusion of reggae/ska/soul/and afro-beat. With a line-up completed by Matt Willars (bass), Sam Read (keys/guitar/vocals), Will Todd (Tenor Saxophone), and Leo May (Trumpet), the band from their first steps were soon gracing stages with the likes of Dawn Kinnard, Neville Staples, Fun Lovin’ Criminals, and Toploader. Their swiftly growing reputation only accelerated as the six-piece continued to play with the likes of the Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, and The Specials whilst released eagerly received EPs and singles. Last year’s album through Kompyla Records thrust the band into an even more intensive spotlight with festival demand and appearances a plenty following its release.

The new single is the next dart of contagious persuasion by the band, one to have lips licked and passions romping. Vulture opens with a Graphic1 glorious wash of vocal harmonies, their touch a seductive caress before the song opens up its entrancing arms into an elegant sway and magnetic swagger. Guitars and bass dance and tease across the length of the song giving a base contagion to fall into, then once enslaved brass flames aligned to anthemic vocal and melodic lures bind the passions even tighter. It is an energetic but respectful romp leading imagination and emotions by the hand into a seductive and vivacious dance.

The musical and lyrical provocation of the song is emulated in its own distinct design by This Love, the song an evocative affair with ears and thoughts which gentle strolls as melodic tendrils and expressive passion drifts off every note and harmonious syllable. It is too easy and maybe lazy to provide UB40 as a reference to the sound of By The Rivers but it is unavoidably suitable for this flowing summer wind of a song. The heat of brass and magnetic touch of the guitars make the initial steal of the heart but as is very often the case with their songs, it is the vocals and melodies which bring the virulent infection to which there is no known cure.

With an instrumental version of Vulture completing the tracks offered, the single is another riveting triumph from By The Rivers, inescapable bait for feet, heart, and soul. Released April 21st alongside a Tom Swindell (Shy FX, Jamie Woon and Die & Breaks) directed video the same day for Vulture, the single and the band’s irresistible blend of catchy songwriting and powerful lyricism make another potent statement for one of the very best new bands here in the UK.

Vulture/This Love is available via Kompyla Records now!

https://www.facebook.com/bytherivers

10/10

RingMaster 21/04/2014

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The Van Burens – Presidential Lovefest

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Mischief and good music is always a healthily attractive mix and that is exactly what you get with Presidential Lovefest, the second EP from US indie/reggae funksters The Van Burens. The nine tracks it holds captures the imagination and feet from start to finish; the six full tracks and trio of equally magnetic samples which split the earlier songs on the release creating an intriguing web and compelling party to get wrapped up in. The release is fun with a giant F but also an expertly sculpted and devilishly presented slice of slavery.

Formed in 2008 and taking their name from the eighth President of the United States, The Van Burens has built up an eager following for their vivacious and energetic sound. They have a presence which toys with theirs and the listener’s imagination, their songs certainly on the new EP eager to ride unpredictability with contagious adventure. Presidential Lovefest is the successor to the 2010 Eager EP, the former’s success and appeal helping the Boston band to go on to tour the US. Drummer/singer Matt Spitz speaking about their new release said “Presidential Lovefest captures both our fun live set and our meticulous studio sound; it’s a dance record you can hear a thousand times and always find something new”. It is impossible to disagree as even after numerous tangos with its pleasing body, new temptations and depths reveal their seduction ensuring the release just gets better over time.

Taking an irreverent theme of American history to its humorous premises, Presidential Lovefest opens with the introductory scenery of TVB coverMiss Lola Overture, a forty second lead into the following Tricky Dick. It is here where the release really wakes up, rhythms and a blaze of brass heralding the funk driven stomp ahead. The track immediately stomps with a rhythmic swagger courted by a great dark bass tone provided by Emmett Knox whilst alongside them the vocals dance with revelry and a welcoming enticement. With the guitars of Greg Smith and Greg Spitz teaming up with the keys of Jeff King to weave a melodic web which simply seduces emotions and appetite, the song continues its rampant persuasion bursting continuously with the trumpeting calls of Leenie Doran beside the equally magnetic flames of trombonist Pete Fanelli and saxophonist Joel Edinberg.

It is a flaming bait to set the EP off in irresistible style, an entrance after the atmospherically wrapped bye bye with its ‘FoxMulder’/child sample, which is backed potently by the more restrained Hey Everybody. The song is a sultry breeze of smouldering brass and clinging melodies, band vocals and harmonies similarly gentle in their caresses. The track does not inflame as dramatically as the previous song but instead provides a persistent embrace which envelops and soaks the senses for a just as compelling capture.

A continuation of the previous sample comes with hello before Reagan raises its rhythmic knees and keen melodies for a vibrant wind of reggae fuelled enterprise. The beats of Matt Spitz pulsate and rap around the ears, alone triggering a festival in the feet whilst the mesmeric vocal sweeps which span across the punchy canter of the song manipulate the passions. Not for the first or last time, song and band inspire comparisons to the adventurous and inventive mischief of nineties band Honky, as well as offering essences of Fun Lovin’ Criminals. The song is a blaze of charm and inventive vitality, again the brass flumes emotively colouring the expressive canvas provided by guitars and keys framed by the ever tantalising rhythms. With flumes of scuzz kissed sonics and the guest trumpet insurgences of Sam Dechenne, the song steals passions and memory alike.

Lee Harvey emerges from a sinister atmosphere, a sampled public warning stepping from a noir haze right before a jazz/funk bred guitar teasing wraps its lures around the body. Again that Honky reference is at play, experimental hip hop elements swerving their inviting hips from within the fullness of the funk fuelled dance. There is a very familiar toxin to the track but it only accentuates the mystery and seduction, rogue keys and percussive exploits adding further sparks for the imagination to devour as greedily as the ears. Making its way to a climax of fifties swing and rock ‘n’ roll, the track is an irresistible treat to lose inhibitions and breath to.

The smokey air of This Town wafts gently over ears next, its shadowed emergence bringing a reggae built climate of condensed brass heat and stroking guitar evocation. Trumpet and vocal guesting from Doran as in the final song adds to the thick coaxing of the song, melodies and vocals swarming tenderly over the inventive nature of the guitars and rhythms. It is an engrossing, slightly more serious suasion than other tracks, flirtation raising another flush of warm ardour for the EP before the infectious closing of LBJ, it an experiment of intrusive melodies and invigorating imagination.

Presidential Lovefest is a delicious and boisterous encounter, one to lose your reserve and inhibitions to whilst The Van Burens climb your list of favourites with each and every tempting note.

The Presidential Lovefest EP is available as buy now name your price download @ http://thevanburens.bandcamp.com/album/presidential-lovefest

http://www.vanburenmusic.com

8.5/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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Patria – Individualism

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Our introduction to Brazilian black metallers Patria came with their previous album Nihil Est Monastica; an encounter last year which without crossing into new boundaries with its early nineties driven sound was an exhausting and thrilling release. Now having signed with Indie Recordings, the band unleashes their new violation Individualism. As its predecessor the eleven track feeds and ruins expectations, a similar texture and sound as their previous provocation providing the voice of Patria’s sound but veined and underlined by another increase in exploration of the band’s continuing to grow imagination.

The new release is the fifth album from the quintet of band founders, vocalist Triumphsword and guitarist Mantus, alongside bassist WS Vulkan, guitarist Igniis Inferniis, and drummer Abyssius. The band was formed in 2008 and soon forging a reputation at home with their merger of dark Scandinavian ravages and South American designed metal. Their roots continue to inflame their releases as evidenced by their 2013 album and now its successor, but an evolution of invention and experimentation also spices their endeavours. The result, as mentioned in regard to Individualism, is an incitement which stays within the walls of traditional black metal but colours it with inciting designs and vicious seductions.

Recorded in the last three months of 2013, the album was mastered by Oystein G. Brun of Borknagar and features special guest Fabiano patria coverPenna in the songwriting and arrangement of the closing track of the release and the opening instrumental title track, Individualism making its bow with a brief orchestral call held in a cavernous ambience and clad in portentous intent. Its respectful incitement is soon smothered by the raging torrential blaze of Blood Storm Prophecy where rhythms jab and pummel the ears whilst riffs and sonic enticement rampage and intrigue respectively. The track meanders purposely around the senses in between its corrosive spurts of intensity, vocals a spiteful glaze upon the narrative and imposing breath of the track. Though the song is arguably not openly offering anything truly new it easily slips beneath the skin and psyche, terraforming resistance into a submissive and keen appetite soon fed potently by the third track of the album.

     Uncrowned God of Light, as it predecessor, makes a savage entrance. The guitars sear air and flesh with violent rabidity whilst vocals add their own rich causticity to the suffocating mix. It is a welcomingly imposing assault but one which truly sparks imagination and passions when the band uncages thick addictive grooves and a richly tempting swagger. From its ferocious start the song finds a clever restraint which allows colourful melodies and infectious imagination to permeate and expand the riveting adventure. The track is outstanding and holds onto best album moment, though it is often seriously challenged t by songs like the following Outrage, a masterful track stamping its authority rhythmically and inventively from its opening seconds. Striding beats hits the ears first before a maelstrom of acidic hooks and scarring riffs clad a further destructive twist of drum intrusiveness. The sonic lures sweep around and lash the senses throughout to feed a continuing to increase greed for the album, whilst melody bred hues flame and score thoughts impressively within the blistering blaze.

In many ways the album does not get any better than across this pair of songs but thoughtful invention and dramatic exploits are never far from capturing the imagination to keep the album initially a powerful encounter and ultimately an increasingly persuasive and revealing investigation. The next up Orphan of Emptiness epitomises this, its first suasion enjoyable though breeding a few doubts but becoming a firm favourite with its constant unveiling of new textures and ideation over time. The song again parades its wares and intent with an unmistakable confident revelry, grooves and riffs marching boldly before slipping into a reserved but creative prowl. The initial rapacious attack of the song is soon seizing control again, though its shares and switches throughout with its counterpart to strong success as the persistently shifting landscape of the track becomes very compelling. The bursts of power metal like vocals and thrusts at its latter shows further bravery in song and songwriting but do fail to convince though they cannot defuse the strength of the tempest.

The severe consumption of Far Beyond The Scorn brings an enjoyable if underwhelming ravaging in comparison to previous tracks whilst Catharsis reignites ears with its controlled tsunami of multi-flavoured sonic and emotional vitriol, the song careering with a mouthwatering blend of melodic and raw textures which again never settle primarily into one stance to keep thoughts and senses busy and unrelentingly excited. By this point a breath is needed and the band offer the opportunity with the excellent instrumental Epiphany, a track bringing classical elegance together with sinister drama, the union another potent seed for the imagination. Its dark peace allows a steeling of emotions for the venomous squalls of Your Rotten Heart Dies Now and God’s Entombment, the first of the pair a sonic predator stalking thoughts with serpentine melodies and sonic toxicity, both licking air and senses with merciless mordancy. The guitars provide a poisonous web of menace and emotive severity but equally engage and enthral with an overpowering bait within the rhythmic chaining, an enterprise also explored by God’s Entombment but with a more direct abrasing enveloping.

Closing on the expansive yet intimate climate of Requiem For The Ego, another instrumental which permeates every pore and corner of mind and emotions, Individualism is a magnetic and rewarding violation. It is an encounter which builds in weight, intensity, and sheer quality with every plunge into its blackened depths. There are still parts where you are looking for sparks of originality but those gaps with each release seem to become few and far between as Patria continue to emerge as one of the more potent and gripping extreme metal propositions.

Individualism is available on CD/ Vinyl/Download via Indie Recordings now!

http://www.patriaofficial.com/

8.5/10

RingMaster 21/04/2104

 

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Sunshine Riot – A Fresh Bottle A Brand New Day

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It has to be said that initially A Fresh Bottle A Brand New Day, the latest album from US rock band Sunshine Riot, was an underwhelming proposition though it certainly kept attention rigidly in its grasp. The band brings a mix of country, rock, blues, and punk to their sound but across the album it is more a case of individual tracks investigating one of those flavours rather than merging them into one rich brew. In hindsight it was that which possibly restrained satisfaction the most for the album at first but given deserved time and focus it has to be said that the Americana glazed release has emerged as a rather pleasing proposition. It does not light any fires in the belly of passions but without doubt it is an easy to frequent and keenly digest companion.

The quartet from Boston began in 2007 at the creative hands of vocalist and rhythms guitarist Jonny Orton and bassist Jeff Sullivan. Completed by the more recent additions of lead guitarist Mark Tetreault and drummer Shakes Tvelia, the band has had their sound described as “Johnny Cash meets Kurt Cobain”. It is a description you can see in the band even if it does not really paint the inventive textures which ripple throughout their varied songs, certainly those upon A Fresh Bottle A Brand New Day. Renowned for their live performances and work ethic, Sunshine Riot’s bio say that things really clicked into place with not only the current line-up coming together but just before that the band linking up with 16 time Grammy nominated producer, multi-instrumentalist, engineer, and composer George Dussault. New to the band we cannot say if that was the key but certainly there is a craft and inventive heart to their music which suggests something has come to ripe fruition.

The slamming of a heavy door awakens the album and opening track Norfolk County Jail, its intensive provocation the starter for a wistful melodic caress before defiance and urgency bursts with striding guitar and rhythmic incitement. The vocals of Orton ably backed by those of Sullivan, unfurl the narrative of the song with the track lyrically and musically a steely and expressive encounter which sparks the imagination. Of all the tracks this is one which fits that earlier description of the band’s music, its melodic rock drama fuelled by a flush of punk and grunge like tenacity. It is a very pleasing start to the album setting up a ready appetite for things to follow though that hunger is given a bit of a false start by the following Natural Causes. Immediately soaked in a country blues twang and atmosphere, the song steadily strolls into view and provides an accomplished and emotive venture to contemplate. There is something openly familiar to the track which makes it accessible but does defuse any originality and thus the spark to excite ears and emotions. Nevertheless it is enjoyable and memorable.

Both the more than decent rock canters of Cotton Fevour and Old Soul Blues like their predecessor keep the album alive in pleasure if not excessive excitement. The first is a blues washed slice of Americana complete with a throaty twang and the second a sultry slice of reflective melodic rock. Again the pair pleases but fails to emulate the success of the opening track or the livelier gaited and magnetic Quicksand Love which follows them. There is a simple honesty to the song’s first persuasion which coaxes before the vocal blend and plainly attractive hooks make their bait known. The song in turn is then left looking a little pale by firstly the impressively catchy and deliciously soulful Elizabeth Stone which features the richly textured vocals of R&B singer Carl Smitty Smooth around a core of virulent temptation and then even more so by the outstanding Senorita Punk, which as its title suggests is a riotous temptress bred in prime punk rock. Both songs provide the pinnacle of the album, taking it to new heights, especially the second with its voracious attack and scuzz smothered energy.

The next up Margaret Mae with its deep bass growl and jagged guitar bait continues to keep album and pleasure high, the song a vivacious stroll with eighties new wave vibrancy and mischievous alternative rock enterprise. The track saunters with a gentle but bold swagger, teasing ears and thoughts with persistent relish before bursting with eager will in its chorus.

The climatic Boxcar Cowboy brings a spaghetti western landscape into a union with an Americana rigour to capture the imagination again with its individual drama before the fiery and more intensive rocker Sweet Kerosene spills its sonic energy and melodic flames over the senses. Both tracks reinforce the fact that the second half of the album is a more compelling and thrilling venture to explore with the band than across the first few songs. Whether by coincidence or by intent Sunshine Riot save their strongest explorations and dramatic creations to the rear of the album and it works a treat though you wonder if a different order of songs would have made the release more consistent in its suasion.

Closing with the acoustically guided and okay Home, Sunshine Riot and A Fresh Bottle A Brand New Day provide an entertaining proposition which took its time to fully convince. This it does though, even with a few moments still lacking the kindling to light the passions, and invites a definite interest in the band’s new full-length marked for later this year.

The self-released A Fresh Bottle A Brand New Day is available now!

http://sunshineriot.com

7/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com