Sushi Rain – Cocktail

 

SRhttps://www.facebook.com/SushiRainOfficial

In reference to its mix of sound alone, Cocktail is the perfect name for the new album from Tuscany hailing progressive funksters Sushi Rain. It is an energetic and imaginative maelstrom of flavours and styles across twelve tracks as individual to each other as they are united in unpredictable adventure. It is at times also as intoxicating as its namesake and even in moments where personal tastes do not connect as fully as in other moments, a lack of enjoyment is never an issue.

The beginnings of Sushi Rain go back to Italian hard rock band Valentine and its remaining four members around 2008. A band inspired by the likes of like Extreme, Gun’s Roses, Living Colour, and Faith No More, it had already begun incorporating main elements of funk and cross-over to create a distinctive sound. Soon the line-up of songwriter/lead guitarist Francesco Bini, vocalist Matteo Carrai, rhythm guitarist Stefano Maestrelli, bassist Saimon Sieni, and drummer Francesco Micieli pushed further forward with this evolving sound though across the following year a host of changes ensued. 2009 saw the departure of Maestrelli and Sieni, a name change to Sushi Rain, the beginning of the recording of a debut album, as well as the addition of firstly bassist Davide Biondolillo before Marcello Arena took over and also keyboardist Alessandro Biondi and alto saxophonist Alessio Crocetti.

First album Breathless appeared in 2011 to good responses from fans and media alike, it backed by successful live adventures across Italy and into Europe over the following year. More changes saw Crocetti leave the band during the start of creating their second album, to be replaced by Florence based American saxophonist and blues-soul vocalist Nadia Koski with a pair of backing singers in Giada Secchi and Sandro Toncelli also joining up. Completed earlier this year, Cocktail is the captivating refreshment emerging from the ‘fun’ of the previous few months and something for all to find some feel good tonic in.

SUSHI-RAIN_COVER_RingMaster Review    The album opens with Pop yoy pay, a slither of an introduction certainly awakening ears with its fun drama of bad entertainment being disposed of for the funk revelry of Sushi Rain and first song proper, Bunga Bunga. The second track is instantly inciting feet to shuffle and hips to sway, riffs and hooks as inviting as the flames of sax and the theatre of vocals already whipping up the imagination. Straight away as the infectious encounter tempts further involvement, essences of bands like Extreme and Red Hot Chili Peppers, and maybe a touch of Mr Bungle, are a spicy pleasure but only essences in a recipe already emerging as distinct to the band. It is a great true start to the album, a devilry to get all funked up with.

The following Why? similarly has the body involved with its tangle of tangy grooving. Its pop funk prowess is a virulent persuasion driven by a great mix of vocals across the band and a rhythmic enticing as catchy as the sparkling hooks and mischief within the incitement. Keys layer psych seduction and imagination into the mix too, another flavour colluding with equally captivating jazz enterprise and pop rock tenacity as the song reveals more diversity within Cocktail. This kind of variation is a perpetual lure within the album and continues in varying degrees in the reflective croon of One last night in Philadelphia, an emotive hug of melodic rock and the boldly simmering tango of Pillows. Neither track quite match up to the previous pair but both create a web of invention and unpredictability that has ears and appetite a little greedier. In many ways Sushi Rain is like a funk/classic rock version of Russkaja or Kontrust; a band twisting a horde of diverse flavours and textures into something instinctively different and invigorating to most things around them.

The smoky beauty of March of groove comes next, its noir lit climate a sultry seduction with jazz bred scenery enclosing rich blues rock tempting whilst the melancholy hued Free brings a compelling calm with its heart bred croon. Acoustic guitar provides a tender hand on ears but it is the superb blend of vocals across Carrai, Secchi, and Toncelli which steals the show. Both songs, and especially the latter leave a richer pleasure and want for more in their wake, a hunger fed by the excellent fiery roar of Jesus cries from your eyes and the melodic romance of It’s time to believe. The first of the two is a boisterous bundle of hooks and grooves bound in electronic imagination and sonic flirtation, matched and at times eclipsed by the brass enterprise of Koski, whilst its successor is a sublime summers day of reggae riffs and grooving aligned to Caribbean temptation and a feel good tonic of vocal and smiling melodies.

Things get dirtier and rock ‘n’ roll with Sushi Rain can’t write a single next, the song a grooved stomp with contagious attributes from start to finish, though for these ears it does lack that final spark and invention to rival earlier treats. There is no escaping some gorgeous twists and elements inside it though as too within the outstanding Brain drain. Like Oingo Boingo meets King’s X, the track is a bubbling infestation of body and soul sculpting another lofty high within Cocktail before the album drifts off with mellow charm in to the sunset via One.

It is a captivating close to an album which just gets more persuasive and enjoyable with every listen; even within this review and another simultaneous listen, Cocktail has grown again. For some this could be an album of the year contender, for others a pleasure to pass through now and again but for all, Sushi Rain is a proposal sure to leave ears and emotions feeling good.

Cocktail is available now via Indian record label Jackson Records through most online stores.

https://www.facebook.com/SushiRainOfficial   https://twitter.com/sushirain

Pete RingMaster 26/11/2015

Copyright RingMaster: MyFreeCopyright

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Today, They Are Older – Self Titled

Today,They Are Older Promo Shot_RingMaster Review

For some reason it took time to particularly warm to the self-titled EP from UK post-hardcore quintet Today, They Are Older. To be honest there are still elements not quite lighting personal fires, but the five track incitement definitely goes on to prove to be one very solid and skilfully accomplished proposition. Getting a national reboot November 27th via Sunbird Records, the EP also justifies why there is a potent buzz brewing up around the band.

Formed in 2010, the Darwen in Lancashire hailing band soon set about arousing attention and support with first EP, Universal. 2013 saw the uncaging of the band’s debut album The Evergreen Theory, it also waking more appetites to the band’s emerging presence and a sound inspired by the likes of Underoath and Heights. A line-up change followed as the band looked to capture the band’s true sound and raucous energy, always evident on stage, into their recordings. The new line-up seemed to give the band the spark they wanted in that aspect, and following linking up with Sunbird for its release, attempted to find that success on their latest EP.

Today, They Are Older Cover Artwork_RingMaster Review   It is an aim seemingly realised as the EP erupts with Empty Eyes, the track an immediate causticity of sound and emotion littered with enticing hooks and sonic bait driven by the raw throat spewed squalls of vocalist/keyboardist Liam Corran. There is a raw bluster surging through the song but one able to easily embrace an imaginative enterprise and the open craft within the band. For personal tastes, not enough time and space is given over to the unpredictable twists and flirtatious slithers of invention in track and release that emerge as the starter really comes alive for its finale; jagged riffs and discordant spicing majorly igniting proceedings with their bolder adventure.

The strong start continues with A Fool’s Gold Fuel, an instantly bruising and belligerent assault with a touch of Gacys Threads to it. The guitars of Jordan Howard and Adam Turnbull rage and entice with their web of aggression fuelled riffs and inventive sonic endeavour, both aspects backed by the robust swings of drummer Matthieu Woodburn and the primal tone of Thomas Jones’ bass. As its predecessor, the song satisfies and at times sparks greater reactions as the band tries to explore new tenacious ideation within ultimately a more recognisable yet rousing confrontation.

From Finland With Love soon becomes the focal point of the EP as from its first breath it spins a tapestry of off-kilter and unpredictable invention for a still savage but forcibly imaginative exploration. It is an experiment of sound to be honest not really seen elsewhere within the EP and the track simply blossoms because of it. Great female backing vocals and melodic elegance only adds to the strength of the song and the sure fire arousal of ears and imagination, with anticipation of this being the direction the band heads off into now hopeful.

Such the might of the track it gives both Statues and No Guts, No Glory a testing time to live up to its success. Neither manages it yet the first, with its enjoyable rhythmic agitation and the ever fiery and creative prowess of the guitars, leaves plenty to spark a hungrier appetite whilst its successor provides a harsh savaging lit by more enticing rhythmic bait from Woodburn and Jones as a great mix of clean backing vocals aligns to the more regular roar of Corran.

As it started, the EP end on a strong point but the bigger treats are within, especially in the shape of From Finland With Love. The EP still has not lit a big fire in the passions but at certain moments it definitely truly excites as the band suggest they can move out of the crowd to make a bigger impact.

The Today, They Are Older EP is released November 27th via Sunbird Records @ http://shop.sunbirdrecords.co.uk/product/today-they-are-older-today-they-older

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Pete Ringmaster 26/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Curezum – One Hundred Years/The Top

Curezum Promo _RingMaster Review

It was hard to know how seriously to take the new two track single from Curezum, they a black metal tribute band to The Cure, and almost too easy to dismiss it without a chance. But everything deserves a piece of attention and as band and release provided a thoroughly potent and enjoyable time, thankfully we did give it some. It is probably fair to say that the single is not going to ignite major fires yet there is no escaping the highly persuasive and compelling job the band did with two particularly well known and for some revered tracks. Its success also shows how thin the veils between genres are at times when given a twist and infusion here and there.

Curezum - 10 Years Artwork _RingMaster Review   The project began with lead guitarist/keyboardist Mort Subite (Megaton Leviathan, Vaital Deul, Alfheimr) and drummer Martti Hill (Barrowlands), the band finding themselves united in imagining the relative simplicity of taking The Cure’s album Pornography and re-imagining it as a black metal proposition. It is probably fair to say that the Brits are an obvious inspiration and love for the pair too which only added to their enthusiasm to push the project forward. A search for the right musicians to help bring their idea to light and demands of the pair’s other projects took up plenty of the following time but eventfully a linkup with Billy Anderson (Blessing the Hogs, Porn, Solodolor) for additional production duties happened, he also providing bass on the single, with vocalist/rhythm guitarist Rob Vikernes completing the line-up.

The opening track to Pornography, One Hundred Years attaches itself to ears and an awaiting appetite with swiftly hypnotic rhythmic bait, its lure the spring board to recognisable acidic melodies and similarly potent hooks. Straight away though, the raw and almost insidious tone of the track provides a welcome but invasive quality, the guitars great abrasing irritancy against the dark seductive lure of the bass. The scarred and magnetic tones of vocalist Vikernes only add to the harshly tempestuous nature of the track too, the band soaking the atmospheric shadows and elegance of the song with their own pestilential hue.

It has to be said that the version is outstanding, a close rival to the original and able to stand alone as Curezum, not quite making it their own, give it a potent character change without losing the dark melancholic majesty of the original. The same applies to the other side of the single, The Top. Obviously taken from the album of the same name, this song also finds its familiar tones and essences infused with fiercer predacious intrigue and toxicity. Crawling over the senses, the song is cancerous, like creeping smog of venom guided by a prowling rhythmic contagion amidst a web of corrosive emotion and enterprise; the vocals the demonic heart at the centre of it all.

Whereas One Hundred Years holds on to some of its original virulence, its companion is a festering sore of pleasure becoming more intrusive and gripping over time. Both tracks are surprising treats, quickly devouring any doubts before venturing into the single’s cavern of dark ravenous delight. Curezum is currently working on a whole album of such enticements and after this, anticipation is definitely lively.

One Hundred Years/The Top is released digitally on November 28th with a physical release to come.

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Pete RingMaster 26/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/