Cable Street Collective – The Best of Times

Picture 11

Back in the day, the UK was once under the spell of the South African kwela song Tom Hark. It was an encounter uncaged by The Piranhas which gripped the feet and bodies of a large chunk of the nation, an infectious scourge impossible to resist. Now the same kind of epidemic has been unleashed to infest the psyche and passions of the country again, only this time in comes in six insatiable devilments from London bred Cable Street Collective. Led by lead single Can’t Take Me Under, it alone an unscrupulous temptation, the band’s recently released debut EP The Best of Times is a decade of summers rolled into one addictive slice of worldly contagion, or as they call it, Carnival Pop.

Cable Street Collective formed in 2012, emerging at the same London open mic night that produced Denai Moore. With two of its members growing up in Swaziland and Malawi, inspirations and musical passions provide a varied weave from which the band’s dramatically compelling songs are bred. The same kwela influences which fuelled the success of the song from the Brighton band we first mentioned, finds an equally welcome home in the music of Cable Street Collective, but also do other rich flavours and styles from that part of the world alongside Latin enticements and more European bred spices from funk to ska, indie pop to swing, and that is still to peel all the layers from their music. Drawing acclaim with their energetic performances at festivals such as Bestival, Secret Garden Party, Boomtown Fair, and the Lake of Stars Festival in Malawi, the band has been laying down a trail of creative revelry since forming, one coming to its first gripping crescendo in The Best of Times.

The opening twenty second Intro is just a searching of a radio dial to find some flavoursome sounds, a success coming with the sultry sway of Wasted Hours which sidles up to ears in a seductive manner. The instantly magnetic vocals of Fiona Jane cast a warm welcome, an invitation matched by the throaty tones of the bass and the holiday flirtation of the guitars. Rhythms and Picture 15beats energetically pop across the bubbly landscape thereafter as a dynamic revelry begins busying itself. Just as you get a handle on things and hips prepare to swing though, a great unpredictable mischief wrong-foots expectations. It is a brief and pleasing detour which returns again from time to time, but mere moments in a track which is soon back into its refreshing and magnetic shuffle as Fiona almost siren like incites the melodic temptation around her.

It only takes that one song, certainly here to be bound and enslaved by band and release, but to make sure escape is not an option, He’s on Fire erupts next with a thick rockabilly snarl of guitar. Rhythms are swiftly adding their tenacious bait, the bass especially virulent alongside just as dramatically alluring vocals. A song to bring the tenants of cemeteries to rigorous festive life, it is a rhythmic maelstrom complete with an addiction breeding melodic hex and vocals which stir up the devilry like a harmonic carnival barker.

Yin & Prang has a tangy ska like rascality to its kwela sculpted merriment whilst the twining of female and male vocals adds another great twist to an already individual romp. The bass once again lays down a delicious dark throated coaxing over which percussive adventure and diversity relishes its freedom, gripping bodies like a puppeteer as melodies and riffs spark with firework intensity across the mouth-watering escapade.

The sultry seventies funk kissed Interlude (Feel It Fall Apart) bridges its predecessor and the following Can’t Take Me Under, the pulsating instrumental a cauldron of feistily simmering magnetism. Seamlessly slipping out of its climactic heat, the new single sways its rhythmic hips under the song’s virulently smiling melodic enterprise. There is also a slight punkish edge to its character, the track coming over like a tasty mix of Sonic Boom Six and Molotov Jukebox whilst entertaining a wealth of other styles and essences in its infectious alchemy.

The EP is brought to a thrilling end by Two Cities, a more indie pop lined offering with a Holly Walker essence to the vocal and lyrical character of the song. Lyrically across the whole release, the band is just as vivacious and colourful, numerous lines and picture-esque word crafted scenes making their own flirtatious and memorable contributions to the breath-taking encounter.

     The Best of Times is a festival in the ears and a party in the emotions, and one of the most riotously thrilling proposals likely to be enjoyed this year. Cable Street Collective is edging to be our new favourite band, more offerings like this and it will be a done deal.

The Best of Times EP is available on iTunes @ https://itunes.apple.com/gb/album/the-best-of-times/id942762566 and as a physical release now @ http://www.cablestreetcollective.co.uk/?product=best-of-times-album whilst new single Can’t Take Me Under is available from February 16th again through iTunes.

https://www.facebook.com/cablestreetcollective/

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Rathborne – Soft

a0341376346_2

If you have not come across Luke Rathborne, or indeed Rathbone the band surrounding his songwriting skills, do not worry as the healthy buzz around both back in the US is sure to brew up a similar excitement over this side of the pond thanks to the release of new album Soft. An energetic package of tenaciously varied rock ‘n’ roll, the release shows itself to be as at home and accomplished exploring punk, garage rock and indie pop as it is reaping the essences of alternative and seventies American rock. It is a compelling and more often than not an irresistible stomp which will warm up any playlist given the chance.

Hailing from Brunswick in Maine and New York based, man and band make light work of enticing and exciting ears upon the Albert Hammond Jnr of The Strokes, co-produced Soft. Its title track is the first persuasion and swiftly surrounds ears with a dirty but melodically washed sonic temptation. It is raw and wonderfully distorted pop over a scuzzy slow prowl; the union almost Beck meets The Strokes like in its volatile and fiery enterprise. Immediately imagination and appetite are aroused, and given another incendiary spark with the following What More. Cleaner in its energetic pop revelry but still harbouring a great raw edge, the track is a mix of The Cars and Tom Petty and the Heartbreakers, and swift example of the diversity rife within the album.

I’m So Tired steps up next, its Americana like colouring blending with the seventies pop spiced infectiousness coursing through its lively balladry. Though the song does not quite match up to those before or right after, it leaves ears and attention engrossed ready for the outstanding Eno which steps up with its Tom Verlaine and Television like vocal and musical endeavour. A lively romp with addictive qualities, the track reinforces the already thick variety to songs, yet despite their seriously individual characters, each sits perfectly alongside the next as proven once again by the punk lined Low! which soon has feet and emotions bouncing around as if on a power pop trampoline. As many of the tracks, it is a short and insatiable provocateur which almost revels in mischievous intent as it lures, incites, and then runs before the listener can reach the pinnacle of its physical and emotional involvement.

A country breath embraces Little Moment which comes next, the song a radiant encounter hugging a great additional female vocal. It does not spark the same reactions as its companions but that is down to a personal dislike of country flavours and not any real issue with the agreeably crafted song. Particular tastes are soon back on board with the punchy Wanna Be You with its strong throaty bassline and melodic winery, and even more so after the Dylan-esque bluesy tang of Deal, with the rampant catchiness of Why. The track flirts with a bounding rhythmic gait and grungy sonic teasing from the guitars whilst vocally too there is a Nirvana like graze to the delivery. It is another inescapable treat within Soft leaving the garage/hard rock stroll of So Long NYC to close things out in highly satisfying style.

It is fair to say that Soft is one of those albums which are very hard to get out of the head. It might not elevate to being a heart embraced favourite but it definitely gets under the skin and stays with thoughts and emotions, returning whenever it pleases with certain hooks and melodies.

Soft is available now via True Believer and @ http://lukerathborne.bandcamp.com/

https://www.facebook.com/lukerathborne

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

SeaWitches – Stars

Picture 80

On the surface Stars, the new single from UK band SeaWitches, is a simmering lake of melodic radiance but look deeper into its depths and the song is a discovery of compelling shadows and rawer, almost predacious textures. Making a strong first impression but becoming more fascinating and captivating with every embrace, the song also suggests Liverpool has yet another tantalising proposition blossoming in its musical heritage.

The seeds to SeaWitches began with the meeting of Jo Herring (vocals/guitar/bass) and Laura Caldwell (bass/guitar/keys through friends in 2007. Their creative talent and musical passion SEAWITCHES ARTWORK PRINT finalsoon united and from being initially called The Woods, brought SeaWitches to the Liverpool music scene. Drummer Tilo Pirnbaum joined the band in 2012, a year also seeing the release of their well-received debut, the Spacegun EP. Since then venturing successfully further afield into places like Manchester and London, the band last year unveiled new guitarist Jamie Jenkin and second EP Tear back the sky, again to potent responses and praise. Now the quartet casts Stars on the country through Edge Hill University’s The Label Recordings, run by Carl Hunter of The Farm and assisted by media students, the song a blaze of radiance sure to catch a host of new appetites and lure further eager attention.

The song’s first breath brings a rich melodic enticing complete with a spicy hook which would not be out of place in an Echo and the Bunnymen offering. Alongside it though a dark throated bassline brings a more post punk flavouring whilst vocally and infectiously the song has a whisper of The Passions to its discord kissed pop. Similarly though a shoegaze ambience and dark folk temptation manages to loudly whisper within the feisty and pungent energy of the song, more flavours emerging with each passing moment in the potent underbelly of the increasingly bewitching and riveting encounter.

In many ways Stars is a puzzle to explore, a seemingly warm enticement leading to more unpredictable and slightly turbulent sinister explorations but thick exciting rewards. SeaWitches spin a spellbinding hex through their new single and we suggest they and we can expect big things ahead.

Stars is available via The Label Recordings from 16th February

https://www.facebook.com/SeaWitches/

RingMaster 1602/2015

Copyright RingMaster: MyFreeCopyright

https://www.youtube.com/watch?v=pU37ylCYa-A

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

The New Southern Electrikk – Brown Eyes

Picture 20

Listening to the trio of songs making up The New Southern Electrikk debut single, is like being immersed in a kaleidoscope of sound, each song offering a different light and colourful adventure to another. The release is an unpredictable proposition and a bewitching one, revealing why a vibrant buzz around the UK band from fans and media alike but equally suggesting we have barely scratched the surface of their depths and creative imagination. It would be wrong to say the single blew our fuses but once romanced and seduced by Brown Eyes and company, it is impossible not to have a healthy intrigue and appetite towards The New Southern Electrikk sound.

With the likes of Goldblade’s John Robb, the single released on his Louder Than War Records, The Lemonhead’s Evan Dando, and Suede’s Bernard Butler amongst fans caught by the band’s melodic spell, The New Southern Electrikk have ears and imagination engaged almost from the first melody stroking ears from within Brown Eyes. It is single guitar bred flirtation with just a percussive whisper alongside but a coaxing soon broadening into a sixties melodic melodrama of emotion and smouldering elegance. The song was inspired by a dark moment in the life of keyboardist Rikki Turner fourteen years ago when a woman he loved left his life as The Shirelles’ Baby It’s You was playing in the background. The former Paris Angel musician wrote the song’sPicture 110 lyric and melody soon after and there is no escaping a sixties girl group like charm in the music of the track or the soulful angst of that moment in time in the captivating delivery of vocalist Monica Ward. The melancholic basslines of Steven Tajti only add to the shadows, their melancholy courting the lean but potent melodic colours cast by guitarist Zack Davies. Evocative within a sultry climate, the gentle but imposing croon of the song with its Shangri-las like finale gets right under the skin, not necessarily setting a fire but working away over time as hooks and vocal moments persistently return in thought and memory.

The following landscape of The Theme to the New Southern Electrikk immediately ventures into new realms, keys weaving a psychedelic ambience around Krautrock scenery. It is only part of the soundscape though as a post punk seeded bassline swings its morose invention around crisp and uncluttered rhythms from drummer Jim Correy. Similarly a Morricone-esque tang simmers within the melodic wine of the again slightly sixties pop coloured instrumental too, it all aligning for a tantalising and compelling flight for ears and imagination to bask in and explore time and time again.

Completed by a mesmeric version of The Gun Club’s Mother of Earth, The New Southern Electrikk’s first single is rich magnetism. There is something for everyone within its spicy creativity and the minimalistic textures which offer new shapes and persuasions with each song on offer. Expect to hear a lot more of this fascinating band in future.

Brown Eyes is available now via Louder Than War Records @ https://itunes.apple.com/gb/album/brown-eyes-single/id960367750

https://www.facebook.com/pages/The-New-Southern-Electrikk/1566182530283214

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Pryti – Tales Of A Melancholic

10410842_754776114618169_1045487901020513958_n

Tales Of A Melancholic is the debut album from Pryti, an emerging British solo artist already making a striking mark, with her seriously accomplished and captivating fusion of heavy rock and melodic metal, on the national scene. Consisting of ten tracks which roar with the emotional snarl of the Deftones, cast a Lacuna Coil like creative theatre, and smoulder with the melodic prowess of Paramore, all over dramatic landscapes sculpted by voracious riffs and predatory rhythms, her new release is startling in its potency and skilled in its expressive persuasion. Also embracing elements of alternative and varied rock flavours, the album grips the imagination and leaves a deep rooted want to hear more.

Bringing all the guitars and bass on the release to her captivating songwriting and vocal strength, the Birmingham singer songwriter is no stranger to garnering acclaim and attention. Her last EP Welcome To Pariahville, also the name of her own label, was a big spark to an increasing spotlight and acclaim from the Rock/Metal community. Magazines like Kerrang! and Rocksound were close on the heels with coverage and praise too whilst radio airplay was soon embracing Pryti’s sounds, especially for more recently released single Abyss. Produced by Justin Hill from Sikth, Tales Of A Melancholic casts a broader and greater lure to that awakening attention, one easy to anticipate being reciprocated in greater praise and focus.

A portentous ambience brings opening song Insomnia into view, a sonic haze wrapping ears as thick prowling beats and caustic riffs follow in close attention. They all relax as the instantly flavoursome vocals of Pryti open the song’s emotional narrative, only the rhythms holding the same shape of their initial pungent presence. Vocally Pryti soars with a substantial yet harmonic roarPromoImage.jpg which alternates with an elegant seduction. It is a blend across song and the album which can be best described as Dolores O’Riordan of The Cranberries sings Deftones but with a much feistier and fascinating presence then that suggests. The song itself continues to breach new climactic heights and strengths, guitars and keys a riveting proposal against the rousing voice of Pryti.

The Pessimist follows and straight away grips ears with its opening graze of dirty raw riffs swiftly aligning to evocative vocals. Melancholic yet warmly radiate within its increasing shadows, the song is a brooding tempest which eventually erupts with muscularly swung rhythms and a spicy sonic enterprise which has senses and imagination bound and bewitched. The track continues the impressive start to the album; the first two songs backed again, and eventfully surpassed by the previously mentioned single Abyss. Sculpting a web of intensive emotional and sonic turbulence, courted by a melodic radiance, the track is a moving tide of personal angst and melodic intimacy within a stormy atmosphere. It is an enthralling and anthemic incitement, and there is no surprise that it turned a great many heads on its first appearance.

As the second song, the next up Purge opens with a gritty edge to its opening chords, bait contrasted and complimented by the increasingly siren-esque tones of Pryti. Shadows wrap the balladry of the song whilst a creative bellow drives its heavier tempestuous turns of pace and intensity. The result is another intriguing and captivating exploration emulated right after in the solemn beauty of Bitter Pill and the haunting Amnesia. The first of the two is a flame of bracing vocals and melodies caught on a passionate sonic wind, but equally prone to reflective calms within its provocative dip into dark drama. Its successor merges a sinister ambience with emotional anxiety, both aspects cultured by an unpredictable musical landscape and vocal intimacy. Though the song does not quite live up to its predecessors, it increasingly engages and enthrals before making way for the fiery storm of Angst. Boldly carnivorous compared to other songs as riffs and spiky grooves are immediately predatory, the track soon shows wider enterprise and invention by luring in melodic and harmonic caresses to temper and unite with the imposing ferocity of one more major highlight on the album.

The potent energies and creative tenacity of Battle Wounds brings its volcanic endeavour and emotion forward next before the melancholic beauty of Ghost takes the listener on a harmonic cruise across a melodic sea carrying an increasingly compelling raw and aggressive edge to its lapping temptation. Both tracks bond ears and thoughts with ease though are overshadowed by the outstanding closing song Burden, a song which epitomises and sums up all the instinctive strengths and exciting inventiveness bringing Tales of a Melancholic to life.

Pryti most likely to most would have been an unknown name let alone quantity before Tales of a Melancholic, but from this moment she is surely destined to be a name on the lips of and stirring up the British heavy rock scene. This is one album all should take a close listen to.

Tales of a Melancholic is released digitally on Welcome To Pariahville on February 16th

https://www.facebook.com/prytigatgemusic

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

 

Ligaments – Ligaments (Eat Pizza EP)

Ligaments Online Promo Shot

As soon as learning that the armament within punk ‘n’ rollers Ligaments involved a double bass, intrigue and excitement, as we are suckers for the throaty seduction of said instrument, was rife. It was an anticipation swiftly satisfied by the London based trio’s excellent Ligaments (Eat Pizza EP). With throaty bass slaps in tandem with roaring vocals and voracious riffs, the four-song encounter proved itself to be an imposing and impressive introduction to the band.

Formed in 2012 after Napoli hailing Nicola Itro (double bass, vocals) and Londoner Jake Maxwell (guitar, vocals) met at the 12 Bar Club in Soho, Ligaments create a sound which is part ’77 punk, part old school rock ‘n’ roll, part rockabilly rapacity, and all 21st Century ferocity. Last year saw former Pettybone member Zel Kaute join the band on drums, bringing a passion for pizza with her which humorously themes the visual side of the new release. Already Ligaments have supported the likes of Pure Graft, The Meteors, The Vibrators, and GBH, and made Europe a regular playground for their thumping live presence, but it is with their debut EP that it is easy to expect a new spotlight shining on the creative bellow and potential of this exciting band.

Recorded with Wayne Adams (USA Nails, Death Pedals), the EP takes little time grabbing attention as opener Precinct 13 brews up an immediate dirty hard rock coaxing. Initially held in a Ligaments covermore distant embrace, it is soon bursting loud and anthemically upon the senses, and straight away Itro’s moody basslines are claiming an eager appetite. Equally the blaze of riff causticity and swinging punchy rhythms from Kaute are stealing their share of the focus. Minor Threat has been offered as a reference to the band’s sound but similarly here essences of Living End and AFI make a potent flavouring to the riotous proposition.

The great start is right away eclipsed by 4th, and again bass slaps and tenacious beats provide inescapable bait for the guitar of Maxwell to blaze over. Into its stride, the track marries a melodic ferociousness with a whiff of The Bronx to it, to a bruising yet captivating Peacocks like punk rumble. It is raw, unfussy, and magnetically anthemic but just an appetiser itself for the closing pair of treats starting with the Tiger Army like swing of Turn To Acid. Sultry in air and contagious in rhythmic enterprise, Itro again laying down virulent temptation, the track is stripped down rock ‘n’ roll providing an unpolished but craftily lean musical narrative almost revelling in its addictive nature.

Final song In The Black Lodge emerges as the favourite, again the dark charms on Tiger Army and AFI seeping into the psychobilly kissed landscape of the song. An anthem for feet and voice to instantly consume, the track stomps through ears, jabbing the senses with every swing of its epidemic energy. With thick basslines and insatiable melodies adding further primal tempting, it is a roaring blaze of the song.

Whether a fan of punk or rockabilly, in fact for anyone with a taste for any shade of rock ‘n’ roll, there is great pleasure to be found in Ligaments first release, and a ripe potential fuelling their impressive debut which suggests the band is going places.

The Ligaments (Eat Pizza EP) is available through all digital platforms from Monday 16th February and on ltd edition (250 pressed) CD @ http://theligaments.bandcamp.com/

https://www.facebook.com/TheLigaments

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Oh Captive set loose their sophomore EP this Spring

Oh Captive cover

Ascending Alternative Rock crew ‘Oh Captive’ will nationally unveil their spanking new EP ‘Two Mirrors’ through all outlets on Monday 23rd March.

Formed three years ago, and coming at you from the South West, Oh Captive unleash a potent fusion of engaging alternative rock cuts stocked with forceful razor-sharp hooks that render them an instantly catchy listen. Already chalking up favourable comparisons to Biffy Clyro and Twin Atlantic, Oh Captive are set for new heights, and are loaded up with their killer new EP ‘Two Mirrors’, which hits stores this March.

The foursome’s national profile has rapidly increased during the past 12 months; this is largely down to their high work ethic and the success of the band’s debut EP, ‘Advance Creature’, which snared coverage from Rock Sound, Big Cheese, XFM and BBC Introducing, amongst others. Labelled ‘one of the UK rock scene’s biggest rising stars’ by Hit The Floor, Oh Captive have earned supporting slots with the likes of Marmozets and Arcane Roots, as well as festival appearances at Leopalooza and New Age.

The quartet headed into the studio last autumn to commence work on their next record. Entitled ‘Two Mirrors’, the EP is a real belter. Following on the foundations set by their debut record, the band have really pulled it out of the bag. Opener ‘Recover’ perfectly showcases the band’s enhanced penmanship with a hooky refrain and layered guitars that cunningly web together the track. The dynamic ‘Motion/No Motion’ delivers another anthemic chorus that clings to your head while ‘Live Fast Don’t Last’ highlights the rock crew’s growing maturity. Closer and namesake ‘Two Mirrors’ is further proof that Oh Captive have the tools and expertise to be one of the true players in 2015. Stay tuned to the band’s Facebook page for tour updates.

-OH CAPTIVE RELEASE ‘TWO MIRRORS’ ON MONDAY 23rd MARCH THROUGH ALL DIGITAL OUTLETS-

http://www.facebook.com/ohcaptive https://twitter.com/ohcaptive