Heights – Phantasia On The High Processions Of Sun, Moon And Countless Stars Above

HEIGHTS_shot1

As in the size of its title, Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is an epic proposition, an atmospherically expansive offering which is simultaneously an encounter of emotional intimacy. In similar fashion whilst being technically intricate and involved there is an organic and almost simple flow to the whole thing. The new creative emprise from UK band Heights, the album is the host of many contrasting things entangling in mesmeric majesty, combining and aligning for an irresistible adventure of aural beauty.

The trio take rich sonic threads from varied styles such as post and progressive rock, jazz and more classically seeded flavours, weaving them into instrumental explorations which invigorate ears and fascinate the imagination with a sublime creative seduction. Formed in 2006, this has been the way of the trio since day one. It is a flavour and imagination ensuring that previous releases like 2008 album Salvation and Trepidation and its 2010 successor From Sea to Sky, have been irresistible lures for the senses and magnets for acclaim. Now guitarist/composer Al Heslop, bassist John Hopkin, and drummer Jay Postones, also of TesseracT, return with their finest most transfixing creative emprise yet, a release which simply immerses the listener in unique and invigorating explorations of sound and sonic suggestiveness.

Phantasia, as we will call the album from hereon in to save space and time in your lives, opens with Universe Forming and swiftly entangles ears and thoughts in a gentle but evocative melodic embrace. A celestial atmosphere and warmth soaks the air of the emerging song, kissing the thickly enticing groove and sonic colouring which is soon filling the song’s spatial canvas. A melodic seducing lights up the now energetic stroll of the encounter but just as potently lays an emotive hue over more calmer, almost solemn moments. Each move within the song, and in those to come, are seamless twists in the landscape whilst rhythms provide a wonderful shading to the prowess of Heslop’s fingers and ideation. That shadow becomes a more vocal, almost predatory tempting further in the track, in turn sparking sultry and Latin spiced enterprise in the melodies. The track is a glorious start to the album instantly matched by its outstanding successor.

4PAN1T  The eagerly prowling incitement of guitar and bass ignites Solar Bringer of Chaos Lunar Bringer of Light into life, their intriguing and beguiling venture springing a new greed in an already fully awoken appetite for what is in offer. Their bait takes ears into another flight through a vast soundscape of universal expanse but also veined by intimate and provocative tendrils of guitar and rhythmic imagination. It is impossible to project everything which goes on in a single moment upon Phantasia, let alone within whole songs themselves, but it is easy to say that the sonic persuasion and ingenious tapestries cast simply take body and emotions into sensational realms away from reality.

Through the climactic smoulder of Aeolus with its jazzy rhythmic enticing and the more agitated lure of Time Dilation, band and album engage and further involve the listener in sonic scenery which is as visually potent on thoughts as it is aurally stimulating. The first is an elegant romance of melodies and those unpredictable rhythms but with more danger lined shadows whilst the second of the two aligns feisty, bordering on volatile mini crescendos with emotively stimulating caresses. It is the darker essences which in many ways spark the emotional side of things for album and listener, ears certainly seduced by the flair and imagination of the guitar but it is the darker drama surfacing around this, especially in bass and drums, which trigger the cinematic stimulus pervading the release.

New Star explodes in a fresh dawn of infectious melodic light next, again the bright air nicely tempered but more so complimented by the throatier tones of bass, before the outstanding Centrifuge turns into an unexpected avenue of discord lined jangles, wiry grooves, and unbridled unpredictability. There is a free flowing essence to the whole of the album, an improv like suggestiveness which at times hints but in this riveting encounter simply engulfs ears and pleasure. Of course it is a planned and again superbly sculpted incitement but worming into the psyche with an organically flowing instinct.

That almost riotous enterprise continues in Perseids, a similarly bewitching encounter with a great grizzle to the bass and expansive textures to its invention whilst Heliograph and the following Astronomer explore more personal and creatively intimate emotions in their individual ways. That is another potent key to the success of Phantasia, though over an hour of in many ways intensive imagination and technical majesty, every song reveals a wholly unique character and presence within the growing and glowing soundscape of the release.

Emotions and thoughts continue to be enthralled as the virulently compelling Ballad Of The Space Time Continuum and the more low key but inescapably enticing On The Wings Of Astral Projection bring their own absorbing aural theatre, whilst ears are especially spellbound by the closing excellence of Everlasting. Rhythmically addictive from its first breath and sonically enchanting throughout, the pure captivation posing as a song brings the album to an intoxicating conclusion.

Whether taking tracks alone or the album as a whole, Heights have created a place to escape to and bask in whilst evading the trials of life and the shadows of the day. There is nothing grand in the intent of the band and their creative thoughts but everything majestic and epic in the results. Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is a must for all progressive/post rock fans, heck melodic rock fans in general.

Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is out now via Basick Records @ http://music.basickrecords.com/album/phantasia-on-the-high-processions-of-sun-moon-and-countless-stars-above and all online stores.

https://www.facebook.com/heightsuk

RingMaster 28/04/2015

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://www.reputationradio.net

Chainflower – Self Titled EP

chainflower band

There is a blaze brewing in alternative rock, an incendiary storm even if their self-titled debut EP is anything to go by, and it goes by the name of Chainflower. How intensive their assault on the rock ‘n’ roll scene will be we will see as it seems more a side project tight now than an on-going rampage, but with offerings like the two songs making up their first provocation, we are in for a gloriously uncompromising ride however things pan out.

Chainflower features guitarist and songwriter Kelly Wheeler, a veteran of the L.A. music scene who has played with members of Jane’s Addiction and Tool. He has also lit ears and appetites with his bands SexTapes and Ultraject, the first which featured long time Guns N’ Roses member Chris Pitman on lead vocals now on hiatus. Also bringing the Chainflower roar is vocalist Erika Renee who had previously performed with previous musical partner, A.H.M.A.D. The pair united when Renee sent Wheeler a video clip of her performing at the Whisky a Go Go, the guitarist looking for a singer after Ultraject’s previous frontman left the band. Though he was looking for a male voice, Renee more than impressed and a meeting/audition was set up. The rest is history and Chainflower the outcome.

Chainflower     Swiftly a powerful live protagonist, the band entered the studio with producer and engineer Doug Grean (Stone Temple Pilots, Velvet Revolver, Scott Weiland, Sheryl Crow, Cyndi Lauper) to record the tracks making up the new EP, and the outcome is one ferocious blaze of compelling rock ‘n’ roll which straight away stirs up ears and appetite through its first track, The Fever. A spicy stroking of guitar sets the song in motion, quickly followed by a thick explosive air and the vocal might of Renee. There is an immediate intensity to the sound and weight of the song, as well as a dirty seduction which flows through every riff and enticing bassline. Punchy rhythms make their potent impact across the song too but it is the gripping and powerful tones of Renee which steal the ears and passions. As much as its verses come in a heavy smog of sonic enterprise and energy, the chorus of the song expels a swagger and virulence which easily induces a physical involvement from the listener, its lures like a mix of Spinerette and Stone Temple Pilots with an infectious dash of Eagles of Death Metal. The song is an irresistible proposal, intimidating and invigorating in equal measure and equipped with a healthy dose of antagonistic seducing.

The same description applies to outstanding second track Dissolve In The Sky, though its body has a more welcoming energy until the raw crescendos and expulsions of brawling riffs and bracing intensity. Blues rock flames across the encounter worm under the skin of the song and into the imagination too but not as deeply as the soaring roars of Renee or the addictive enticing of clanging guitar, piercing hooks, and forceful rhythms. Essences of darker rock bands Jess and the Ancient Ones hint away during the track, another appealing additive in the simultaneously caustic and contagiously enticing encounter.

We can only hope that Chainflower is a more active proposal than an interim between other exploits because introductions like their debut release only breed a real hunger for more.

The Chainflower EP is available now @ http://chainflower.bandcamp.com/releases

https://www.facebook.com/Chainflowermusic/

RingMaster 28/04/2015

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://www.reputationradio.net

The Hokum – Fools, Mules and Baggage…

11032057_613642075433744_7117761752705165766_n

Recently UK indie pop rock band The Hokum awoke a fresh wave of attention with latest single Mind Over Matter. It was one of those songs which just gets under the skin, into the psyche, and announced the band as one to pay closer notice of. That meant taking a look at their debut album Fools, Mules and Baggage… from whence the single was plucked. As enjoyable and infectious as the song was it is fair to say that it barely hinted at the adventurous variety and captivating enterprise to be found on the band’s highly enjoyable full-length.

The Hokum hails from Sheffield and emerged in 2013 and is centred round the magnetic songs of songwriting duo Jacob Stanley and Anthony Isaac Stone. As swiftly evidenced by the album, the band’s sound is a vibrant and warm blend of rock and indie pop but also merging in numerous additional spices such as folk and eighties new wave. It is an energetic mix with a swing, even in its seductive ballads, which turns the songs into little anthems of fun impossible to resist. It all starts with Gold Clock, a track which from an almost mischievous prodding of guitar turns into a striding slice of rock ‘n’ roll with stirring riffs and instantly inviting vocals. Bass and beats soon add their heavy lures as the song becomes busier in flavours and energy, stomping along with feisty textures and an increasingly bracing attitude.

It is a great start matched by the smoother swagger of Left for Dead. Opening melodies have a sixties air to their hues, a tone carrying on into vocals and the more power pop nature of the song. As its predecessor there is no escaping being wrapped up in its catchiness, feet and voice ready to comply with its reflective lyrical and musical temptation before it makes way for the blues balladry of Framed. Well we say the song is ballad like but with its folkish essences and tenacious imagination, the encounter simply takes ears and imagination by the hand for a magnetic dance of revelry whilst adding extra seduction with moments of mesmeric calm.

cover170x170     As great as the first few tracks are, they all bow down to the magnificence of Pigs. The first single taken from Fools, Mules and Baggage…, the song is an incitement which has the listener as vocal and fired up as the song itself. Its chorus is pure addiction, served well by the tangy hooks and melodic jangles which colour its way into the passions. Folk pop meets indie rock, the track bounces along with a scent of a snarl to its riffs, moodiness to its basslines, and unbridled persuasion in its contagious invention.

Thankyou has the unenviable task of following the pinnacle of the album and does so with its own caress of harmonies and melodies floating around another lively and charming sixties/seventies inspired ballad. Though it cannot match up to the previous treat, its lingering temptation and smouldering beauty ensures over time it becomes a potent offering just like the more unpredictable and compelling Six of One which follows. Rhythms jump around whilst the guitars send intrigue loaded twangs across the bows of the melody rich stroll. The fascinating song reminds of fellow UK band The Sons, but builds its own distinct identity with constant evolution and a stock of unexpected surprises in gait and imagination.

Next track Knives provides a potent presence though suffers from a raw distortion on the bass when it enters. Whether it is a flaw on the CD or production, it does a great song no favours, which is a shame though normal exciting service is resumed with Cheap and Nasty straight after. Rampant rhythms alone have ears and appetite licking lips, and even more rigorously once vocals and guitar bring their flirtatious swing and festivity to the increasing riot of creative devilry. The blast of blues guitar provides a layer of icing to the excellent aural cake, and the song another great twist in the increasingly impressive album.

Through the ridiculously addictive Duck and latest single Mind over Matter, the band ignites another fresh spark of pleasure, the first a blues/pop tempting equipped with fiery harmonica and bouncy hooks. As across the album, at varying times you get whispers of bands like The Kinks, XTC, and Split Enz to name a few, this song finding breaths of the first two certainly whilst the third is more inspired by Mind over Matter where guitars offer an electrified mischief whilst percussion and beats bring the addictive lures. It is the new wave nature of the hooks and vocal delivery though which provides the really irresistible heart of the outstanding song. As across plenty of Fools, Mules and Baggage…, there is a familiarity at play in the song which only adds to the enjoyment and creative drama, and helps the anthemic quality of songs to take even swifter hold.

The album closes with Monkeys, another thrilling eighties marked slice of punchy pop and new wave contagion with a slightly deranged imagination to its tantalising persuasion. It is a great end to an impressive album, both leaving a want for more and the need to press play again.

Fools, Mules and Baggage… will not necessarily come into your list of classics for the year but as a favourite it is a done deal, certainly once its fourth song starts its devilment.

Fools, Mules and Baggage… is out now @ https://itunes.apple.com/gb/album/fools-mules-and-baggage…/id921949091 and most online stores.

https://www.facebook.com/hokum.the   http://www.the-hokum.com/

RingMaster 26/04/2015

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://www.reputationradio.net

Yorkshire Rats -Sea of Souls

yr1

It is with thanks to Carl of the excellent Chalkman Video that UK punk rock ‘n’ rollers Yorkshire Rats and their debut album Sea of Souls recently and firmly hit our radar. He gave us the heads up on the Leeds quartet having recently shot a video with the guys, and led us to one of those albums which lights ears initially but equally simmers away in the psyche to emerge as one thrilling riot of temptation.

Yorkshire Rats began in 2004, formed by Don Mercy once of Abrasive Wheels and Billy No Mates. Soon into their aggressive stride the band subsequently released, in the words of their bio, “a rabble-rousing 7” and a hooligan fuelled EP.” 2006 saw the band support to great success Rancid but then go on an extended hiatus. They have now returned fuelled to the top with contagious rock ‘n’ roll tenacity, punk confrontation, and potent lyrical incitements, all found to great effect on debut album Sea of Souls. Consisting of Kurt Alexander, Matt Lee, and Chris Furness alongside Mercy, Yorkshire Rats confront, incite, and thrill across thirteen tracks of bracing punk ‘n’ roll antagonism.

There is an instant stirring up of ears and appetite with album opener Hurry Up and Wait, the rolling heavily jabbing enticement of the drums swift persuasion. Raw guitar caresses need little prompting to add their lures, or the swagger lined bassline which jumps in at the same time. It is a feisty and contagious uniting topped by expressive vocals with a delivery which is part challenge, part invitation. The song is the kind of attention grabber all albums should start with, a song revealing the heart of a band’s sound and encounter’s intent with anthemic guile.

sos album artThe following Glory Days opens on a juicy stroking of slim but pungent riffs before opening up into a dusty rock stroll still driven by the initial hook lined guitar bait. The track does not quite have the bite of its predecessor but compensates with a catchiness and blaze of sonic enterprise which again has an early appetite fed well before making way for the album’s title track. Sea of Souls shows a whisper of the Californian punk influences which also colour the band’s sound, whilst the track itself gently but firmly embraces ears and thoughts with infectious rock sounds and lyrical suggestiveness.

The pair of Everyday and Mary Comes First offer fresh variety to an already flavoursome encounter, the former infusing a Flogging Molly lilt to its guitar endeavour whilst rhythms cast an anthemic baiting and the latter with a smell of Tom Petty to its riffery, in a striking landscape of emotive contemplation and rock ‘n’ roll contagion. Both songs have feet and emotions fired up, the first especially incendiary with its magnetic mix of flavours and almost predatory hooks, but as great as they are, they find themselves shaded by the Green Day-esque Lawful Civil Rights. Guitars and bass bring even stronger glimpses of the Cali scene whilst spinning their own anthemic and addictive proposal around punchy beats and expressive vocal reflection.

The opening dark and predatory bass resonance bringing Struck Down into view is one of those invitations only the deaf can resist, especially once guitars add their sonic scythes to the portentous air. Erupting in a tempest of rhythmic aggression and hostile attitude driven by belligerent vocals, the track weaves in strains of psychobilly and blues tinting into its punk roar, creating one of the most momentous and memorable exploits upon the album.

The calm and inviting balladry of You Don’t Know Anything entices ears and emotions next before Only the Rich Men stomps and rumbles with its raucously engaging sounds. Each again shows a different colour to the Yorkshire Rats sound, not major side steps but hues which reveal the strong variety to the bands creativity and tone.

No Freedom as the previous song is another rock ‘n’ roll romp, but with more rigour in its energy and infectiousness in its punk devilry. Rhythms brew up an inescapable slavery for feet and emotions whilst riffs and vocals blaze over deviously addictive hooks. Though not quite the final song it still makes for a mighty finale before Sea of Souls closes with a trio of excellent acoustic demos of Mary Comes First, Only the Rich Men, and the title track.

You cannot quite call Yorkshire Rats a new band, even with their prolonged absence, but they take ears with a freshness which makes their debut album play like a starting point for the band. A base for bigger and just as enjoyable things to breed from we suspect.

Sea of Souls is out now via Indelirium Records @ http://indeliriumrecords.com/releases-carousel/idr067-yorkshire-rats-sea-of-souls/ and most online stores.

http://www.YorkshireRats.com/     https://www.facebook.com/yorkshirerats

RingMaster 26/04/2015

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://www.reputationradio.net

 

The Strangler Figs – Attack Of The Strangler Figs

1900494_1593435904224913_5659498846010955960_o

Having been seduced by the decidedly warped drama and infectiousness of their recent single Attack Of The Strangler Figs, there was no option than to next look at the EP of the same name . The result of talent and imagination in collision with creative mischief, the offering is the thrilling work of UK art rockers The Strangler Figs. It contains three songs which seduce ears and thoughts alike, a trio of carnivalesque adventures creating the kind of warm devilry which would suit a Tim Burton soundtrack.

The folkish theatre, almost circus like character to the band’s music has its seeds in the psychedelic rock and visual feast of Circus Maure, which band founders, vocalist/guitarist Joe Pickering and double bassist Joel Hanson were previously a part of, touring the likes of Europe, Israel, and Canada, where it headlined the Just For Laughs Festival in Montreal for seven nights in a row. Their time there also saw the pair writing together, before leaving and uniting to form Leicester based The Strangler Figs. Weaving in inspirations from the likes of The Doors, Radiohead, Muse, and David Bowie into their evolving invention, the band swiftly lit up the local live scene, their first year together marked by headlining Oxjam and playing the biggest festivals in Leicester. EP and single has helped begin the spread of their presence and reputation much further afield, awakening media and fan attention on a broader scale and as the EP opener alone plays with ears and thoughts, it is easy to see why.

10419942_1592620724306431_4813869709891100291_n   The title track opens up the festivities, a lone reflective guitar around the individual voice of Pickering the first intriguing act of the song. They are immediately joined by a warm caress of keys cast by Freddie Pickering and slow evocative beats from James Lyons. With most of its elements in place and the narrative bringing theatrical colour, the song lifts up its knees and starts a lively stroll through ears and across the imagination. A little jazzy, a little funky, and a lot seductive, especially with the backing vocal lures of Rosie May Price adding to the inviting hues, the song unveils an agitated adventure of sound and ideation. Thoughts of The Jazz Butcher whisper loudly from this point on, and indeed The Strangler Figs sound definitely has a potent elements of the eighties artist to its playful resourcefulness. The song is in full contagious mode in no time, inciting feet and voice to join its devilish merriment.

The great start continues with Help me Please, the song also starting with a gentle kiss on the senses but reaching a more vivacious gait within a few more seconds. The tempting of organ and guitar, both provided by both Pickering brothers, unite in a simmering aural tale of drama and shadow wrapped emotions, this matched by his voice and the dark feel of the narrative. With mini crescendos which just grip the body, the song ebbs and flows in energy whilst stirring up the passions with its unpredictable darkly hued majesty; though do not mistake the song for anything other than a vibrant stroll of folk pop revelry. Think Tankus The Henge meets Mojo Fury and you get an idea of its excellence in sound and enterprise.

The EP closes with Hugga Wugga, an immediate seduction of noir lit textures and theatre led by the excellent throaty lures of Hanson’s double bass. Keys and beats soon align for an exotic shuffle whilst guitar and voice bring a snarl to the party, tempered by the siren-esque backing vocal smooches of Rosie May Price. Once more as the song flirts and swerves around within its jazzy landscape, an eighties essence licks ears. Whereas The Jazz Butcher raised its hints before, and does a little here also, Zanti Misfitz springs up in thoughts as the track ignites the imagination. Just light whispers but enough to give a nudge of the lesser known band.

The song is glorious, as is the EP. There is no wondering why the band has caught the attention and eagerness around their home city, just of how far the band can spread their charm and how soon. A long way and swiftly is our suggestion sparked by Attack Of The Strangler Figs alone.

The Attack Of The Strangler Figs EP and single is available now at most online stores.

http://www.stranglerfigs.com   https://www.facebook.com/thestranglerfigs

Upcoming live shows…

Orange Tree, Leicester – April 30th

O2 Academy, Birmingham – May 1st

Riverside Festival – Leicester – June 6th

RingMaster 25/04/2015

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://www.reputationradio.net

 

Robben Ford – Into The Sun

PRD74542_450

With over 35 albums under his belt, attention has to be given when Californian guitarist Robben Ford describes his new release as “one of the top recordings I’ve ever done.” It is a statement potently backed up by Into The Sun, a collection of songs entangled in flavours such as blues, rock ‘n’ roll, rock pop, and jazz. The album reveals a fresh diversity to Ford’s songwriting and musical adventure, taking the established potent essences of his renowned prowess into new feel good exploits. Most of all though Into The Sun is simply fun; inventive and as expected technically and creatively superb but most of all it is sheer enjoyment.

With a host of guests across the release, the Provogue Records album opens up with Rose Of Sharon, and an immediate sonic caress across a blues bred gait with slowly strolling rhythms to match. Keys and vocals quickly add to the smouldering tempting of ears and imagination, Ford quickly immersing the listener in the landscape and reflective heart of the song through voice and his already beguiling guitar enterprise. The track is a charming smooch of a song, an evocative sunrise to the album which shines with a brighter smile through Day Of The Planets. There is a great sixties breath to the second song, a rock pop essence with R&B spicing which soon has ears firmly enticed and appetite awake, whilst its classic nostalgic hooks just seals the deal .

     Howlin’ At The Moon brings a dusty blues snarl to its sultry presence, capturing the imagination in a new adventure, whilst the following Rainbow Cover strolls into a creatively scenic rock pop exploit with landmarks as expected sculpted by the resourceful fingers and strings of Ford. Both tracks ignite the senses but are shaded by the excellent Justified featuring with Keb’ Mo’ and pedal steel guitarist Robert Randolph. The track has a gorgeous nostalgic feel to its otherwise vibrant character, a blues tone from decades past bringing rich hues to the mix of vocals and piano led sounds. Harmonies add further flaming whilst the craft of Randolph is a shimmering seduction amidst the excellent proposition.

The magnetic Breath Of Me with ZZ Ward comes next, the twining of Ford and Ward’s vocals alone worth the admission price whilst High Heels And Throwin’ Things which finds Gov’t Mule and Allman Brothers guitarist Warren Haynes guesting, has one of those inventive shuffles and fiery landscapes which even in its subdued air has ears and thoughts gripped. Great vocals and the ever sweltering adventure of guitars has one virtually reaching to wipe a bead of perspiration from the brow such the thick exotic climate of the song, whilst across the album the melodic heat conjured more than lives up to its title.

A delicious heavy and lusty bassline marks out next up The Cause Of War first of all, it’s dark lure perfectly backed by firmly swung rhythms, a rich weave of simmering keys, and the contagiously diverse mesh of guitar textures and enterprise. The track takes favourite song honours, though it is constantly challenged as shown by the captivating So Long 4 U and its quaint stroll of keys. The track needs little time to seduce ears, especially when you add six-string slide legend Sonny Landreth to the line-up, though if I am honest it is that vintage twang of the keys which lights the biggest emotions.

The album comes to a close through firstly the spicy adventure of Same Train and finally the heavily enticing Stone Cold Heaven which features Southern rock musician Tyler Bryant. The song is ablaze with guitar craft and vivacity, bringing a fine album a potent finale.

Into The Sun shows a different aspect and direction to the Robben Ford sound in many ways but has all the heart and glowing essences of his sound, and of course all the technical majesty. For full enjoyment though…do play loud!

Into The Sun is out now via Provogue Records/Mascot Label Group @ http://www.mascotlabelgroup.com/robbenford-intothesun.html

https://www.facebook.com/RobbenFordOfficial   http://robbenford.com/

RingMaster 26/04/2015

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://www.reputationradio.net

Kobadelta – Open Visions

Photo by Daniel Robson

Photo by Daniel Robson

Blending the rousing elements of their second EP and the mesmeric seducing of their last, UK psyche rockers Kobadelta unleash their finest moment yet in the hauntingly irresistible shape of Open Visions. The EP provides a feast for ears and imagination to contemplate and devour in their individual ways, its clutch of songs almost hex like in their immersion and seduction of both. Within its arcane charm the band also reveals a greater maturity and inventive lust in songwriting and sonic explorations, Open Visions the simply irresistible dark side of the band’s creativity and the listener’s psyche.

Newcastle bred and formed in 2010, Kobadelta did not take long to arouse a potent following and local clamour for their sonic swelter of a sound and matching live presence. 2013 Debut EP Ritual (Time Flies) lit more than a few fires in ears and thoughts, which the following year its successors Hidden Door and Remain Distracted, took to stronger and broader levels with their compelling sounds. It is fair to say that 2014 was a big year for the band in general. The release of the two EPs surrounded by further successes with Kobadelta being invited to perform a live session for BBC Introducing, headlining the Tanners stage at Evolution Emerging Festival in Newcastle, and playing events like Stockton Weekender alongside artists such as Peter Hook, Public Enemy, and the Happy Mondays as well as the Split Festival with the likes of The Cribs, Maximo Park, and Dizzee Rascal. Support slots for bands such as Temples, Allusondrugs, We Were Promised Jetpacks, Demob Happy, Splashh, The Temperance Movement, The Weeks, Lola Colt, and The Voyeurs, amongst many more has only increased their reputation and stature too. Now it is the turn of the Open Visions EP to push the Kobadelta cause and as we say, it is irresistible.

a0352850419_10   Even The Odds (They Mean You No Harm) is the first track on the release and immediately brings a raw and fiery proposition to bear on ears and thoughts. Guitars and rhythms make a formidable invitation which is easily accepted, even more so when an underlying melodic lure is given clarity as the initial tempest relaxes and the expressive tones of Dom Noble come in. There is still a muggy air to the song, and a siren-esque shadowing to the track which with the exotic enterprise arising from the guitar of Alex Malliris and the keys of Jordan Robson, entices like The Doors meets The Birthday Party. The song continues to immerse and swallow the senses with its sultry almost erosive beauty, increasing its glamour as it heads towards the moment it slips seamlessly into the following Blame It All On Me.

The second track is simple bewitchment from its first caress, smouldering melodies flirting with ears whilst being stalked by the throaty bassline of Jon Marley. The ticking percussive framing and rhythmic probing of drummer Chris Malliris adds intimidation to the dark premise of the song but it is the flowing melodic seducing of the keys and more unsettling designs cast by the guitars which shape the compelling drama emotively coloured by the distinct tones of Noble. There is a touch of Bauhaus to the post punk essences swimming within the psyche rock contagion whilst the gothic rock shading again springs hints of Nick Cave and co.

A fresh shimmer flows across Maskirovka next, keys and guitars a floating haze of sonic suggestiveness whilst bass and drums create a more formidable incitement which erupts with greater intensity around the climatic crescendos posing as choruses. There is something occult like in the dark rock toxicity oozing from the walls of the song and imagination of the band, an essence breeding encroaching shadows which infest and linger in ears and psyche.

The infectiousness kicks up another level with Watch What You’re Doing, its open caress of guitar the seeds for another compelling bassline and crisply landed beats to work their addictiveness as vocals and keys bring a haunting colour. Once into its magnetic stroll, the song shows itself to be as much pop rock as it is dark rock ‘n’ roll, its catchiness as captivatingly accessible as its soaring sonic enterprise is celestially provocative and darkly fascinating.

Ithaca ventures into an even heavier soundscape but swiftly tempers some of its daunting air with an echoing effect on the ever alluring vocals and backing harmonies, whilst guitars and keys sway and smother the rhythmic spine of the song with the dance of a sonic temptress. The song is pure mesmerism but with an underlying danger which seems to incite richer flames and piercing textures to emerge in the invention of Alex Malliris and Robson.

Final track Black Pyramid, like the first, accosts ears with a slightly caustic and hazy roar of sound but is soon casting an invasive exotic atmosphere through guitars and keys. Eruptions of energy and intensity only add to the sweltering air and impact of the song, whilst melodically and vocally, there is again no escaping a reference to the Jim Morrison’s led band.

If like us you fell in love with Kobadelta’s last EPs, then lust is the outcome with Open Visions, the pinnacle of the band’s sound and invention to date. If new to the transfixing world of the band, then a wealth of dark sultry treats await.

Open Visions is released on May 1st and available via http://kobadelta.bandcamp.com/album/open-visions-ep

Upcoming Kobadelta shows, including EP launch…

Friday 1st May – Think Tank? Newcastle (‘Open Visions’ EP Launch)

Saturday 30th May – ‘Sonic Union #2’ at The Sun Inn, Stockton (with TOY)

Saturday 11th July – Corbridge Festival 2015 (Acoustic Stage)

Friday 24th July – ‘Double Denim Live’ at Verve Bar, Leeds

https://www.facebook.com/Kobadelta

RingMaster 27/04/2015

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://www.reputationradio.net