Finister – Suburbs of Mind

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The Italian rock and metal scene is ripe with striking emerging talent right now and proven by their new album, one of the most exciting of the impressive bunch of artists is Florence bred Finister. Debut full-length Suburbs of Mind is a ten track adventure of sound and imagination sculpted upon a progressive/psychedelic rock canvas and coloured with an array of diverse rock essences. It is an instantly captivating proposition with a collection of striking songs which just get more compelling and enjoyable with every listen. The band’s sound can be described as something like Muse meets The Horrors but there is plenty more to its body in flavour and originality which perpetually adds to the rich introduction of the band through their thoroughly impressive album.

Formed in 2009, Finister made a potent impression locally and within the Italian underground scene with a couple of EPs but it was their third release, the Nothing Is Real EP that they ignited stronger attention. It showed a new thrust and exploration in their sound, an evolving imagination and adventure with broader flavouring and imagination. It is a direction pushed into even greater psychedelic spiced landscapes through the progressively honed creative offering within Suburbs of Mind. Released via Red Cats Records, the album is a fascinating and immediate temptation for ears and thoughts from a band still young in years. Such its maturity in songwriting and sound though, and the impressive craft shaping it, it is impossible not to anticipate a big future for and from the band ahead.

The album opens with a wistful flame of sax against a sturdier stroking of guitar, both creating a melodic and sombre coaxing which easily enthrals ears before emerging jab of beats, a pungent dark bassline, and equally melancholic vocals. Within a few chords and seconds The Morning Star has the imagination lit, especially as it slowly expands and almost taunts the listener with its minimalistic but potent sonic tempting. The guitar and voice of Elia Rinaldi is soon holding reign over the evocative sounds which at times seem to be prowling his vocal delivery. It is a scene continually shifting and evolving though, the keys of Orlando Cialli, with his sax skills, as well as the rhythms of drummer Lorenzo Burgio providing an unpredictable and fluid stroll of adventure.

It is a strong start to the album, those Muse spices already adding enjoyable hues to the offering, but things are soon taken up a notch with the following Bite the Snake. Also the band’s new single, the track is a predatory bait of creatively agitated beats and sonic causticity aligned to a great grizzly bassline from Leonardo Brambilla. There is a primal essence to the encounter though one tempered by the mellower tones of Rinaldi and a melody rich caress of keys. Alternative rock, with an extra snarl of punk, the track lights ears and emotions instantly, but subsequently surpasses its early glories with an exotic dance of keys and sultry melodic enterprise which erupts from its contagious presence.

The Way (I Used to Know) breezes in on a melodic haze next; skittish rhythms providing a smiling additive to the opening and smouldering croon of the song. Guitars and sax soon add to 51QQyJUGhnL._SS280the sultriness of atmosphere and sound, embracing the senses whilst Rinaldi again shows endearing expression and potency in his voice and delivery. Addictive drama emerges to coat the track as it evolves; the sax of Cialli an especially inflammatory essence in the inventive theatre of the increasingly bewitching track.

Already three songs in and the diversity of sound and imagination in the album is striking and continued in the more volatile yet addictively mesmeric A Decadent Story. Feeling like it is going to explode in a muscular rage at any moment, the song instead seduces and sways with harmonic and melodic ingenuity as its progressive heart explores an almost chivalric psych fuelled canter. In brief glimpses a sense of Hawkwind makes a suggestive spice in the infectious proposition whilst its passage of pure peace midway is the appetiser to a rich Muse like ascent of voice and sound which leads to a gripping climatic finale.

Both the fiery and dramatic progressive croon of My Howl and the spellbinding Levity grip ears and attention next, the first from an understated but alluring start building to another tempestuous and enthralling confrontation with the cello of guest Lea Galasso a potent tinge to the exploration. Its successor is a glorious flight of intrigue and addictive drama. Opening with a scuzzy climate of guitar and keys it soon creates a web of sinister yet rigorously tempting hooks and melodies. They are noir lit, like moments of cinematic espionage within enticing sonic smog and accentuated by again expressive vocals and technical enterprise. The track is sheer temptation, creative intrigue for ears and imagination to immerse in and the latter to sculpt its own theatre for alongside the lyrical reflection of the song.

One of the major pinnacles of the release, it is contrasted in tone by the balladry of Oceans of Thrills but matched in appeal. The song is an engrossing melancholic yet warm embrace with shadows brought by the cello of Galasso and the bass of Brambilla entwined by the melodic poetry of Davide Dalpiaz’s violin courted by the keys and sax of Cialli. As all the tracks there is much more going on than first recognised, this song alone a maze of twists and imagination which increasingly enthrals and impresses over time.

Another exotic tempting is unveiled with The Key, the song a mix of psych pop and alternative endeavour kissed by a blues whisper and jazz bred ambience, though again that is only part of the colouring boldly seducing ears and emotions. The song is another hypnotic tantalising, maybe not as immediately persuasive as previous tracks but ultimately enslaving emotions and appetite for another big success.

Suburbs of Mind is brought to a close by firstly the classically charmed and melodically tempting Here the Sun, the keys of Cialli a play all on their own but a seamless fit in the accompanying drama of guitars and vocals. This again is a slower burner in thoughts but also with a seriously merciless persuasion before final song Everything Goes Back shimmers with psychedelic radiance and smoky atmospheres to bring the album to a turbulently enchanting close. With a flurry of dramatic and towards its end explosive textures, it is one final lingering ride into the full spectacle of the band’s sound and invention.

Suburbs of Mind is one of those unexpected treats and delights which startle from out of the blue, its creators announcing their presence on the largest stage in impressive style. As mentioned Finister is young in age but with a mature presence and craft which belies that. You can only feel there is more to come from and be discovered within themselves though, an excitement and anticipation for which is already ripening nicely here.

Suburbs of Mind is available from March 16th via Red Cat Records on CD and digitally @ http://www.amazon.co.uk/Suburbs-Mind-Finister/dp/B00UDB9WPK

https://www.facebook.com/finisterband

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

Kyshera – Circle

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Not only did the release of Made In China, the second album from Welsh alternative rockers Kyshera, in 2012 ignite a lusty appetite and passion for the band’s sound and invention right here it also declared a coming of age of a band already stirring up the UK music scene. It was a stunning fusion of styles and intense flavours defying classification whilst sparking a fresh exploration of modern rock ‘n’ roll. It was a pinnacle which you could not complain if the band had merely continued to emulate its success with its successor. But this is Kyshera and they have pushed things on again with new album Circle. It is a release which in many ways has toned down the band’s ‘deranged’ inventive attack of sound this time around yet everything about it from songwriting, imagination, and again sheer diversity is a kaleidoscope of new maturity and irresistible enterprise.

Kyshera (pronounced K-eye-she-ra) consists of vocalist/guitarist James Kennedy, bassist Matt Warr, and drummer Glyn Bateman, the latter joining the band between Circle and its predecessor. Made In China was as mentioned a wake-up call for a new horde of fans and media interest towards the Cardiff trio, a tsunami of warped inventiveness and melodic ferocity which ignited ears and imagination with invention and ease. Circles does the same but with a less dramatic onslaught of startling wrong-footing moments, showing less incendiary twists of gait, time changes, and conflicting yet seamlessly entangling styles. This is not to say that it does not have moments of ingenious unpredictability though, just less dramatic and more smoothly infused ones. It would be fair to say that personally those mouth-watering moments of psychotic adventure are missed at times but replaced by explorations which simply catch the breath with their creative grandeur, the band again simply igniting the passions.

Circle is a concept album based around the tale of a “central character and the journey of his life in the modern age. His rise from the bottom to the top of our consumerist, celebrity culture only DIGIPAK WITH POCKET template INHOUSEto realise that in doing so, it came at the price of losing everything that was ‘real’ and on the last song, he dies alone.” The exploration of death, morality, celebrity, love, and consequence begins with opener Napoleon, a track which in its first breath is stirring up rigorous attention and involvement from ears and emotions. Rhythms pound with intensive hunger whilst a sonic mist brews around an early scrub of riffs. It is an initial coaxing which only intensifies as thick hooks and melodic enterprise colludes with the expressive tones of Kennedy and the throaty lures of Warr’s bass. Though subsequently relaxing a little, the song does not hang around and swiftly turns into an even spicier creative roar, returning to the more aggressive and voracious essences which it started with whilst spinning a web of diversely flavoured and inventively intriguing exploits. Groove metal and melodic rock merge with electro mischief and grungy tenacity as the track continues to grow and seduce with increasing imagination.

It is an imposingly impressive start matched immediately by the scintillating stomp of Behind These Lies. Weaving in mouth-watering nu metal revelry and quirkiness, the track strides and prowls ears, revolving through varied gaits and flavours to create a Korn meets Manic Street Preachers meets System Of A Down like devilry. The track is superb, an unrelenting temptation laying an addictive and rebellious bait of metal and heavy rock which is emulated through its own unique design by Demon straight after. The third song has a similar attitude and creative nature but an even rawer snarl and a stronger whiff of the just mentioned Welsh rockers to its captivating persuasion. The track is an inescapable anthem, vocally and musically a tenacious call to arms for senses and imagination with, as the previous songs, a very healthy twisted ingenuity in its otherwise direct and raucous rock ‘n’ roll.

     New single Gone steps up next, an inviting if unspectacular harmonic croon within a melodic bellow with a southern twang to its expression and acoustic elegance to its emotive touch. Personal tastes determine it is the full-blooded stomps which go down most riotously in tastes but there is no avoiding the increasing potency of the song and the fresh ideation emerging in the band’s new direction of sound. Its smouldering persuasion is followed by the pop rock bred The Wrong Size, a magnetic stroll swiftly involving the energy and voice of the listener , pleasingly setting them up for the outstanding Break This. Courting emotional and sonic shadows in its tempestuous web of emotive discord and musical intensity, the track blazes with rich grooves and sharp hooks, they in turn aligned to fuzzy electronics and turbulent rhythms. It is imposing and contagious, a master-class of dark and light in one furious yet inviting creative outpouring.

Endgame leaps at ears right after, no breath allowed to be swallowed as its invigorated dance of vocal and sonic bedlam bounds over the senses with vivacious appetite. It is a funk fest of pulsating basslines and swinging hooks, almost pop punk at times with leanings to electro rock in other enticing moments, and a constant revolving shuffle of diverse and unbridled rock ‘n’ roll.

The entrance of Coma next is spellbinding, simple vocal lures cast by Kennedy resonating in the psyche as they bask in the effects accentuating their coaxing. The song is soon providing a fiery and provocative mix of sonic and emotional turbulency with reflective and haunting balladry, its persuasion a transfixing and fascinating slice of songwriting and sound with simplicity as gripping as its fierce invention and claustrophobically atmospheric beauty. It is a creeping darkness contrasted by the fire like radiance and energy of Inertia which follows with its Manics meets Soundgarden like proposal. An early taster of the album as a single, the track provides a lingering pleasure matched by the more explosive but similarly melodically blazing Helen. Reminding of fellow Brits An Entire Legion, the song is a rugged and robust incitement unafraid to allow its rage and seduction to simultaneously embrace the listener.

The heavy funk romp of Full Circle strides in rigorously right after, offering a heavy rock swagger with punkish attitude as grooves and hooks enslave attention, though all is outshone by the mesmeric vocal and melodic smile of keys within the sturdy charge of the track. As you should assume here, and in all songs, there is much more going on though, heavy and classic rock a strong additional breeze and unpredictability permeating this particular impressive offering.

Circle comes to a close with acoustic ballad The End, a song which satisfies without leaving a deep mark but as a musical and lyrical epilogue to the premise of the album, ensures a potent closure. The album as a whole is simply outstanding, not a greater beast than Made In China but certainly a just as enthralling, and thrilling, unique continuation of the band’s masterful invention which in turn creates another unmissable proposition from one of the UK’s most exciting and inventive bands.

Circle is available from March 16th through Konic Records @ https://kyshera.bandcamp.com/album/circle

In April, the band embarks on their UK wide ‘Full Circle’ Tour, stopping at:

15th April – Cardiff, The Globe

16th April – Brighton, The Albert

17th April – Harlow, The Square

18th April – London, Underworld

21st April – Wolverhampton, Robin 2

23rd April – Nottingham, Rock City

24th April – Selby, The Riverside

25th April – Sheerness, The Ivy

16th May – Sheffield, The Mulberry

**Support comes from Gooding and The Broken Chords**

http://www.kyshera.com     https://www.facebook.com/kyshera

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

The Reveurs – Take a Bow

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Hailing from Manchester, indie rock band The Reveurs reveals their new single this week, a potent and resourceful slice of melodic rock with an intensive edge to its sound and nature. Consisting of two tracks, Take a Bow is not a spectacular explosion in the ear but an easily endearing and persuasive encounter only aiding the potent emergence of the British quartet.

Formed late2013, The Reveurs has certainly become an eagerly followed local proposition with a sound spiced by the influences of bands like Kings of Leon, Arctic Monkeys, and The Strokes. Their presence has been seeping into the appetites of those further afield too, something Take a Bow has the potential to take to a much broader success. As mentioned, the single does not leap out in an attention grabbing exploit but more smoulders and lingers, sparking a keen appetite and want to hear more of the band’s sound.

Take a Bow bounds in with energy and vivacity from the off, hooks and rhythms a feisty yet undemanding invitation. The song soon has ears and imagination intrigued, aided by a brewing image1drama in those self-same opening lures and the melodic expression of song as well as the strong vocals of guitarist Gary Nelson. The punchy beats of drummer Ben Devenport command attention too, as does the throaty bass of Adam Molyneux, whilst the melodic strains cast by the guitars of Nelson and Iain Brewster create and colour the dramatic canvas of the song with magnetic hues. There is a sense that the song wants to explode into a more riotous endeavour at times but is held in check by the band for a fascinating and ultimately alluring proposal. There are moments you wish it would escape its reins but equally embrace the restraint and imagination of the band’s songwriting as the track leaves satisfaction full and ears keen for more.

This extra enjoyment comes in the accompanying Harriet, a more raucous but still melodically fuelled romp of catchy rock ‘n’ roll. More contagious than its predecessor though arguably less involved, the song takes the listener on a warm and vibrant stroll framed by a great rhythmic enterprise lined by an evolving bait of tangy hooks and spicy melodies. The track makes a highly agreeable and infectious companion to Take a Bow, both tracks showing why the band is held in high regard in their home city.

The single will certainly awaken a wider interest and awareness of The Reveurs, something the band has the potential to exploit to even greater degrees ahead, that an expectation already firmly assumed here.

Take a Bow is available from March 16th

http://www.thereveurs.co.uk/     https://www.facebook.com/TheReveurs/

Upcoming Live Dates for The Reveurs include:

27th March – Verve Bar – Leeds

3rd April – Sound – Liverpool

25th April – Etihad Stadium (City Square)

3rd May – Castle Hotel – Manchester

6th June – Carpe Diem – Leeds

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Matinée – These Days

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Taken from their acclaimed debut album, Matinée confirm themselves as one of the UK’s best emerging melodically magnetic propositions with new single These Days. The title track of their strongly impressing full-length, the track is a warm and vibrant romp eager to involve the nation’s ears and passions in its tantalising dance. It is a catchy adventure of melodic enterprise and indie rock tenacity, a capture of ears and imagination reminding fans of and nudging newcomers towards their colourful sound and striking album.

With a name inspired by the Franz Ferdinand song of the same name, the Italy hailing, London based Matinée is no stranger to potent attention through not only their singles and album but a live presence which has seen them sharing stages with the likes of indeed Franz Ferdinand as well as Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many. Not only at home but into Europe and especially Italy, their stature has increasingly grown and been matched by media attention over time too, most potently through the Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days album which pushed the quartet of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals, bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums) into the broadest recognition yet.

Now it is the turn of their single to bring another wave of keen interest their way and from its opening moments These Days shows a potency to do just that. The opening tangle of guitar and synth bred melodies is an immediate inescapable invitation, especially once the warm tones of Tibeiro join the enchanting start. The song is soon showing bigger muscles though as a dark bassline colludes with punchy beats, their union an imposing yet respectful frame around the emerging weave of melodic revelry and harmonic temptation. It is a lively and invigorating mix, not explosive but a captivating festivity of voice and sound gripping feet and thoughts as easily as ears and emotions.

The song is pure rock pop for a summer day but similarly a warming romp for colder and darker moments. The perfect doorway into the arms of their album, though not the greatest moment on said release, which with the single’s impressive proposition will only excite newcomers, These Days is a heartily and thoroughly recommended encounter, album or single.

These Days is released March 16th

http://www.matineeband.com/   https://www.facebook.com/thematineeband

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/