Jacksons Warehouse – Right Here, Right Now

A constant source of intelligent hook laden songs as thick in passion as they are in insatiable infectiousness, UK rock band Jacksons Warehouse has also shown the ability to write resourceful flights of emotional temptation, and maybe none finer than new single Right Here, Right Now. With an underlying energy and contagion which scoops up feet and emotions in its keen arms, the song is a mesmeric croon of sound and vocals which mix the attractive hooks the band are renowned for with a fresh expansive flight of emotive and sonic expression.

Formed in 2004, the Basildon band has constantly increased their fan base and acclaim through a parade of addiction sparking singles such as the brilliant Hotel by the Sea and their acclaimed and imposingly impressive debut album Homes Next To Houses of 2012. Songs seemingly flow from the minds and talent of the band like water drops from a leaking tap, a constant supply of always attention grabbing offerings which leave a lingering persuasion in varying degrees. Right Here, Right Now is one of their releases which make the strongest impact on ears and imagination, its mellow yet fiery presence a provocative embrace to hungrily immerse in.

Crisp inviting beats from Cy Chant enticingly bait ears first, their gait setting down the keen energy kissed spine of the song. They are soon wrapped in elegant melodies and a darker bass tone, their addition laying down an emotive canvas for the distinctive voice of guitarist Stuart Brown to paint the song’s narrative and heart upon. The slight warble to his husky tones lies perfectly with the almost ethereal caress of keys from Simon Brown and the more intense but as warm strokes of enterprise from the guitars of Marc Barnacle and Stu. It is a transfixing incitement, the sultry glaze of sound tempered skilfully by the shadowed presence and tempting of bass sculpted by Rich Hawkins. The song may be a slower stroll than usually crafted by the band but its infectiousness is just as potent and full, vocally and musically the track almost anthemic in its effect on feet and emotions.

Right Here, Right Now is a treat of a song and marks a new twist in the creativity of a band already no strangers to acclaim if still yet to find the break-through into the strongest spotlight. The new single will do Jacksons Warehouse no harm in that direction though.

Right Here, Right Now is released October 13^th

https://www.facebook.com/JACKSONSWAREHOUSE

RingMaster 22/09/2014

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Hollie April – Together Alone

A smouldering and climactically sultry embrace for ears and imagination, Together Alone is further proof of the magnetic and striking talent that is Hollie April. The new single is a delicious evocative caress of drama and emotive seduction which whilst reinforcing the already impressive presence of April unveils a new vein of potential to her songwriting and sound, which in turn will surely leads to an inevitable increased spotlight on the lady.

The 22 year-old British singer-songwriter was born and raised in Gibraltar and from the age of 12 was performing professionally. Studying at and graduating from Leeds College of Music with a BA(Hons) in Music Production, 2013 saw April performing at an array of festivals and sharing stages with the likes of Emeli Sandé, Level 42, Texas, Lawson, and Olly Murs. Her debut EP Marionette stirred up excited attention and acclaim with its release at the tail of 2013, the song The Sun and the Sea from it especially garnering potent praise and focus. Now Together Alone is poised to open up a new charge of hungry appetites and acclaim through its mesmeric beauty and compelling imagination.

A caress of guitar assisted by a minimalistic bass stroke opens up a deeply evocative breath to the song. It is a captivating entrance swiftly joined by the fascinating voice of April. As expressive as they are harmoniously intriguing, her vocals spellbind ears and thoughts immediately, flirting with the imagination and the gently coaxing sounds beneath her. It is only the start of the song though, the first passage in a masterful and inventive flow of ideas and sound. A heavy strum of guitar triggers a potent stride of rhythms and elevation in the richness of both April’s voice and passion next with thoughts of Katie Bucket and UK band Jingo immediately springing to mind, the pair sharing an organic and senses inflaming ability to melodically roar.

The song continues to ebb and flow in its energy whilst increasing the startling, dramatic air and texture of its presence and narrative. It is a glorious adventure emotionally and sonically, with April’s voice an evolving climate of charm and melodic beauty. The song is bewitching as it reveals another character to the presence and craft of April, a broad yet intimate sunset for thoughts and feelings.

Hollie on the evidence of her EP and new singles is destined to make major melodic statements within British rock and pop music ahead; she has already started to be fair with Together Alone.

Together Alone is available digitally from September 22^nd

www.hollieapril.com

RingMaster 21/09/2014

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Mary Joanna & The Southern Electrikk – Wasted

Sinisterly seductive, Wasted is one of those songs which gets under the skin and leaves an inescapable temptation to persistently tease thoughts and emotions. The track is the debut single from UK band Mary Joanna & The Southern Electrikk, and easy to suggest possibly the beginning of a big affair between artist and British hearts.

Hailing from Manchester, Mary Joanna & The Southern Electrikk is fronted by actress and chanteuse Mary Joanna Coogan. Behind her comes a wealth of experience and talent provided by guitarists Zack Davies and Stephen Evans (Twisted Wheel), bassist Steven Tatji (Paris Angels, Rude Club), drummer Spencer Birtwhistle (Interstella, The Fall), and Rikki Turner (Paris Angels) on keys. Together they cast a weave of sound which binds essences of post punk, shoegaze, psychedelia, and electronic ingenuity into something which is as unique as it is warmly familiar. As evidenced by the single, it is a heady mix from the band and with the siren-esque tones of Coogan quite irresistible.

From a virulently coaxing of tempting beats from Birtwhistle, the song soon casts a shadowed emotion over its entrance through a riveting bass tone and the vocal croon of Coogan. Radiant shards of guitar ignite the developing landscape whilst a darker breath of keys only adds to the sultry climate of the encounter. It is a compelling adventure which is as hauntingly mesmeric as it is virulently infectious, the hypnotic rhythms and expressive sounds creating a flavoursome canvas for the stunning voice of Coogan to colour and soak in tantalising expression.

Backed by the similarly engaging You Knew You Knew, the single is a stunning entrance by the band. The second song drifts in on a warm breeze of a melody courted by a shadow kissed bassline. It is another irresistible enticement which expels further mesmeric heat with the gentle but full temptation of Coogan’s voice and harmonies. Binding ears and imagination in a persistent echo like persuasion of guitar and keys enterprise, the track smoulders with suggestive elegance, its sonic fascination not quite matching Wasted but certainly give it a thrilling run for its money.

One release is never really enough to suggest greatness ahead but Wasted definitely has thoughts and passions veering in that direction…outstanding stuff.

Wasted is available digitally now @ https://itunes.apple.com/gb/album/wasted/id906058361?i=906058371&ign-mpt=uo%3D4

https://www.facebook.com/maryjoannaandthesouthernelectrikk

RingMaster 22/09/2014

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Shanty – Leave Me Out EP

Alongside attention grabbing live performances, seven piece party-reggae collective Shanty stirred up plenty of attention earlier in the year with their first single Blackout. Now the UK band release their highly anticipated debut EP Leave Me Out, a four track creative stomp fusing classic roots reggae with soul, hip hop, and many more enticing flavours.

Hailing from northwest London, Shanty has through their tantalising and inventive sound found themselves appearing at the likes of Glastonbury, Boomtown Fair, Secret Garden Party, and Leopallooza, with equal success and acclaim coming through the sharing of stages with the likes of The Skints, Prince Fatty, and Neville Staple of The Specials. Blackout kicked open a wider awareness of the band with its eagerly received release but it is through the fascinating Leave Me Out that you feel Shanty is poised to leap into the strongest spotlight.

The EPs title track sets things off , its opening blaze of heat from trombonist Ross Moore and trumpeter Kenneth Brown a coaxing wind to which the choppy temptation of Sam Raywood’s guitar, aided by the dark tones of Jake Butler’s bass, provides a more intimate enticing. Soon settled into a relaxed and magnetic stroll, the bass becomes more creatively vocal as the keys of Mindaugas Juozapavicius flirt with the imagination and beats of Luke Bunce keep the pace even and controlled. The song fully comes alive with the final thread of its seductive weave, the fine vocals of Ben Willis. Quietly but inescapably infectious, the track is unafraid to leave its core reggae bred canter to explore electronic corners and intriguing sonic exploration before returning with renewed energy and enterprise into its masterful embrace. With the vocals of Willis especially tantalising in the superb gentle swagger of the track, it is a riveting start to the release.

     Bohemian Soul steps in next to continue the EPs strong persuasion. With a resourceful swing to its canter and flickers of dub temptation which reminds of Ruts DC, it is a warm and contagious seduction. Keys and brass swiftly immerse ears into the heat of the song’s sultry climate whilst vocals and rhythms work on the imagination and feet respectively, everything resulting in a thoroughly engaging and intrigue adventure matched straight away by the excellent Rise Up. Casting an anthemic lilt to its swirling enterprise and melodic temptation, the track spins a soulful tapestry of genre fusing sounds with a rich smouldering climate of reggae expression veined by a gloriously pulsating dub crafted resonance.

The EP is brought to a close by the shadow kissed creative spell of One More, the song a cinematic noir hued romance for the senses which simply radiates flirtatious melodies and seductive brass flames across a canvas of delicious dark bass suggestiveness and shimmering keys. It is a spellbinding encounter enriched by the excellent expressive vocals of Willis and the understated yet potent teasing of guitar from Raywood, not forgetting the jabbing weight of Bunce.

Leave Me Out is a tremendous proposition from a band which can only get stronger and more innovative going by the craft and potential locked inside the EP. Shanty is going to be big, mark our words.

The Leave Me Out EP is available now on CD @ http://tinyurl.com/kxerkn2 and digitally at most major stores.

http://www.shantyband.org

RingMaster 22/09/2014

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The Boy From The Crowd – Revelator

Throwing blues, garage rock, and punk into a flaws and all slab of raw rock ‘n’ roll, UK duo The Boy From The Crowd make an intriguing and ultimately gripping entrance with debut single Revelator. The single actually embraces more flavours than mentioned in the last sentence, but takes that core into a wild and compelling riot of noise and attitude.

Consisting of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, The Boy From The Crowd on the evidence of Revelator, is not a band concerned with offering polished enticements but one driven by the rugged essence of dirt encrusted rock ‘n’ roll and the antagonistic tenacity of punk rock. Yet there is a vein of enterprise within the song revealing a definite thought bred resourcefulness to their sonic brawl which only adds to the success of the track.

A lone guitar teases ears initially from within a raw and dusty sonic haze before the track erupts with thumping beats and a heavy bass coaxing bound in a sizzling wash of blues drenched guitar temptation. It is a raucous blaze of noise and intent but one with a rein to its assault which increases its potency and potential. Vocally Piana provides a delivery which ebbs and flows in success depending on which aspect you look at, but at the same time brings captivating character to the growing anthemic nature and appeal of the song.

With fire to the pleasing guitar enterprise and the rhythmic incitement of Ivy pounding emotions into keen submission, the track is an intriguing and wholly satisfying introduction to The Boy From The Crowd. Its raw charm wins over the imagination right away and with only the lack of the intimidating snarl it often hints at a niggle, Revelator is strong entrance from the band’s and potent teaser for their upcoming album.

The self-released Revelator is available as a free download now @ https://www.facebook.com/TheBoyFromTheCrowd/app_262920113912164

http://www.theboyfromthecrowd.com/

RingMaster 22/09/2014

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Damn Vandals – Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World

Providing another irresistible taster and invitation to their widely acclaimed, album of the year contender Rocket Out Of London, UK psyche rockers Damn Vandals are unleashing a new double A-sided single. Comprised of two tracks distinctly different but deviously united in stealing the passions, the release is a ridiculously contagious and venomously caustic stomp. Both Too Lazy To Die Too Stoned To Live and Cities Of A Plastic World worm under the skin with compelling ingenuity and voracious enterprise, offering another inescapable temptation bred from a riveting brawl of garage punk infused with psyche and stoner rock from the London band. Quite simply it is punk infused rock ‘n’ roll at its most rigorously captivating and addictive.

Damn Vandals first gripped the passions with their Beautiful Mind EP, itself surpassed by debut album Done For Desire in 2012. Earlier this year the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) produced Rocket Out Of London set a new plateau for the band and template for emerging garage punk bands, the new single brings a stirring reminder with its sonic and deranged alchemy.

Both songs on the single provide a startling and magnetic scourge of unique sound and invention. Too Lazy To Die Too Stoned To Live makes an early vocal declaration before the track slips into a sultry and feverish stroll of melodic acidity and sonic expression. There is a sweet and sour twang to every slither of guitar incitement cast by Frank Pick whilst the bass of Adam Kilemore Gardens provides a throaty temptation which flirts with ears and imagination. Driven by the vibrant sinews of Chris Christianson’s beats and lorded over by the deliciously unique tones of Jack Kansas, the song finds a higher gear as it unleashes a captivating canter to its discord licked persuasion. Like Fatima Mansions meets Queens Of The Stone Age, with a flavoursome side dish of Engerica, the song is a glorious haunting of ears and passions.

   Cities Of A Plastic World breeds its own distinct veining of warped endeavour, a web of drama drenched sonic intrigue from the guitars aligning with jabbing beats for a delicious nagging on the senses and thoughts. A mischievous intimidation comes with the bass lures whilst vocally Kansas again parades the lyrical narrative with devious and raw expression whilst pure virulence soaks the dynamics and discord fuelled breath of the song. Complete with psychotic imagination to its rebellious nature, the track is one of the band’s finest moments to date.

If Damn Vandals has managed to escape the clutches of your attention then getting your teeth into the infectious heart of their new single is a must. Theirs is a sound which seduces and infests body relentlessly right through to emotions for the richest long lasting rewards; the twin temptation Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World the perfect vehicle for their corruption of your soul.

Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World is available on CD and digitally on iTunes and all major download sites from 22^nd September.

www.damnvandals.co.uk

RingMaster 21/09/2014

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These Reigning Days – Opera of Love

There has been a great many, us included, who thought that These Reigning Days could and would be the next big thing in British rock because of their exceptional parade of gripping and insatiably contagious singles. It has not quite happened yet, but now with the release of their sensational debut album Opera of Love that anticipation is back in full force. The album is sensational, pulling in all the brilliance of their singles, revitalising them, and laying them beside new creative emprises to send ears aflutter and emotions into overload. The Devon trio create rock songs which are as skilled in their textures and invention as they are virulent in their anthemic catchiness, the result an album that is one of the invigorating melodic roars of 2014.

The past couple of years have been a busy time for the band, their increasingly recognised presence seeing the band relentlessly touring and playing at numerous festivals such as Glastonbury and Hop Farm, play with the likes of Metronomy, Echo and The Bunnymen, and The Feeling, and more recently unleash their sounds before 60,000 fans at Milan’s San Siro Stadium supporting Bon Jovi. The past summer was consumed with a host of UK and European dates in support of the new album as well as an appearance at Vladivostock Rocks in Eastern Russia and Emerge in Mumbai, Dehli, and Bangalore. Now the Yoad Nevo (Goldfrapp, Moby) produced Opera of Love, with additional production and mix on the band’s previous singles by Ade Bushby (Muse, Foo Fighters), gets its moment to ignite the country and such its inescapable enticement it is hard to see it failing.

The album reveals its might and intent straight away with opener Stand Down. The song opens with the voice of guitarist Dan Steer waking up ears in the embrace of keys. It is an elegant start but even in its gentle coaxing provides the hint of something waiting to spring forth. When it comes it is not the expected surge but a dramatic stroll of thumping rhythms from drummer Joe Sansome and throaty bass tempting from Jonny Finnis. That in turn, with Steer’s expressive tones still in poetic league with the piano melancholy, leads into greater intensity and subsequently a contagious persuasion, the first anthem of the encounter. The melodies cast by the guitar and the radiance of keys only light up further the striding beauty of the song and its irrepressible march on the passions.

The impressive start is surpassed by Changes, an opening croon of bass and guitar matched by voice, luring the imagination into an ethereal flight of keys over an evocatively hued fiery landscape. As the song plays with thoughts there is a familiarity to this and others songs which refuses detection, that is until the realisation comes that the recognisable feel is from the band itself and the impact of their sound through previous singles like the sensational Too Late, which itself follows the outstanding new single Thrones. The album’s third song erupts with a throaty tone to its energy and persuasion, the bass especially vocal in its sinew stretched address on the imagination. Harmonies equally spring at the senses with similar success and strength, whilst keys and beats make a respectful but rigorous frame for the blossoming beauty within. The song is unrelenting in its melodic charge, offering a rowdy but composed tempest of beauty and bewitchingly textured ingenuity.

Too Late just as impressively swipes its share of the passion next, riding in on a dark magnetic bassline through sultry scenery of Morricone kissed scythes of guitar. Steer is just as potent as his expels the narrative of the song, everything building to a crescendo of heady hooks across bulging bass bait and tenacious beats with a chorus only the dead could refuse joining in on. Adding a Latin hue to its climactic tone and air, the track is a seriously intensive captivation.

A brief atmospheric instrumental called simply Interlude allows a breath to be snatched before latest single and title track bounds in with melodic seduction and drama fuelled vivacity. The electronic side of the band takes centre stage across the song but with plenty of room for the tight temptation of guitar and rhythmic enterprise to enslave ears and thoughts. Again there is an infectiousness which allows no escape of its binding grip whilst the warm soar of keys apply a provocative seduction. Its triumph is swiftly emulated by I Need Time, a song which takes longer than some to get to the same lofty heights. Featuring the enticing vocals of Jazmyn Mary in duet with Steer, and soaring harmonies courted by romantic melodies, the track is a gripping and mesmeric soar across the senses.

Both the electro stroll of Smoke and Mirrors and the shimmering aural light of Fish Bowl escort an already eager appetite to new hunger The first is seeded in an eighties synth pop revelry but just as alluringly adds a torrent of feisty riffs and energetic rhythmic unpredictability to further stir up its increasingly addictive bait whilst the second sends electronic ripples around and off of a sturdier drive of guitar and rhythm bred tenacity. Though neither matches the lofty heights of say Too Late both leave ears and thoughts basking in their warmth and invention before the dynamic endeavour of Living It Up descends on the passions. Starting with Steer crooning into another subtle yet colourful caress of keys, the track soon rumbles with muscle infused rhythms which in turn sparks a rampant energy infused with snarling riffs and taunts from guitars and bass. Subsequently entwining both sides of its scintillating ingenuity, the song expands into another inimical anthem in the severe contagion of the album.

Through the emotive majesty of English Rose and the similarly evocative breath of the Brit pop like Shine On, band and album show new twists in their creative characters to keep everything fresh and vibrant. That aspect of the album is a given before the pair share their evidence to be honest and reinforced by the following cinematic escapade of Satellite. With a sinister air to keys and bass and fascination to hooks and the more aggressive hues of guitar, the track creates its own unique and pungent enslavement of body and emotions.

Opera of Love is closed by the short McCartney-esque ballad The End, Steer weaving a melancholic finale with equally emotive keys. It is a tightly enticing close to one of the year’s major highlights, and the latest confident declaration that These Reigning Days is ready to crack that intensive spotlight.

Opera of Love is available via Ecco Recordings on September 22^nd @ https://itunes.apple.com/gb/album/opera-of-love-special-edition/id911377967

www.thesereigningdays.co.uk

RingMaster 22/09/2014

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