The Datsuns – Deep Sleep

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The press release accompanying new album Deep Sleep contains the quote from Dolf de Borst, the vocalist/bassist of New Zealanders The Datsuns, which states that “We’re not fucking around. We’re all conscious of the fact that we don’t live close to each other and we’re getting older and people have families, so, if we’re together, we’re going to make records.” It suggests a passion, urgency, and intent to pour everything they have into these creative opportunities and it is fair to say that the bands sixth full-length is a compelling and feverish bloom bred from the ten days the band took to record it whilst for a rare moment being in the same place at the same time. The release is a transfixing adventure which does not ignite a raging fire in sound and emotion but smoulders with persuasive persistence to emerge as one hot and lively simmering vat of rock ‘n’ roll.

Taking their energy fuelled voracious rock sound into a new sultry sonic landscape employing the richest essences of bands like Black Sabbath, Deep Purple, and Blue Oyster Cult and similarly essential sounds of the seventies, The Datsuns have created a mesmeric tempest of insatiable rock ‘n’ roll which relishes either charging with flared nostrils or crawling over the senses and imagination with seductive menace. Deep Sleep also takes a healthy dose of inspiration from 1970s French comic Kris Kool which was created by cult psychedelic artist Caza (Philippe Cazaumayou), whose work also covers the captivating release. Summoning “images of 1970s cult film super-villains” with its darker inflamed sonic The-Datsuns-Deep-Sleep-Cover-400x400proposition, though we would suggest it suits even more so the folk darkness of a Wicker Man or a Blood on Satan’s Claw, Deep Sleep is a thrilling blaze of sound and intensity which just gets bigger and better with time.

The album opens on a moody tone as first track Caught In The Silver begins with a shadowed breath of riffs and atmospheric keys. A shimmering crystalline resonance swiftly joins the brewing climate of the song, guitarists Philip Somervell and Christian Livingstone casting haunting and elegant melodies around a pungent bass line and rhythms which appear to be just waiting for the right moment to expel their intimidation. It comes once the distinctive and varied vocals of de Borst unlock the heart of the song, everything erupting in a thick, muggy, and gripping wash of sound and intensity. The song proceeds to rumble and rampage as well as engage in a psychedelic radiance especially ablaze through the riveting solo commandeering attention.

   The potent start is powerfully backed by the heavy swagger and contagious swing of new single Bad Taste. Grooves make an inescapable web from virtually the opening seconds whilst Ben Cole’s rhythmic persuasion provides an imposing cage within which the excellent vocal calm and melodic flames explore ears and imagination with inventive revelry. The track is a delicious enslavement which the heavier footed and toned Claw Machine emulates straight away. It is another dramatically infectious proposition which with ease goes from a restrained yet vivacious stroll into expulsions of sonic fire, grooves and vocals soaring through the heated climate of the song with their melodic and ridiculously catchy flames. The album is at its most thrilling pinnacle at this point, the opening pair of tracks and this, joined by the glorious majesty of Shaky Mirrors and 500 Eyes to light a lustful hunger in appetite and emotions. The first of this pair is an incendiary groove fest with a tenacious energy and predacious attitude to match. Cole unveils a merciless bait of rolling and agitated rhythms which only seems to inspire the toxic lure of the guitars and throaty enticing of the bass whilst vocally de Borst roars with harmonic devilry. The song is instinctive in its temptation and ingenuity, purposefully preying on the submissive ardour already inspired by the album. Its unrestrained anthemic lure is matched by its completely different but no less predatory successor. 500 Eyes is stunning, a slow stalking of ears which slips tenderly over the senses with dark drama and portentous vocal temptation. It might just be the most evil and seductive song in existence, the band in full flirtation as they feed and devour the psyche, every aspect of the track parading a spellbinding voracious croon and sonic irreverence.

It would be unfair to say that Deep Sleep slips a gear from hereon in but such the alchemy driving the first clutch of triumphs, the likes of That’s What You Get and Creature Of The Week struggle to match their glory. To qualify that though, the first of these is a raging rock ‘n’ roll fire which is as ferocious in its sonic roar as it is infectious in its psych pop bullishness whilst the second of the two is a theatrical stroll with sinister drama and dark shadows draping every heavy rock and psychedelic enterprise making up its intriguing presence. Both tracks provide plenty of enjoyable food for thought and pleasure before making way for the bluesy rampage of Looking Glass Lies, a bruising and boiling slice of virulent energy and raw thrilling enterprise. The outstanding song is another anthem for feet and soul, a cauldron of sonic and melodic passion sculpted with enviable craft and flair.

Deep Sleep is completed by the mellower embrace of Sun In My Eyes, a warm breeze of melodies and radiance cored by a hungry stride which just gets more addictive with every listen, and finally its title track. The closer is a fuzzy wash with a dirge like breath and funereal intensity yet shines and shimmers with an absorbing beauty and irresistible charm.

It makes for an enthralling close to a breath-taking release. The Datsuns though admired, has never really brought our ears and emotions to a stop with their previous enjoyable releases. With Deep Sleep they have ignited a fire which can only be quenched with more of the same ahead please.

Deep Sleep is available via HellsquadRecords digitally @ https://itunes.apple.com/gb/album/deep-sleep/id907118759 and on vinyl, CD, and cassette versions.

http://thedatsuns.com

RingMaster 08/10/2014.

Copyright RingMaster: MyFreeCopyright

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The Cabana Kids – The Birds & The Bees

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Picture yourself lying on a sun kissed golden beach, a warm caressing breeze and similar thoughts coaxing the body whilst a tall glass of your favourite cold liquid manna satisfies the heat inside. The only thing left once the shades are applied is to find something to seduce the ears. That is where The Cabana Kids and their tantalising EP, The Birds & The Bees, is a forceful suggestion. The five song release is an indie pop /surf rock moulded captivation, a gentle yet imposing persuasion which swiftly suggests that this is a band with the potential to excite and thrill on a global scale.

The Cabana Kids is a New York based sextet which has been stirring up a buzz locally and further afield with their aural charm offensive enthrallingly masquerading as songs. This has led to an eager anticipation for the band’s first EP, no doubt egged on by the band’s recent acclaimed debut single Just Let Me Know. The song gave all the hints and temptation needed to spark an excited wait for The Birds & The Bees, something the Small Plates Records released EP rewards with its riveting and bewitching presence. Unveiling songs seeded in all matters of the heart, the release is a lingering evocative flight of melodies and harmonies aligned to pungent rhythms, not an instant raging fire for the passions but a smouldering proposition which hangs around tempting away far longer than most intensive blazes.

Before we start note that we are going by the song order on the promo sent through to us but it has been hinted that might have changed since. Anyway here the EP opens with Mexico, a song which initially wrong foots with its vintage croon 29yh84pof keys. Like the organ music which used to open up theatre and cinema shows back in the old days, so my Dad told me, the song’s entrance has a nostalgic breath which is swiftly intriguing whilst stopping thoughts in their tracks. It is a clever introduction which is only enhanced as the voice of Hannah Morris adds her emotive, again old school effected tones to the increasingly potent tempting. Acoustic guitars and gentle beats link up soon after, as well as a sultry melodic electrified twang and the strong voice of Joseph Lee for a country-esque, sixties surf balladry brought on a swaying gait. There is no escaping the delicious retro feel of the song, with the dual vocals, as proven time and again in the subsequent tracks, a striking and pleasing texture but only one in many provocative layers within each individual recipe.

The more energetic and equally magnetic You and Me steps in next, its stroll still relaxed and reserved but with a small swagger to the rhythms and dual vocals so it bounces along with a virulent catchiness. Keys and guitars radiate sparking designs of inventive and colourful enterprise whilst the slightly darker tones of the song bubble nicely through the pulsating bass and accompanying beats. It is the vocals though which steal the show, the vivacity and smile from both sides a hug to bask in whilst dipping imaginations feet into the melodic waters around them.

The bands single Just Let Me Know lifts its rhythmic and energetic feet a little higher again, its inviting canter wrapped in expressive hues of guitar whilst Lee adds a fifties tone and resonance to the emerging treat. Taking a breath the song breaks into a hot wind of surf and indie rock contagion, thoughts of Morningwood and Two Wounded Birds creeping forward as the song further blossoms into an enthralling flame of rock pop. It is very easy to see why the song alone sparked the attention and interest in the band and The Birds & The Bees, the glorious incitement just rock ‘n’ roll in its purest melodic form.

New single Oh Lorelei is set to be received in the same feverish manner as its predecessor you can only suspect, just as the EP ultimately one assumes. The song is a gripping weave of fifties and modern ingenuity. At some points it enchants with a Bobby Rydell like tempting, in others with a Surf City spiced revelry and all aligned to a whiff of The Strokes through the song. It mounts up though to something unique and fascinating and another gripping highlight.

The EP ends with the dreamier presence of Sortida, a tender glaze of sound which takes on a new persona and addictiveness through an infectious thumping and the siren-esque harmonies of Morris which embrace the senses with beguiling radiance. The darkest song on the release but also a beacon of sonic and vocal beauty, it is a scintillating close to a mesmeric encounter.

Though still early steps, The Birds & The Bees easily suggests that The Cabana Kids has the potential and invention to make a big statement in surf and melodic rock over coming horizons, a thought hard to contain the excitement over thanks to their excellent EP.

The Birds & The Bees EP is available now via Small Plates Records @ http://smallplates.bigcartel.com/product/the-cabana-kids-the-birds-the-bees

https://www.facebook.com/thecabanakids

RingMaster 08/10/2014

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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Mausoleum Gate – Self Titled

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Though the band’s self-titled debut album does not grip the passions as rigorously as it might, there is plenty about the new release from Finnish metallers Mausoleum Gate to recommend and breed a healthy appetite for. Spawned in the inspiration of the seventies/eighties heavy metal scene, the band’s release and sound is a skilfully accomplished and magnetic proposition which from an underwhelming start grows to be a potently enjoyable and intriguing encounter within their captivating release.

Formed in 2008 by guitarist Count L.F. and bassist/keyboardist Wicked Ischianus, Mausoleum Gate recorded their debut EP Gateways For The Wicked in 2010, with vocalist V-P. Varpula part of the band’s line-up by this point. After playing that year’s Metal Warning Festival alongside the likes of Sarcofagus and Cloven Hoof, a change in personal saw the current line-up in place with the addition of guitarist Kasperi Puranen and drummer Oscar Razanez alongside the founding pair and Varpula. Last year the band released the well-received Obsessed By Metal 7” with a cassette version of Gateways For The Wicked following whilst 2014 has seen Mausoleum Gate sign with Cruz Del Sur Music for the release of their debut album.

It is a release which makes an impressing statement for the band but starts off with a less than convincing offering in Magic of the Gypsy Queen. To be fair it is more likely personal tastes dictate its failure to persuade but from the gothic caress of keys with haunting child spawned chuckles, the track makes a strong but unsure proposition. Its full entrance grips ears with ease, riffs stirring up attention as grooves flirt with their own baiting. With a heavy bass lure and crisp rhythms and a flourish of keys on board too, it is a captivating engagement but soon losing its edge and tight hold as the vocals of Varpula come in. It should be noted that the singer is an impressive presence but the mix sets him apart from the rest of the song to disrupt the fluency and potency of the song. The music is compelling, especially the excellent guitar enterprise colouring its lure, and vocals alone are strong but together they clash more than work. It is a shame but something which finds a much better balance from hereon in.

The following Demon Droid prowls the senses and imagination with an intimidating pose and ominous breath, riffs and beats predatory before it all erupts into a fiery and antagonistic blaze of heavy metal contagion and adventure. 8032622210712Punchy and with hooks which are as addictive as the melodies are fiery, the song explores its own depths with a progressive breath exploited by the searing invention of the guitars. It is an instant step up for the release which is not quite maintained by the power ballad Lost Beyond the Sun, though it too is equipped with an atmospheric radiance from the keys and the continuing to impress craft and imagination of the guitars. Again there is little to dismiss but just the absence of the spark igniting its predecessor and the next up Mercenaries of Steel which leaves it in their shadow.

The fourth track emerges from rhythmic shadows and a cold ambience to crawl through ears with an intensive examination from riffs and a binding of sonically scorched grooves. This in turn is just a passage into the adrenaline fuelled heart of the song; an Iron Maiden/ Rainbow like weave snarling over and seducing ears. Vocals croon and roar with refreshing expression and harmony as the bass tempts with a throaty growl whilst a seamless switch into a slow progressive exploration by the guitars just bewitches ears and emotions before twisting back into an insatiable and thrilling rampage.

The Kuopio quintet closes the album with its title track, almost twelve minutes of old school heavy metal ingenuity which merges classic genre balladry with a raw and hungry intensity. It is an appealing canvas brought to stronger life by the rich vocal hues and individual musicianship of the band, all combining for a tapestry which spreads and evolves with every minute into an epic and deeply satisfying journey.

Mausoleum Gate, song, album, and band are propositions which worm themselves pleasingly into the passions with every partaking of the accomplished offering. It is not a classic but a release to invite and inspire good attention to a band which has the potential to strike bigger and major heights ahead.

Mausoleum Gate is available now via Cruz Del Sur Music

https://www.facebook.com/MausoleumGate

RingMaster 08/10/2014

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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