Men In The Sky – Version 1.0.1 EP

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     Version 1.0.1, the new EP from UK electronic rock band Men In The Sky is a stylish web of sound, a fusion of recognisable styles and influences woven into an inescapable net of refreshing and captivating temptation. The release is a magnetic adventure casting mesmeric melodies and attention stirring riffs as easily as it entwines an intrigue of samples and throaty bass seduction. The EP is not the most original thing you are going to hear this year with its rich eighties inspirations but certainly it is going to be one of the most flavoursome and enjoyable.

Hailing from Liverpool, Men In The Sky emerged in 2012 wearing inspirations openly on their sound’s sleeve from day one. The accompanying press sheet declares that the band ‘draws as much from the jazz-blues of Jeff Beck and the funk of Chic as it does from classic British New Wave.’ This is something you can only agree with as their release flirts and dances with the imagination yet there is plenty more whispers, loud and quieter, of bands and essences which springs from an encounter which still manages to be something new. Co-produced with Factory Records’ Michael Johnson, Version 1.0.1 romps and entices with ears and emotions from its first vibrant second, providing something familiar yet surprising.

The release opens with a track called Men In The Sky. Eighties bred synths immediately grasp attention around the first sample of the release, their touch crystalline but soon sharing a varied embrace of melodies, acidic and elegant. A 10410613_713652578674096_487800950591790924_nhint of Visage comes to the fore early on whilst an unavoidable reference to New Order, as across the EP, is swiftly offering its suasion. Soon into a pulsating stroll with melodic flourishes within an electro enticement, the song continues to swing contagiously with a funk lilted bassline and an electronic revelry leading the way. With thoughts of Depeche Mode and Pet Shop Boys in various degrees also offering their references, the overall body of the song actually reminds of early Ministry before Al found his muscular industrial aggression.

The track makes a great start to the proposition and is instantly backed up by latest single Doom. The track mixes an agitated enterprise of beats and riffs with another fluid stream of synth temptation, but this time around a stronger rock spine of sound and intent. As it persistently throbs on the senses with a healthy infectious smile, the song ripples with an essence of the songwriting of Vince Clarke but equally the funkier styling of Martyn Ware and Ian Craig Marsh in their Heaven 17 era. It is an irresistible romp, just as unpredictable and enthralling as its predecessor but with an even catchier bait and mischievous side to its dance, especially shown in the Oingo Boingo like vocal twists.

The remaining pair of songs, Expect Anything and Stone has a task to match the previous songs and to be honest do not manage to reach the same heights yet easily leave ears happy and emotions keen. The first of the pair ventures further into the band’s rock creativity without neglecting the electronic tempting, infusing it with a more classically cultured grace and endeavour. With flames of guitar bringing a progressive texture to the mix the song reveals more of the depths and adventure to the band’s sound which is confirmed straight away by its successor. The final song was born to light up dance-floors with its flowing melodies and sparking electro enticement, though it is the reserved moment where the vocals are allowed to shine with their minimal presence that the song works best.

The track is a fine end to a masterfully charismatic and gripping encounter. One which is at its best in the first half but leaving a bulging satisfaction by its end through a quartet of absorbing songs. Version 1.0.1 has a potent effect on ears through to feet, thoughts on to emotions. It might not quite be your favourite release of the Summer but we suggest it will be the one you return to most often and not just for this passing season either.

The Version 1.0.1 EP is available now @ https://itunes.apple.com/gb/album/version-1.0.1-ep/id895145567

http://www.men-in-the-sky.com/

8/10

RingMaster 18/07/2014

Copyright RingMaster: MyFreeCopyright

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Sin Cos Tan – Blown Away

Sin Cos Tan by Vilhelm Sjöström

Sin Cos Tan by Vilhelm Sjöström

With a sound as bracing and compelling as the concept story behind its narrative, Blown Away the third album from synth pop band Sin Cos Tan is another tantalising proposition from the Finnish duo. Flourishing from the potent base set by its two critically acclaimed predecessors as well as the band’s ever increasing reputation through live shows and festival appearances, the new release adds another twist to the creative web of intrigue which comes from the exploratory minds behind the project.

Consisting of Villa Nah songwriter/vocalist Juho Paalosmaa and producer/DJ Jori Hulkkonen (Processory) who has also worked with the likes of Pet Shop Boys, Chris Lowe, Jose Gonzalez, and Tiga, Sin Cos Tan follow their 2012 self-titled debut and the following Afterlife a year later, with a different kind of adventure. The album is centred round the concept story of Michael Burana, a middle-aged American man facing a dead-end job and a failed marriage. “To turn his life around, Michael decides to take a trip to Mexico, where he soon discovers a new career opportunity: that of a drug courier between the United States and South America. Blown Away picks up from the sunny beaches of Mexico, and follows Michael’s journey of newfound excess, fast money and hedonism; all the way to the corrupted heart of the Colombian cartels. Forever chasing the elusive ‘American Dream’, Michael’s tale is the soundtrack of a world like no other.” The tale is enveloped in a mix of electro and synth pop with a shoegaze like ambience which caresses the senses with a melodic beauty whilst inciting imagination and feet to embark on their own instinctive exploits. Blown Away is a captivating journey which even with a few less successful moments for personal tastes makes for an unrelentingly enthralling proposition.

The story opens with Divorcee and warm waves lapping upon a balmy atmosphere over enticing melodies. It is not long before the similarly tender coaxing vocals of Paalosmaa, amidst an irresistible web of guitar enterprise and pulsating image002bass breath, adds further simmering heat to the instantly delicious song. It is the perfect pop song, every twist coming with unpredictable yet welcoming ideation and a warmly embracing infectiousness. There is an eighties air to the track too, thoughts of China Crisis and Paul Haig coming to the fore with hints as the opener lights up ears and emotions. Its success is not quite matched but superbly supported by the following pulsating stroll of Love Sees No Colour. With a slightly punchier urgency to its rhythmic intent and pungent electro canvas, the song colours thoughts with a sultry twang of guitar and expressive keys. There is an OMD essence to the song’s elegant melodic croon which in turn is given extra evocative texture and weight by horn like flames and the incessant stride romping through the middle of it all.

A New World brings a danger in its touch, shadows flirting with the draw of the keys and the persistently mellow and inviting vocals. The song is like a drive through a new landscape, fleeting glimpses of emotive hues and potent melodic colouring stalked by an intimidating breath offered by the bass tones stalking the track. It is a treat for the imagination, allowing thoughts to cast their own premise whilst keys and voice take care of ears with poise and temptation. It does not quite live up to the first pair but certainly outshines next up Colombia. The slow provocative nature of the song with growing melodies and inventive keys makes for an expansive investigation of the tale within the album but the singular vocal delivery of Paalosmaa falls short and lacks the spark shown previously and when effects wrap his tones elsewhere in the song. It is too much at odds with the music but nevertheless the song is an engaging encounter, though soon a distant memory through the great dances of Lifestyle and Traffic.

The first of the two is a festival of sonic colour and mouth-watering endeavour, rhythms a magnetic revelry and keys a refreshing breeze. As much as they impress and ignite ears, it is the anthemic blaze of the chorus with Paalosmaa back on compelling form which steals the passions. Like a familiar friend yet entirely new, the chorus is an irresistible lure which makes a masterful temper and compliment to the more reserved but lively sounds around it. The instrumental travelogue of Traffic bubbles from its first note; keys and beats an invigorated provocation within a wind of crystalline scenes and turns, all swiftly passing into new aural sights for ears and thoughts.

The darker tone and presence of Addiction is a thrilling combination of imposing shadows and ominous melodies but with the constantly inviting vocals and more sparkling melodies it all merges for an imposing and engrossing mix. Its successor Cocaine offers the darkest twist of the album, its noir kissed climate of brass and desperation edged vocals aligned to drama bred keys, a disturbed but again enthralling and scintillating provocation for senses and imagination.

The release is completed by firstly the John Foxx like title track, with its emotional chills and haunted air, before the emotionally raw and inflamed presence of Heart Of America brings its epilogue of reality to bear on story and thoughts. Both are gripping turns in the album and as singular incitements, bringing the excellent Blown Away to a tense and fascinating conclusion. Quite simply Sin Cos Tan works on all aspects of the listener with their latest proposition and leaves a lingering and blissfully full appetite in its wake.

Blown Away is available now in CD digipak, gatefold vinyl LP, and download formats via http://solinarecords.com/

http://sincostan.net

8.5/10

RingMaster 18/08/2014

Copyright RingMaster: MyFreeCopyright

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Draw – Alone Again Or

Draw cover

Released to support the Children’s Hospice Association Scotland, Alone Again Or is the riveting cover of the classic Love single by Scottish band Draw. The never heard before track has been brought into the light by Empire Records owner and the Fife band’s manager Nicholas Russell with all proceeds going to CHAS, a reason to grab the release as potent as the fact that the track is a mouth-watering proposition in its own right.

Formed in 2000, the quartet of Vocalist/guitarist Brent Proctor, lead guitarist Dave O’Neil, bassist Rozanne Boynton, and drummer Ryan Lees went on to play over 150 gigs across the UK and released a trio of well-received singles, as well as the album Simple To Severe in 2003. Named the Live Band of the Year by Radio 1’s Session in Scotland in 2002, Draw supported Arthur Lee and Love on their 3 week Forever Changes tour of the UK the following year. Seemingly on the brink of major things the departure of one of the band led to the cancellation of the original release of this single amongst many things and subsequently the demise of Draw.

Love’s Alone Again Or originally appeared as a very successful single off of their 1967 Forever Changes album, and now finds itself being warmly and inventively treated to a fine interpretation. Recorded in 2003 but we understand never released, the song is a vibrant flirtation of roving riffs and psychedelically spawned melodies around distinctive vocals. There is an appealing restraint to the track but simultaneously a thick enterprise which springs from the guitars and rhythms. Not just a cover the song is a tribute to the original and Love brought with an individual presence, a uniqueness confirmed by the single’s accompanying pair of songs.

Taken from Draw’s previously mentioned album, both Incidentally and Today embrace ears and imagination with resourceful and elegant propositions. The first of the pair is a gentle stroll which is prone to rawer flumes of guitar and passionate vocal incitements whilst melodies wander invitingly across the scenic landscape of the track. Its successor is a more inflamed slice of indie rock yet still moves within scenery of graceful melodies and reined rhythmic incitement. As its predecessor the track bursts with passion driven surges of raucous endeavour and fiery enterprise which is as unexpected as it is magnetic.

The two songs remind what we have missed from the early end to the band and help make Alone Again Or a release on music terms alone which should be embraced and devoured greedily.

Alone Again Or is available via Empire Records now for 79p at http://www.amazon.co.uk/gp/product/B00JWNHLFS/ref=dm_ws_sp_ps_dp?ie=UTF8&qid=1408357146&sr=8-1 with all proceeds going to the Children’s Hospice Association Scotland

9/10

RingMaster 18/08/2014

Copyright RingMaster: MyFreeCopyright

 

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