Tess of the Circle – Amplify

TOTC_RingMasterReview

Though a trio of exceptional singles have already provided a powerful and thrilling insight into the new album from British band Tess of the Circle, it still has not stopped Amplify from surprising and impressing beyond expectations. The eleven tracks making up the band’s second full-length offers virulent roars and irresistible croons, and a collection of rock ‘n’ roll fuelled songs which leap with zeal and passion at ears and imagination.

Rising in 2013 within the British Independent Collective, an artistic union of friends and talent in various mediums formed by singer/songwriter/guitarist Tess Jones, Tess Of The Circle soon sparked potent attention from fans and media alike with debut album Thorns. Jones’ songs soon found regular airplay which has continued since, especially with those recent singles. The past couple of years have been especially busy and successful for the band; that national radio support leading to a double figure amount of live sessions backed by a stage presence which has seen the band play five shows at Glastonbury, sub-headline the 2015 Acoustic Festival of Britain’s second stage, and headline Bear Gryll’s Festival in London. Such the might and majesty of the Gavin Monaghan (Editors, Robert Planet, Lemmy, Ryan Adams, Grace Jones) produced Amplify, all before seems like just being the prelude to bigger and bolder things for the Oxford hailing band; bigger success sparked by a release which it would not surprise if it emerged as an album of the year contender for a great many come December.

With guitarist Lee Clifton, bassist Ben Drummond, and drummer Paul Stone, alongside Jones, Tess Of The Circle get right down to business with opener Love Is the Drug That You Crave. As potent and contagious as first time heard as a single, the song is soon filling ears with the distinctive voice of Jones and scythes of guitar within an electronic shimmer. The relatively controlled start soon erupts into a feisty burst of energy and bait soaked hooks; a two prong coaxing repeated before the track hits a tenacious and rousing stroll. It is quite simply a blaze of melodic and rhythmic infectiousness; a bracing stomp only given greater depth by the great backing vocals around fiery textures cast by guitars and keys.

It takes little time for the variety within Amplify to emerge; from The Cars meets John Butler Trio feel of the first song, a Gary Numan air colours the following I’m Not Ashamed, though it is a spice predominantly cast by the vocal tone of Jones. Nevertheless, a great range of emotive and rhythmic shadows wrap the energetic canter of the song, adding weight and intrigue to the hazier lures of guitars and harmonies. As its predecessor, it takes little time to get fully involved with the grungy encounter, a swift persuasion matched by You Take Me Out of My Head and its thumping slice of bullish hard rock and anthemic rock ‘n’ roll. From its fiery jangle and imposing rhythms, the song demands attention, rewarding the submission with addictive hooks and beguiling grooves courted by the delicious throb of Drummond’s bass. Riffs are equally as formidable and persuasive; the track the perfect blend of aggression and seduction with blues enterprise for further drama.

A chance to relax is provided by the emotive croon of Believe (Into Her Arms), though ears and imagination are as busy as ever in being beguiled by the outstanding encounter. With blues hues lacing the guitars and a gravelly texture enjoyably coating Jones’ vocals, the song mesmerises as skittish rhythms entice. Even in its balladry, the track offers a catchiness which is impossible to resist as our hips and throats can attest to before they are given an even greater workout by the Nirvana-esque incitement of Mother Daughter Son. The track leaps and pokes with matching intensity; stirring up appetite and spirit with its slightly volatile revelry in a persuasion more than matched by Digging At My Bones. Like a tango, the song twists and turns, ebbs and flows in its unpredictable drama and enterprise. Emotionally more than physically tempestuous, the track uncages a theatre of sound and invention which gets right under the skin, tapping into the instincts for heart rousing rock ‘n’ roll.

The excellent Face the Changes flirts with a REM scented adventure next, its rock pop contagion a gentle but inescapable tempting, whilst Drowning Without You as good as steals the whole show with its dark and swampy rock ‘n’ roll. The brooding twang of the guitar is manna for the ear with extra spice provided by the provocative mystique infested melodies. The song nags the senses, seduces the imagination, and flirts with body and soul from start to finish, standing as album favourite with consummate ease even in the company of seriously impressing companions.

The heart blues serenade of Summer Rain is next, holding ears and enjoyment firm before allowing The Waves Break Us Down to share its intimate ballad wrapped in emotive strings and vocal melancholy. Both songs make compelling persuasions whilst adding fresh shades of creative colour to Amplify; one final hue offered by the closing beauty of This Higher Ground and its folk rock embrace of intimate sentiment and lively endeavour.

Amplify is quite sensational, not only living up to the promise of its temptation laying singles but revealing numerous more sides and imagination to the songwriting and sound of Tess of the Circle. It is not a must check out album recommendation we offer but  a must have suggestion.

Amplify is out now via Vintage Voice Records on iTunes and other stores.

http://www.tessofthecircle.com   https://www.facebook.com/TessOfTheCircle/

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Victoria+Jean – Divine Love

V-J-_RingMasterReview

From the gorgeous artwork by Russian artist Oleg Dou through to the cinematic seducing which escapes each and every song, Divine Love is creative beauty involved with an imagination which simple leaves the listener lost in fascination. The imagination comes from Victoria+Jean, the episodes of aural drama from their debut album, and the brooding romance between listener and artist from instincts that just know when something transcends just ear food.

The band is the artistic and romantic union of Swedish born vocalist Victoria and Belgian guitarist Jean. Brought up in London and moving to Paris where she began her first career as a model, Victoria was a musician at heart and was signed as a solo artist aged 16 by a French major label, though she broke her four-album deal before releasing her debut, unable to make the compromises demanded upon her by the label. Moving to Belgium she met Jean and the couple began a career “motivated by encounters, travels and sound.” We have simplified the background for and leading to the project and union of the pair, with not for the first or indeed last time, Divine Love demanding to be the focus of attention.

art_RingMasterReviewIn creating the album, the duo sent their 12 tracks to their favourite producers with the request of collaboration for the release. The list included the likes of John Parish (PJ Harvey, Goldfrapp), Rob Kirwan (The Horrors, Depeche Mode), Christopher Berg (The Knife), Ian Caple (Tricky, Kate Bush), Joe Hirst (Stone Roses), Alistair Chant (PJ Harvey & John Parish), and Lucas Chauvière (De La Soul). As evidence of things being meant to be, each freely chose the same track Victoria+Jean had intended and hoped for them; a move and success which only adds to the album’s vastly diverse and eclectic character.

Divine Love opens with its title track and the duo’s new single. Within seconds the electronic mystique and ambience of the track has ears and imagination enthralled, the sixties cinematic drama in tone and air providing a great sense of mystery reinforced by the celestial caresses of Victoria’s mesmeric vocals. The gentle and elegant jangle of guitar equally brings rich suggestiveness to the enveloping theatre of dark charm and atmospheric tempting. There is no escaping a Portishead like essence to the bewitching encounter though equally artists like Propaganda and in a small way The Sugarcubes also offer their scent to its evocation.

It is a glorious start followed by the ridiculously irresistible Holly. From an initial lure of fuzzy guitar and mischievous beats, the song soon swings along with a virulent infectiousness which barely needs a handful of seconds to have hips swaying and spirit smiling. Victoria’s voice dances upon the compelling strands of sound, mixing composed moments with soaring harmonics as rhythms dance with addictive tenacity. As provocative in word as it is in sound, the track is sensational; growing with each twist of its musical theatre and lust inspiring alchemy.

Big Billie comes next, coaxing ears with raw blues guitar before thumping rhythms surround the tangy expressive tones of Victoria. Jean’s imagination continues to weave a sultry web of sound and enterprise to surround the tribal beats and descriptive vocals; a provocative blend playing like a mix of The Creatures and My Baby. Enthralling and igniting the senses it makes way for Until It Breaks and its brooding climate of sinister shadows and electronic espionage. As all songs, it has the imagination casting its own adventures to align with that of the song itself, sparking closer involvement between ears and song which is echoed again by Why Won’t You and its delta blues laced tango.

Across the fiery sonic and rhythmic trespass of Your Baby Don’t Know Me and Firecracker, things only get more boldly flirtatious and grouchily confrontational. The first is a prowling beast of a track with a touch of De Staat to its predacious noise rock infested waltz whilst its successor, while employing a similar dark rhythmic throb, courts techno fuelled ingenuity. It is a collusion which just gets more dynamic, agitated, and schizophrenic across its three body involving minutes, like its predecessor inciting a greedier appetite for Divine Love before a haunting beauty cast with a vibrant calm hugs ears through Härligt Sverige. Tantalising harmonies float around the poetic tones of Victoria, they skirted by resonating beats and the low key repetitive niggle of guitars. Winy tendrils vein the piece too; Jean creating an increasingly climactic drama matched by the vocal emotion equally gripping attention.

Ears and pleasure become engrossed in more blues bred invention through Takes You Like A Rose and Where We Belong next, the latter tempering the flavour with a bewitching folk seeded hug of melody and harmony before creating a tempestuous showdown of sound and emotive theatre. It is a glorious slice of aural cinema, again visual interpretation quickly inspired by the song and indeed Pull The Trigger which follows. Rhythms and percussive enterprise tease and play with ears before hitting an imposing stride entangled in sonic and vocal imagination. Anthemic and intimate within every writhing twist and turn of its excellent proposal, the track is like a hex on body and thought.

Closing with the epic spatial and atmospheric romancing of Define Love, an immersion into electronic and vocally harmonic reflection, Divine Love is one of the most enthralling and in turn invigorating releases heard in a long time. Every song provides an individual and compelling exploration still revealing fresh rewards after numerous listens. The album has plenty for fans of blues and rock ‘n’ roll, ambience and electronica, pop and dance and with a host of videos also accompanying each song, Divine Love is nothing less than essential listening and viewing.

Divine Love is released April 29th via FY Records at https://itunes.apple.com/be/album/divine-love/id1089239770?app=itune and across most online stores.

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

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

The Franklys – Comedown/Long Way

The Franklys_RingMasterReview

The Franklys create a sound as enjoyably nostalgic as it is fresh and individual to modern garage rock ‘n’ roll. They also uncage releases, like new single Comedown, which demand attention whilst sharing the suggestion that its creators has the potential to be one of the provocateurs that the future direction of modern rock ‘n’ roll might just hinge upon.

The band consists of Swedish born vocalist/rhythm guitarist Jen Ahlkvist and lead guitarist Fanny Broberg, America hailing Nicole Pinto, and British bassist Zoe Biggs. London is where the quartet met and the band is based though fair to say since emerging, The Franklys has been a blur on the live scene, persistently playing shows in and touring the UK, Europe, America, and Scandinavia as well as making prise luring appearances at festivals such as the Isle of Wight Festival, Strawberry Fields, and Camden Rocks. Their rousing and raw garage rock sound brings a mix of psych and punk rock from across the decades with plenty more to spice things up whilst inspirations range from The Hives, The Strokes, and Queens Of The Stone Age to Led Zeppelin, Mando Diao, Blondie, and The Who. Their self-titled debut EP whipped up intrigue and strong interest back in 2013 which the Bad News EP stirred up to greater success last year. Now it is Comedown making the potent nudge on broader spotlights and attention, and making an easy job of it so far since being recently unveiled.

Comedown instantly has ears under welcome siege with a blaze of fiery riffs soon joined by thumping beats and a raw wind of hungry energy to its invitation. The bassline of Biggs almost groans with relish as its stalks the web of bracing sonic and melodic flames escaping the guitars with Ahlkvist’s ear catching vocals adding further bite to the snarling temptation. It is a great blend which helps the song weaves something akin to The Raincoats and The Priscillas around a character which equally refuses to be majorly compared to another. Never taking a breath within its contagious confrontation, the track has body and spirit aroused and swiftly joining its rousing tempest of incitement.

Accompanying the outstanding track is Long Way; a far more subdued encounter with just as potent and seductive lures. Its climate is surf rock bred, its sultry shimmer sixties garage rock/pop coloured, and its scuzzy touch punk seeded. It simply enthrals from the off; beguiling ears and appetite whilst revealing another flavour and twist to the songwriting and sound of The Franklys. If The Shangri-Las were Spinnerette, or The Luv’d Ones were The Breeders, the results just might sound like Long Way.

Acclaim and The Franklys have already been more friends than strangers but it feels like things are going to get hotter and more flirtatious from hereon in as first Comedown and then the band take 2016 by the scruff of the neck.

Comedown is out now via Electric Wood Records and available @ http://www.thefranklys.com/product/pre-order-single-comedown-limited-edition-7-vinyl/ and through iTunes.

http://www.thefranklys.com   http://www.facebook.com/thefranklys   http://www.twitter.com/thefranklysuk

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Skellums – Art Of Dying Young / Do Me Wrong

Skellums_RingMasterReview

August 2015, UK rock band Skellums strikingly lit ears with their EP, Clarion Call. It was a release awakening a new horde of fresh and eager ears to the band’s alternative rock sound as well as finding strong radio support from the likes of BBC 6 Music’s Steve Lamacq. Now the Liverpool band has raised the ante with their new double A-sided single Art Of Dying Young / Do Me Wrong; a pair of songs which alone reveal new maturity in the band’s sound and temptation.

art_RingMasterReviewConsisting of vocalist/guitarist Cal Roberts, bassist Crichton, guitarist/vocalist Seery, and drummer Courtney, Skellums takes barely the first half minute of Art Of Dying Young to reveal something bigger and bolder about their sound. From its first breath, bass and drums align in a thick wall of rousing enticement entangled in spicy tendrils of guitar. It grabs ears with ease, that persuasion only increasing in strength as a lull around the first syllables from Cal sparks a rich infection of melody within the rhythmic swagger subsequently driving the song. Casting an Arctic Monkeys meets The Jackals air to its own unique personality, the song has feet dancing and the spirit leaping along with its increasingly addictive swing. There is also more of a garage rock essence to its contagion compared to previous offerings, another appealing hue in the more expansive body and adventure of the track.

That new depth and imagination continues with Do Me Wrong where again it needs only the first nag of riffs and ear clipping beats to suggest new imagination at play in songwriting and music. It is only confirmed as the song shares its pop and punkier exploits, all offered with a creative mischief which is almost The Monkees like in its fun and pop catchiness. A rock snarl adds to the great unpredictability equally shaping the excellent encounter, it all colluding for another slice of new and distinct Skellums invention.

Being impressed by Skellums is becoming a highly agreeable habit but fair to say that both Art Of Dying Young and Do Me Wrong leave anything before firmly in the shade. Things are looking very rosy for Skellums and in turn our ears.

Art Of Dying Young / Do Me Wrong is released April 26th on the band’s own Rent & Debt Records @ http://skellums.bandcamp.com/

Upcoming Live Dates:

May 12 – Focus Wales Festival (Saith Seren)

May 13 – Focus Wales Festival (Rewind)

May 20 – Zanzibar, Liverpool

June 18 – Chester Live Festival

http://www.skellums.com/   https://www.facebook.com/skellums   https://twitter.com/skellumsmusic

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Forever In Depths – Darkness EP

FID_RingMasterReview

We are not going to claim that British melodic metalcore quintet Forever In Depths is going to be the next big thing within the genre but the fact that their new EP, Darkness, keeps drawing us back into its creative fury tells of their potential. The Portsmouth band offers three new songs which seize attention and whip up a keen appetite for their provocations. Admittedly there are times where they also reveal the issues of a band still developing, honing, and evolving their sound yet if we claimed any left us flat on enjoyment and intrigue we would be sharing lies.

Formed in 2011 as Where’s The Addiction, the south coast band quickly built up a strong and loyal local fan base encouraged further by the release of debut EP, The Lost And Found, the following year. Live Forever In Depths has made a strong mark too whilst sharing stages with bands such as Networks and Cardinal Bay as well as playing festivals like Butserfest. Now attempting to lure broader attention, the Darkness EP is ready to grab a new flock of ears with success easy to see coming.

It opens with The Storm which creeps up on the senses through a slim sonic mist before leaping boldly with evocative melodies around heavily striding rhythms and riffs. Soon showing its carnivorous side as guitars create a tempest of angular sonic stabs and challenging grooves amidst rhythmic and riff bred animosity, band and track tear and bite at the senses. The vocals of Jake Hale match their assault in raw dexterity, though his assault is tempered by the excellent clean vocal persuasion of guitarist Anthony Chantrey whose craft on strings, as too that of fellow guitarist Danny Marenghi, creates a cauldron of enterprise and imposing adventure. Unpredictability is as open as expectation feeding textures and ideas whilst some of the imaginative twists and turns are a touch clunky at times yet the song only feeds a swiftly growing appetite and enjoyment of its impressive challenge.

Darkness-Cover_RingMasterReviewThe EP’s title track comes next, featuring Luke Boyle within its own tempestuous assault on the senses. Driven by the shuddering swings of Luke Gillies and the predatory tone and gait of George Blake’s bass, the track is a bestial confrontation and equally a melodic seduction through the clean vocals of Chantrey and the atmospheric caresses of keys. The former dominates for the main yet never defuses or threatens the suggestiveness and potent presence of the latter; the band skilfully ensuring their clarity is a shared success.

Behind Our Eyes brings the EP to a fiercely engaging conclusion, its initial melodic coaxing soon boiling with vocal and rhythmic ire, though again without overwhelming the almost poetic lure of melodies. The contrast between the raw and harmonic vocals is a powerful success, the variety of the first ensuring it is more than just a dark and light shade within similarly contrasting sounds. It is something which shines in all tracks but is especially potent in the third alongside the classically hued keys and the expressive ambience lining the track.

It is a fine end to a release which seems to only grow stronger and more revealing with every listen. Forever In Depths feels like they are still in the relatively early stages of their growth but their potential is clear and suggesting the real possibility of potent times ahead for them and their fans.

The Darkness EP is released April 29th

https://www.facebook.com/ForeverInDepthsBand

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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