Arsenic Unbirthday – Ravens And Writing Desks

Arsenic Unbirthday_Picture

From a name which is instinctively memorable and carrying a sound made up of potent temptations, certainly on the evidence of new EP Ravens And Writing Desks, Italian rock band Arsenic Unbirthday is one of those propositions which just courts personal attention from the first touch. Like a mix of Forever Still and Skunk Anansie, the Cagliari quartet is described in their bio as “a poisonous alternative rock band.” Truth is their seduction is far sweeter and warmer yet indeed with a creative toxicity and snarl which ensures every track on their new proposition leaves the imagination and appetite captivated.

Formed by guitarist Nick Farlight and vocalist Mary Red Mallow, Arsenic Unbirthday has gone through the several line-up changes which cross many bands, emerging stronger and more inventive whilst adding shows with numerous established artists to their CV along the way. Following an early demo, the band recently linked up with Epictronic for the world wide release of their first official EP, and an ear opening, attention nudging offering it is surely going to prove.

PAGES 1-8The chilled winds of My Enemy embrace ears first, accompanied by a vocal narrative of gothic fairy tale breeding. The song gradually brews up a melodic tempting around them, the provocative guitar and keys shaped imagination of Farlight draping the brooding rhythmic frame sculpted by drummer Alex Stowe and bassist Emmanuel. It is a tantalising proposal swiftly accentuated by the siren-esque expression and tones of Mary Red Mallow, her voice an inviting romance in the darker atmosphere of the music. There is more to the encounter than a gothic and dark rock proposal though, an electronic enterprise blossoming across the enjoyable start to the EP and providing the track with a flourish in its climax.

The strong opening continues with Unnecessary Pain. Immediately its sinister electronic caress has a Nine Inch Nails breath to its drama, one soon breeding a bubbly tempting before expanding into a fascinating soundscape of vivacious and unpredictable enterprise within an exotic electro climate. The warp resonance of melodies through the keys is gorgeous and perfectly tempered by the sobering dark bassline cast by Emmanuel. If the first song was an imposing awakening of ears its successor is a full on infestation of the senses, spreading intoxicating melodies and contagious imagination as it gets under the skin.

It is fair to say Ravens And Writing Desks already just gets bolder and more impressive with every track, proven by the fiery almost predatory presence of Imperfect and in turn by the sheer beauty of Another Sin To Hide. The first of the pair roams and stalks the senses with rapacious riffs and crisply connecting rhythms, all under the spell of the ever bewitching vocals. There is a certain carnivorous texture to the riffs which cannot be shaken by the flowing charms of keys and vocals, though they equally share the listener with the smoother haunted theatre of melodies and their evocative flirtation. Its successor is a kiss on the senses and imagination, a seducing power ballad with melancholic strings and climactic emotional outpourings which simply bow to the superb voice and delivery of Mary Red Mallow. The song is spellbinding, as all songs not startlingly unique yet providing a presence and attention stealing adventure quite a few bands can only imagine.

The electronic heart of Leaves Beneath continues not only the imagination of the release but the variety too. All songs come with the same kind of core template but each unveils its own distinctive character and presence with this a compelling persuasion. Its electro elements are like shards of light breaking upon a shadowed land, though the scenery itself basks in a warm melody and vocal enriched elegance. A whisper of Evanescence is a creeping suggestiveness across the gripping enchantment and drama of the song, and another spice to ponder and enjoy.

The EP closes on, with for personal tastes its pinnacle, the mouth-watering Sparklet. The track is a merger of numerous styles and flavours, emerging from a golden pool of electronic and atmospheric beauty into an intimate and jazzy stroll with a whiff of Stolen Babies to its almost devilish temptation. Equally there is a slow but open swagger to the rhythmic luring of the track, everything leading to dramatic crescendos before settling back down into that addictive teasing of the psyche. The song is outstanding, the peak of the release and further evidence of the enjoyable and impressive diversity to sound, songwriting, and imagination within Arsenic Unbirthday.

An encounter which also grows and improves with every listen, Ravens And Writing Desks is the introduction of a band with the potential to breach the broadest, intensive spotlights.

The Ravens And Writing Desks EP is available now via Epitronic @ https://itunes.apple.com/gb/album/ravens-and-writing-desks-ep/id958179588

http://www.arsenicunbirthday.com/     https://www.facebook.com/ArsenicUnbirthday.1

RingMaster 31/03/2015

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/

 

Earthist – Lightward

Earthist Official Photo

Hailing from Italy, alternative rockers Earthist have announced themselves on a wider landscape with a debut album which is full of surprises, invention, and most of all thoroughly enjoyable encounters. Lightward has moments where things are not as imposingly convincing as in other thrilling parts but from start to finish it is fair to say that the Parma quartet has presented one captivating, potential drenched introduction.

The band was formed in 2012 by young musicians whose ages (20 to23) are a deception to the maturity of their invention and sound. Drawing on a diverse array of influences and flavours to spice up their own imagination (folk, progressive, and Britpop amongst them), Earthist swiftly found eager support in their homeland for their Now. Here. Or Nowhere. EP of 2013, which in turn helped open up opportunities for the band to spread out live and subsequently play alongside numerous other emerging and better known bands from within and outside of Italy at important festivals. A critically acclaimed feature film by Emanuele Valla called Dreaming Alaska also featured some of the band’s songs, but now with the worldwide release of Lightward via Epictronic, the foursome of Federico Ronchini (lead vocals / guitar), Francesco Parrino (lead vocals, keys), Giacomo Giuffredi (guitar / backing vocals), and Alberto Tanara (drums) are knocking on broader attention, and with its unpredictable invention and smiling imagination it is easy to suspect potent success coming their way.

Opener Not Today is a swift melodic anthem in the ear, its rhythms and riffs a sturdy initial wall of tempting within which keys dangle bright temptation. A great bassline emerges from a following calm, its throaty lure in thick contrast to the just as engaging vocals which if you did not realise the band was Italian give no real hint to the band’s nationality. As the song’s shadowed but summery stroll continues, guitar and keys offers sparkles of light hooks and teasing enterprise over the stirring core drive of that bass and accompanying similarly intensive riffs. The band has been compared to the likes of Biffy Clyro and Mumford and Sons and it is easy to see why, especially in reference to the first of the two in this track alone.

Earthist _ Lightward   The following Miracle moves into view with a coaxing of jagged chords before inviting crisp beats and another dark throated and catchy bassline. Emerging as a flavoursome slice of indie rock it also has a pop punk air to its chorus and aligning vocals, whilst across its whole length the song almost teases with its busily creative nature. The same can be said of Sirens Sing within its own unique presence. Creaking wood is a suggestive start to the song before an acoustic caress of guitars and growing melodies across keys and strings snuggle provocatively upon ears and imagination, each voicing the haunted romance of some kind inside the track’s elegant presence. The song, as the album, increases its potency and appeal with every listen, blossoming from an enjoyable first encounter to another peak within the album.

A spatial atmosphere instantly engulfs the senses and next song The Astronaut, keys a celestial breeze from which the song suddenly slips into an energetic and vivacious indie pop romp. Hooks gleam as they take and sonic endeavour shines as it entwines the infection posing as a song. Like a mix of Super Happy Fun Club and Good Charlotte, nineties and more current essences collude for a fiery anthem, inciting a new flush of hunger in the appetite before Brighter Later and after it Fox When The Night show another twist in the nature of the release. The first of the two is a rock pop serenade with a feisty heart and lively tenacity whilst the second with an equally lusty energy, explores a more new wave/indie inventiveness. Neither quite lives up to the previous songs yet each provides moments of richly pleasing ideation in a constant feel good proposition, the second of the two especially engaging a smile of satisfaction.

Classically seeded keys and a great earthy bass tone make Step Out Of The Shade an especially flavoursome proposition next, though the great vocals and a Beatle-esque whiff to the chorus certainly help its appeal too, whilst Helicon straight after, is another slow to light the emotions encounter. To be honest it never quite finds the spark needed to truly excite but enjoyment is never in doubt whilst in its increasingly tempestuous company. Neither song can match up to Jolly Roger (A Pirate’s Tale) though, the track from its opening boot on wood rhythmic march gripping body and thoughts. It reinforces the opening gambit with a radiant piano coaxing and a guitar crafted seducing. Vocals again impress and add new texture and quality, their joyful swing matching the shanty like swagger of the track. Bass snarls and folk revelry only colour the full blooded adventure further, all alluring hues going to make the pinnacle of the album. Revealing yet another new facet to album and songwriting the band’s imagination shows an experimental side easy to hope they explore much more ahead.

Sealance (In My Eyes) provides a raucous flight of radiant keys and thumping rhythms within an intensive sonic embrace next whilst Time For A Fight manages to weave strains of Muse, The Doors, and Weezer into a blustery and again increasingly magnetic collusion of sixties, seventies, and a more current festivity. Their satisfying sounds make way for The Lighthouse, a more than decent close to the album with a Coldplay like croon within a lively simmering melodic landscape. Like its predecessor, the track pleases without setting fires yet each have something within their presence which is nothing short of pleasing.

The album is a treat of a first glimpse into the creative world of Earthist, a realm sure to only grow and breed new thrilling experiments and creative emprises ahead. We for one cannot wait and suggest fans of melodic contagion do not either by taking a punt on Lightward right now.

Lightward is available now via Epictronic/Plastic Head Distribution LTD @ http://www.plastichead.com/item.asp?ex=fitem&target=EPIC005 and https://itunes.apple.com/gb/album/lightward/id958116679

https://www.facebook.com/Earthistmusic

RingMaster 31/03/2015

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/

Kill The Ideal – Heritage

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Ferociously melodic and raucously captivating, it is fair to say that our introduction to UK alternative rockers Kill The Ideal has been a fiercely enjoyable infestation of ears and appetite. It came through the band’s debut EP Heritage, an invigorating four song ride of anthemic proportions cast with intimate passion and explosive energy. It is an encounter which roars and croons with equal tenacity, very often simultaneously, and leaves a real hunger for more of its fresh invention and warm familiarity.

Formed in 2010, the Boston quartet release Heritage off a highly successful 2014 which saw the band light up stages alongside the likes of Lost Alone, Lonely The Brave, and Hawthorne Heights, shows adding to their CV of playing with bands such as Nine Black Alps, The First, Climates, and Emp!re. The foursome also left a mark on BBC Introducing in East Midlands before heading into the studio to create their first EP. Recorded with producer Lee Batiuk (Deaf Havana), Heritage is the potential spark to broader national awareness, and such its impressive body there is no doubting fires will be lit in a great many.

The EP’s title track stokes attention first, a raw stroke of guitar licking at ears initially before it all boils up into a pleasingly fiery stroll littered by the jabbing beats of drummer Jordan Bell and veined with a great dark bassline from Luke Farmer. Though the edge to the riffs is still slightly caustic there is a sharper and spicier tone to the subsequent melodies and hooks of guitarists Ross Gallagher and Ash Wilson hereon in, whilst the latter’s vocals bring an expressive and potent heart to the increasingly compelling encounter. The track is seemingly always on the precipice of a riot yet manages to bind its unbridled passion for a controlled yet incendiary anthem of a proposition. The song is a gem of a start to the release, an offering unleashing the addictive lure of a Lower Than Atlantis with the melodic fire of a Thirty Seconds to Mars and the impassioned angst of a Billy Talent.

Kill The Ideal - Heritage (EP Artwork)   There is no lessening of pleasure with its successor either. Higher again enters on a single caress of guitar though this time Wilson is there with the first breath to begin unveiling the song’s narrative. Once more it is an engaging start which swiftly becomes a contagion as Bell’s swings thump away with addictive bait whilst hooks and harmonies flame within the striking frame of his incitement. Fluid moments of melodic seducing only accentuate the potency and aggression of the band’s explosive tenacity, the anthemic virulence reminding of Always The Quiet Ones as the ability of Kill The Ideal to entwine tempestuous musical bellowing with gentle melody rich reflections simply impresses.

It would be fair to say that after two tracks the band had thoughts and emotions won over, leaving the remaining temptations of The Fire and My Friend an easier persuasion to make. Both though take nothing for granted and uncage their own individual inventive storms of sound and imagination. The first of the two probably feels the most recognisable of all the songs, offering more expected elements but still forcibly convinces with great jagged riffs and an excellent vocal union across the band whilst its successor is a slice of seriously catchy and similarly impassioned melody soaked rock ‘n’ roll with a roar to its heart and ruggedness to its energy.

Both tracks complete in fine and riveting style one outstanding release; in fact it is hard to imagine that Kill The Ideal could have made a better entrance into the wider spotlight of the British music scene than Heritage but easy to suggest even bigger and bolder things are destined to come from the exciting band.

The Heritage EP is available now @ https://itunes.apple.com/gb/album/heritage-ep-ep/id967280243

https://www.facebook.com/KillTheIdeal

Ringmaster 31/03/2015

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/

Zen Juddhism – Private Banks (So Cold) Feat. Opkar Hans

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Ensuring an incitement for feet and emotions, Zen Juddhism release new single Private Banks (So Cold) this week, a contagiously rowdy slice of punk ‘n’ roll with a healthy feel of Fountains Of Wayne to it. Taken from the band’s self-titled debut album, the song is an openly familiar and virulently catchy proposition, not trying to bend boundaries or reinvent the wheel, but delivering what always goes down a treat, honest rock ‘n’ roll.

Zen Juddhism is the new music project from Southampton based guitarist /songwriter Jude Ωne Eight, formerly of Cold Forge and better known as part of HYBRID 6.0. Drawing on a lifetime of influences which shaped his personal tastes, from rock and metal to soul, folk, and pop acts, the guitarist wrote a host of songs inspired by the artists most prominent on his playlist in the past year, including Metric, Led Zeppelin, Garbage, Fountains Of Wayne, and TV On The Radio. Enlisting the assistance of friends such as Lord Lav, Andy Thomas, Marlene Rodriguez, Naomi Terry and many more, Jude recorded the previously mentioned self-titled album at the renowned River Studios with its subsequent release on his own Loosh Rote Records. Now Private Banks (So Cold) which features Opkar Hans is here to make an inescapable invitation to check out the album and indeed Zen Juddhism.

A raw caress of guitar with percussive enticing makes the first bait, its lure a mere moment before a blaze of grungy toned punk ‘n’ roll aggression and virulence takes over. Riffs blaze and hooks swing within the rowdy encounter, all adding further captivating bait to the infectious stomp. Its chorus takes ears into a more pop bred persuasion, that Fountains Of Wayne reference a loud whisper but equally you can sense a Ramones like essence equally fuelling the addictive nature and lure of that particular aspect of the song.

As mentioned Private Banks (So Cold) flirts with a familiar and energetic tempting, not really caring about creating new templates but eager to provide a boisterous and anthemic roar of voracious rock; an aim realised with enjoyable results for all.

Private Banks (So Cold) is out now via Loosh Rote Records with the Zen Juddhism also available @ https://itunes.apple.com/gb/album/zen-juddhism/id943656548?ign-mpt=uo%3D4

http://zenjuddhism.com/   https://www.facebook.com/ZenJuddhism

RingMaster 31/03/2015

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/

Alphabet Backwards – Fingertips/Indian Summer

Alphabet Backwards - Band pic (2)

 

Alphabet Backwards is a British indie pop band engaged in the intent to write and record three separate releases in a year. Alone without the need of studios or labels and with, in the words of the band, “a ferocious work ethic, some home recording equipment, and an element of freedom that has not been there in the past, “ the band now release the first of these endeavours in the magnetic shape of double A-sided single, Fingertips/Indian Summer. It is a bewitching couple of songs which merge seductive elegance with melancholic charm, not tracks to ignite an instant roar of lust but persuasions which get under the skin with increasing success.

Hailing out of Oxford and seemingly having been around for a few years with a handful or so of releases under their belt, the quintet of Josh, Steph, Paul, Bob Tom, and James spent a weekend at Buckhouse Farm in a remote part of Devon, to create and record their new single, a process to be repeated twice more for their next two propositions in 2015. The band spent the time “playing, writing, recording, eating together, and collapsing in the early hours of each morning all for the sake of pop music.” What emerged was two slices of captivation thick in emotive invention and in the case of Fingertips, summery tenacity.

Alphabet Backward single cover   The song straight away cradles ears in a smiling embrace of sultry keys, harmonious vocals, and percussive enticing. Almost as immediately, various synth colours add their fizzing spicery to proceedings, unveiling an imaginative and vibrantly simmering collection of textures as a down to earth dark bassline adds a great tempering yet inviting contrast. The song continues to stroll with a warm grin on its creative lips and dark emotional shadow in its heart, its infectiousness as addictive as the great vocals and ripe charm within it.

Indian Summer is a much more sobering though no less fascinating proposition. Keys and voice are again the main source of emotion and tempting but backed by a gentle rhythmic shuffle within a slow melancholic musical croon. No aspect stands out over another to be honest yet the thick and pungent nature of melodies and the impressive mix of vocals draw a focal point within which the track’s lyrical strength flourishes.

Both songs provide an intriguing potential loaded and highly enjoyable offering and if Alphabet Backward’s upcoming releases can match this, the band is destined to be heartily talked of by the end of the year if not sooner.

Fingertips/Indian Summer is available now @ https://itunes.apple.com/gb/album/fingertips-indian-summer-single/id968949563

Upcoming Alphabet Backwards Live Dates:

2nd April – Oxford – Tiny tiny tiny tiny festival and purely acoustic

11th April – Oxford – Wheatsheaf

17th April – Cardiff – Buffalo Bar

24th April – Nottingham – Jam cafe

16th May – London – The Finsbury

http://www.alphabetbackwards.net/   https://www.facebook.com/alphabackwards

RingMaster 31/03/2015

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/