Fossils – The Meating

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Released a year ago, Flesh Hammer from Danish noise alchemists Fossils has, from fusing the senses and passions on its first touch, continued to reign on our weekly playlist, and more often than not in a daily burst or two. The outstanding release from the instrumental noise rockers as their sound generally, is a primal temptation sculpted by the bass and drums of Simon Tornby and Per Silkjær respectively. In that union though, the band breeds hooks, grooves, and rhythms which are as sinister and predatory as they are contagiously all-consuming. The album was pure addiction in our ears and the band exactly one year later have done it all over again with a new release, this one coming with a thrilling twist.

With their new instrumental exploration scheduled for 2016, Fossils have filled the gap between albums and impressively fed anticipation with new EP The Meating. Where that twist comes in is in the fact that this encounter is awash with tempestuous vocals. At the time of the unleashing of Flesh Hammer, the duo enlisted various singers to interpret tracks vocally from the album at its release show. Originally planned as a one off occurrence, the band subsequently took the performers into the studio to record their additions to the original songs, and now we have the quite scintillating and compelling devilry of The Meating; seven pieces from the last album re-interpreted and ignited again vocally. Renamed and presumably re-mixed or re-tweaked musically, unless the vocals transform tracks even more potently than we thought, the EP is another irresistible and storming onslaught from Fossils.

Opener Deadringer features Jacob Bredahl of The Kandidate and once of HateSphere, and under the torrential bombardment of Silkjær’s addictive beats it instantly has ears and attention submissive. It is of course prime Fossils bait, the snarling lure of the bass and its crunching riffs aligning to voraciously swinging rhythms for immediate manna to the ears. Bredakl is soon roaring with his distinctive tones, challenging and raging with attitude and animosity within the increasingly virulent sounds. Already a pungently confronting encounter, the song is given extra causticity and rancor by the singer, and as all the songs becomes a brand new proposition.

The following Taxon is graced by the blistering industrialised contribution of Ultimate Combat Noise, the track brewed into a corrosively attractive and psyche scorching antagonist whilst next Printup Meat Lover takes on a punk crafted guise thanks to Mads Stobberup of Cola Freaks. He vocally brawls over the spicy infectiousness of the equally agitated sound; the track like his voice is not exactly looking for a fight but given a nudge will lash out with relish. It is not the last track to have an infusion of varying punk revelry and those tracks do emerge as favourites, though everything excites without reserve.

   Marie Højlund of Marybell Katastrophy gives Ridge and the Rock a siren-esque seduction next, her ethereal and seductive tones wrapping like a temptress around the wiry lures of the bass and the ravenous energy of the drums. It is a bewitching infestation of senses and lust, an increasingly rabid and psychotic enchantment matched by the punk ferocity of Speedbacon. Seb Doubinsky provides the voice to the Dead Kennedys like take on the original rasher of noise bestiality. The track is ravenous in nature, though nicely contrasted by the vocal porcine fun in a presence barely lasting a minute of length.

The final two tracks steal the show, even if by a slither. Firstly Ham Reader expels an acidic and venomous bluster over its tempest of noise through Mikko Mansikkala Jensen’s bracing throat bred squalls. It is a ferocious and wholly magnetic assault which sets the emotions up perfectly for the final devilment of Ködhabit. The track is blessed by Kim Kix, one half of psyche rock ‘n’ rollers Powersolo, who thanks to Fossils and this release have just swiftly been added to our lustful favourites list. The song as expected launches a torrent of delicious grouchy bass growls and insatiable rhythms but grows further with the deranged tones and delivery of Kix. The song we would suggest is the most startlingly evolved of the bunch from the original templates set by Flesh Hammer, a hellacious rocker which relentlessly flirts with the passions in a way which only an image of Gene Vincent being twisted inside out by and thrust on stage by Cleve Barker’s Cenobites, who then provide the backing sounds fits. We said that every track is a massive and equally thrill, and they are, but the final song of The Meating is another type of creature and looks down on all with majestic lunacy.

The Meating is and feels like a brand new offering from Fossils as we await their next instrumental escapade. Flesh Hammer graced many a best of list in 2014, and we can find no reason why this new offering will not be doing the same come December.

The Meating is available from March 2nd via Indisciplinarian.

FOSSILS will be performing at the three Danish Indisciplinarian Label Nights in late March with label mates Piss Vortex and Anti Ritual at…

26/3 – Stengade, Copenhagen (DK)

27/3 – Radar, Aarhus (DK)

28/3 – 1000fryd, Aalborg (DK)

http://www.meatrush.com/   https://www.facebook.com/fossilsmusic

RingMaster 03/03/2015

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/

Shitkill – The New Breed EP

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The bigger the expanse of sounds and bands we all hear, the more we go looking for that something extra to get excited about. It might not be a big twist which sparks a fire in personal tastes, but something which certainly ignites the imagination and shows that there is still varying degrees of originality within modern music. American metallers Shitkill is a band which with new EP, The New Breed, has plenty of those little differences and definitely teases a burst of enthused attention to ears and thoughts. Hailing out of New York, the quartet cast a sound which draws on a diverse flavouring of sounds; they more often than not seemingly are tagged as groove metal but as the EP shows it is just one shade of many creative colours ripe in their music.

Formed in 2009, Shitkill has continually nurtured a potent reputation for their live presence and sound, not only locally but into broader attention. Their stage impact has been one reason, the band increasingly strengthening their stock as they played with bands like Twelve Foot Ninja, the Cro-Mags, Eyehategod, and D.R.I., but also through their releases. 2010 saw the Asylum EP released but it is fair to say that their self-titled album a year later made the first real mark. Its well-received success was followed by two live albums in 2012 and 2014 respectively, but The New Breed EP is where it is easy to imagine the band soon luring a more global attention.

The EPs title track is first to persuade ears, and does so with swift success thanks to the opening rhythmic dance cast by drummer Damien Moffitt. It is inescapable bait aided by the sonic glances playing around the beats and taken to new heights by the deliciously carnivorous tones of Karina Rykman’s bass. It is animalistic in voice, every flick of a string bringing a predatory edge which simply grips an already awoken appetite. Things only get more compelling as the opening grooves and riffs cast by guitarists Danny Chpatchev and Josh Musto add to the tantalising proposition. The track swings and leaps round with devilment in its heart and creativity, but also an ever increasing unpredictability and imagination. The vocals of Musto scowl and rage, a a0653763495_2gravelly delivery somewhere in the ball park of Phil Anselmo. The song itself can be best described as a mix of System Of A Down, Bloodsimple and indeed Pantera, yet there is plenty more hinting and teasing within the provocation, and showing stronger glimpses as the release proceeds.

It is a potent and highly enticing start, but in some ways just the appetiser as things get more inventive and flavoursome. The next up Vultures instantly brings a new tempest of intrigue and aggressive flavouring, its hardcore essences a buffeting ire against metallic grooving and tangy melodic enterprise. From its initial stomp, the song slips into a compelling noise rock infused stomp, riffs and hooks shuffling with rhythms in a psychopathic yet fluid tango before returning to the stormy onslaught it began with.

Death Giver pushes the adventure of the EP to further riveting heights straight after, the track making a tenaciously imposing entrance with a torrent of riffs pierced by powerfully swung beats. Bass and subsequently vocals only add to the dark drama and intimidation though it is only the lead to greater irresistible temptation. A rugged proposal at first it suddenly throws off its severe manner and goes on an escapade of creative mania. There might be better ways to describe the sudden burst of ingenuity but with deranged grooves and hooks which feel bedlam bred, there is a delicious insanity to the track. The grooving reminds of The Cardiacs whilst around them the roars of vocals and rhythmic predation is as much punk as it is metal. The track is quite brilliant and those insidious grooves, a lingering serpentine infestation.

An even greater punk ferocity fuels Faceless, the song from its first breath a raging brawl unafraid to bring addictive hooks and spicy grooves into its hostile armoury. Though it cannot quite match the brilliance of its predecessor, the turbulent treat has pleasure full and hunger for more, greedier by the second. Punk metal at its best, the song makes way for the closing excellence of Underworld. It is another almost bestial in presence and tone, riffs and rhythms prowling the listener with persistent hostility whilst adding distractions like sudden agitated beats and vocal causticity. Those demonic grooves make their return again, nestling seductively into the different but no less enthralling landscape of the song. Embracing the metal side of the band’s sound with potent whispers of more classical breeding, the encounter has body and emotions engrossed and complicit in its dark deeds, especially through the closing stretch of heavy footed and superbly lumbering beats from Moffitt courted by the cavernous basslines of Rykman and the equally uncompromising enticements of the guitars.

It is a scintillating end to an impressive and thoroughly thrilling release. Probably like a great many, The New Breed is our introduction to Shitkill, another succumbing to their not majorly original sound but certainly a strikingly inventive and most of all fiercely enjoyable one.

The New Breed EP is available now digitally @ https://shitkill.bandcamp.com/

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

RingMaster 03/03/2015

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/

 

Not Tonight Josephine – Self Titled EP

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Released the same week as the new self-titled EP from Not Tonight Josephine, the debut release from UK band Death Kindly Waits For Me ignited a fresh breath in the post hardcore scene. It set down, even in its raw but potential drenched proposition, a new adventure for the genre which for us made a marker all other offerings would now have to match up against. The Florida hailing quintet are the unfortunate ones to step up next and within hours of that striking release, the first to have to impress new demands and hopes. It is fair to say that Not Tonight Josephine do a fine job, their six track encounter might not have that special ingredient we found so thrilling but it out crafts and out shines most other post hardcore proposals over recent months to leave thick pleasure in its wake.

The band has been working on the new release since mid-2014, creating songs to push their sound on again from its acclaimed successor, the Common Gold EP released the previous year. With a more aggressive and voracious character to it, the band has certainly achieved that with the EP and it is right to suggest the release is their finest moment yet. Not Tonight Josephine formed in 2008 and has consistently lured in praising attention locally and across broader spotlights leading up to that previous EP. Live too they have earned a potent reputation, shows with the likes of A Day To Remember, Underoath, Ice Nine Kills, Rise Against, New Found Glory, and The Colour Morale only adding to that. Common Gold followed a line-up change and seemed to find that flush of heavier and arguably rawer adventure which now roars from within the Not Tonight Josephine EP. As mentioned at the start, for us the bar has been raised recently, but it is all relative to personal tastes and definitely this new protagonist leaves only the fullest satisfaction and impressed reactions.

Recorded with From First To Last duo Taylor Larsen and Spencer Sotelo, the EP opens with brief instrumental ;) . It is an atmospheric forty seconds which intrigues but is really the intro to the following ReEmerge. Why it has its own track listing it is hard to know but it is soon a thought of the past as the new track erupts with thumping beats and aggressive riffs bound in an instantly inviting melodic enterprise. Even as the song settles in to its tempestuous stride, the swings of drummer Christian Turt show no mercy, only impressing with their weight and tenacity. The raging image005vocal squalls of frontman Danny Garry and bassist Evan Foley also have a potent angst and attitude to them but it is the clean delivery of Garry that really impresses and steals the attention. It is fair to say that post hardcore bands have been predominantly impressing and grabbing our plaudits through the melodic side of their attack vocally, maybe too much of the same caustic shouting talking its toll on our patience and simply feeding expectations, and there is no doubting the might of that area in Not Tonight Josephine matched by the creative enterprise evolving round them. The use of strings and production twists only add to the drama and increasing success of the song, unpredictability an open weapon in the great start.

The following Nothing To Show is a brawl of vocal hostility and antagonistic sounds from the off, riffs and beats a delicious baiting as they intimidate and lead the listener into a maelstrom of vocal deliveries and twang lit grooves under a thunderous sky of attitude and sound. Not quite having the individuality of its predecessor or the imaginative punch, the song still intrigues and persuades with its mix of almost metalcore hostility, djent bred ferocity, and melodic expression woven by the skills of guitarists Scott Vallina and James Purcell. Whereas the last song broke ranks, this feeds expectations for the post hardcore sound, something you can say about Eyes which follows. Featuring a guest performance from Spencer Sotelo too, the track bellows and revolves with ear seizing adventure and satisfaction breeding pugnacity. It is wholly enjoyable but again does not surprise which is a real want in our admittedly demanding tastes.

Don’t Hold Your Tongue though is another matter, a fairer and mellower croon, it is bewitching. It is melodic rock at its captivating best, the balladry of sound and Garry’s outstanding vocals spellbinding and another excuse for us to say less caustic styling ahead please; save just for textural use. Song and band reveal a fresh charm to their songwriting and composing through it, with only the ever fiery beats of Turt offering dark and complimenting intensity.

The final song finds the band back in turbulent mood. Barefaced also shows the band to have the kind of invention and skill to help drive their genre on to new heights. The song is sensational, the EP’s top temptation where even the aggressive squalls work perfectly within the unbridled animosity and inventive spite of the encounter. It is a predator of a song but also an inescapable seduction, tearing the senses asunder then soothing the wounds with a vocal and harmonic caress. It has something special, a heavy dosage of startling and exciting imagination in thought and sound which reignites, what are becoming, tired ears for the standard post hardcore template.

Not Tonight Josephine band and EP is a highly enjoyable and impressing encounter; yes we know we have become picky and did pick here, but we come away from the release with satisfaction full and hopes for new creative blood in this genre re-energised a little more.

The Not Tonight Josephine EP is available from March 3rd

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

RingMaster 03/03/2015

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/

Every Hour Kills – Almost Human

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Rousing up anticipation and subsequently impatience for the release of their forthcoming self-titled EP, Canadian melodic metallers Every Hour Kills recently released new single Almost Human. The song is a roar of energy and skill which confirms the emerging potency of the band, already shown in their previous pair of singles, whilst revealing an even more striking adventure and creative ferocity in their sound. It is a highly infectious proposition crafted in arguably recognisable creative inks but casting a fresh and magnetic landscape.

The seeds of the Calgary bred Every Hour Kills began three to four years ago, when drummer Rob Shawcross (ex- Out Of Your Mouth, ex-Autobody, ex-Kobra and The Lotus) linked up with guitarist Sacha Laskow after his departure from Divinity. The pair subsequently brought in bassist Brent Stutsky (ex-Breach of Trust, ex-Death Valley Dolls) and vocalist Jerrod Maxwell-Lyster (Walk As Chaos, ex-Out of Your Mouth, ex-Autobody, ex-the R.A.C.E.) to complete the band’s line-up. With a name inspired by an anonymous literary quote which says “Every hour wounds, but the last one kills.“, Every Hour Kills has spent the time since forming working on and recording songs, which included the already released pair of singles, Deliver Us in 2013 and the following EHK_AH_900 smallyear the Joey Sturgis (Asking Alexandria, Emmure, Of Mice & Men, We Can As Romans) produced Chosen. Now with that impending EP on a close horizon, the band has set another spark burning in ears and appetite through Almost Human, a song showing even greater persuasion and adventure than that which fuelled its predecessors.

An electro bubble grows and explodes in a tempest of rigorously gripping rhythms and tenacious riffs as the song consumes and grips ears straight away. It is captivating start swiftly built upon by the excellent vocal prowess of Maxwell-Lyster and the breath-taking technical rapidity and enterprise of Laskow’s fingers and guitar. There is a blend of Sevendust and Dommin to the song, with just a hint of Disturbed and a louder whisper of In Flames, yet Almost Human soon reveals an individual character to its increasingly magnetic presence.

The song continues to croon and bellow across its intoxicating landscape, each turn of sound and ideation generally finding the middle ground between the two whilst the shapely invention which cores it all also embraces an industrial/electro metal adventure at times, a Rabbit Junk like spice fusing to the adrenaline sparking charge of the song.

Almost Human is a compelling offering and hint, and if the new EP can back it up with songs just as virulently convincing, we are in for one thrilling treat later this year.

Almost Human is available now whilst the upcoming EP can be pre-ordered as a limited edition package direct from the band @ http://everyhourkills.com/preorder/

http://everyhourkills.com   https://www.facebook.com/EveryHourKills/

RingMaster 03/03/2015

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/

 

Death Kindly Waits For Me – Wire Iron Blood

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Let us cut to the chase right away and suggest that Wire Iron Blood might just be the best and certainly one of the most exciting post hardcore debut in recent times. An introduction to UK quartet Death Kindly Waits For Me, the three track release is a striking and dramatically captivating protagonist for ears and imagination, and the fact that it suggests there is plenty more in the creative tank of the band yet to be explored and developed only increases its impact. Expressively provocative with a sound coming from the At The Drive In/Fall Of Troy end of an ever broadening genre, Death Kindly Waits For Me is a dramatic fresh breath in the British post hardcore scene.

Northamptonshire bred, Death Kindly Waits For Me began towards the beginning of 2014, taking inspirations from the likes of Thursday, Being As An Ocean, Finch, and Taking Back Sunday into their emerging invention. Their melody rich and aggressive sound was soon drawing potent attention locally and even further afield as their increasing live presence saw the foursome sharing stages with bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red. Now a national attention is on the radar as Wire Iron Blood is uncaged, and it is fair to say that expectations are already confident in the band’s success in luring a wider spotlight.

The EP opens with the outstanding Cutting Room Floor, a sonic lure swiftly thrusting ears into the impassioned vocals of Adam Fitch, his clean and earnest tones instantly magnetic. Alongside him the guitar of Max Freeston slowly spreads a coarsely melodic lure whilst the heavy bass tones of Adam Cator, just as quickly adds dark haunting shadows. Pierced by the controlled and reserved but rapier like strikes of drummer Josh Miller, it is not a dramatic start yet thoroughly intriguing and awakening an appetite to hear more. Soon into a steady stride and still employing the creative weave which set things off, the song increasingly impresses as it expands its presence musically and vocally, Fitch superb with his distinctive angst fuelled tones whilst the DEath KIndly...more punkish offering of Freeston is a potent backing and the raw roars of Cator nicely caustic. An additional anthemic strength emerges in the song and though musically maybe it does not blaze with startling originality there is nothing but freshness and adventure to the opener.

The same strengths flows though the following Best Friends. It character is shadowed and emotionally dark yet it flames with a contagious energy and a rigorously exciting imagination. Vocally once more the track shines whilst riffs and melodies create an infectious proposal which, as the EP, becomes more addictively enjoyable over time. That Fall Of Troy feel is a bright whisper across the song, whilst other elements hint at the more experimental adventure of The Mai Shi at times, but as the song evolves from a raging stomp into a melancholic croon in its finale, the track is thrillingly individual to Death Kindly Waits For Me.

The closing Decade Of War continues the excellent temptation, its emotionally sober but energetically impassioned heart a canvas for great rhythmic enterprise and colourful guitar endeavour to wrap with craft and tenacity. Vocally of course the song continues a weighty persuasion amidst impressive sonic imagination and by its end it is hard not to sigh in disappointment that there is no more and to swiftly go back to the beginning again and ensure there is.

As mentioned at the beginning, Wire Iron Blood is a starting point for the band which shows that they have plenty to discover and push within themselves. There is little nothing to shade the potency of the release though, with no reflection on Cator, personal tastes would like to see a diminishing or loss of the aggressive vocal squalls as they often feel at odds with the rest of the vocal delivery and at times songs. It is a very minor thing of course in a potential drenched start by Death Kindly Waits For Me, a band hard not to get rather excited over.

Wire Iron Blood will be available from 2nd March through all digital stores.

https://www.facebook.com/deathkindlywaitsformeuk

RingMaster 02/03/2015

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/

 

 

Following Foxes – Self Titled EP

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When an artist or band has a background which involves in part the Academy of Contemporary Music in Guildford, there is always an intrigue to learn more, partly because the town is a part of our musical heritage too and mostly because of some of the talent which has been nurtured at the ACM. From one of the UK’s most potent and impressive place of musical education, the likes of Newton Faulkner, Guy Davis who was part of the UK’s finest alternative rock antagonists Reuben, Joe Butterworth of Talanas, and Alexis Demetriou who formed the criminally unrecognised rockers Lost In Wonderland, have made varying impacting but potent marks on the British music scene. It is a long list also including members of Lawson and some bloke named Ed Sheeran, successes to which you can now add home town boys Following Foxes.

With its members all meeting at ACM, Following Foxes formed in 2013 and having a strong past year on the live scene now release their self-titled debut EP to nudge a broader attention to their presence. The five track release is a captivating introduction to the quartet, a handful of songs bred in a melodic caress of folk and indie/acoustic rock which energetically and skilfully bring a summery and creatively tenacious proposition to the senses. Drawing in inspirations from bands such as Biffy Clyro, Mumford & Sons, City and Colour, and Pink Floyd, Following Foxes shows themselves to be a thoroughly magnetic proposal and their EP more than likely to pick up wider media attention to back up already eager play on local radio stations across the South East of the UK.

The band’s new single, Almost Lost It is first up and right away with punchy bass lures from Mike Chapman and a great shuffle of beats within a caress of guitar, has ears and imagination paying close attention. The song relaxes soon after to welcome the strong vocals of Gid Sedgwick, his tones as warm and alluring as the melodic venture already shown by his and Alex Hill’s guitars. Subsequently with ears transfixed, another bait of thick beats from Steve Price adds fresh adventure before the song settles into a vibrant stroll loaded with a folkish revelry and melodic

Artwork by Harry Murr @ Roberts Clothing

Artwork by Harry Murr @ Roberts Clothing

swagger. There is still plenty of variety to gait and sound across the song though, sometimes more subtle than in others but a great unpredictable essence which grips the appetite and certain enjoyment.

The following I Saw, You Saw Me Back makes a less dramatic entrance though Sedgwick immediately holds court with his melodic croon and lyrical intimacy. It is still a strongly appealing first touch though which expands into a feisty but composed dance of voice and rhythms within a melodic seduction. As its predecessor, the track soon worms under the skin and into the psyche, a Lennon and McCartney whisper spicing part of the song whilst others times it romps along like a mix of Knots, Common Tongues, and The Radioactive Grandma.

Waiting for Someone, like those before it, simultaneously manages to be a warm reflective hug and a fiery little rocker, the great vocals across the band and occasionally a rigorously driving rhythmic thrust respectively igniting another memorable and increasingly enjoyable offering. It does not quite match up to the first pair such their might, but leaves satisfaction full before making way for Mother Brother. Though you cannot describe any of the songs as aggressive, there is a definite edge to the song when it steps up its energy around harmonically and melodically seductive embraces. It is a compelling end to a fine release; well not exactly an end as there is the brief melodic Outro to come but the party has ended by this point, its atmospheric haunting that drifting away of guests and excitement like after any slice of major fun.

Following Foxes has made a very impressive first step with a release which could straight away set them on a potent journey towards sparking the country’s attention. If not now it is impossible not to think or expect it will happen eventually but seems silly to wait, so go check out this highly pleasing release.

The Following Foxes EP is available now @ https://itunes.apple.com/gb/album/following-foxes-ep1-ep/id964894157

https://www.facebook.com/FollowingFoxes     http://followingfoxes.com/

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

 

 

The Undercover Hippy – Boyfriend

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We all like a flirtation or two right? Even more when it is being received rather than offered and that is exactly what Boyfriend presents and is themed by. The new single from The Undercover Hippy, the song is a mischievous tease looking at similar romantic occurrences and wrongly interpreted signals. It is also a captivating romp of acoustic revelry aligned to roots reggae and embraced in, a new term to us but one which sums up the song perfectly, folk-hop.

The Undercover Hippy is Bristol bred singer songwriter/ producer Billy Rowan, an artist who after 7 years spent DJ’ing and MC’ing on the Drum & Bass circuit took his guitar and pushed forward with a solo presence and his own music from 2007. Though still to be found performing on his own, The Undercover Hippy has grown into a full band with Andreas Millns (keys), Theo Grimshaw (drums), Zak Ranyard (bass), Matthew Pharaoh (percussion/congas), and Jessica Langton (backing vocals) alongside Rowan. Recent years has seen the band light up the festival scene with acclaimed performances at the likes of Glastonbury, The Big Chill, Green Man, The Secret Garden Party, and Jersey Live amidst many more memorable moments, whilst musically they have drawn comparisons to Jack Johnson, The John Butler Trio, Gomez and Xavier Rudd among others. Lyrically, Rowan has a knack of sparking smiles and attention with a craftily sculpted and descriptive narrative which often explores either worldly or personal politics. Boyfriend is a song which simply ignites those embarrassing moments all our youthful endeavours have floundered upon, bringing knowing smiles to the surface as it has body and emotions in a magnetic dance.

The song itself actually brings reminders of, for those old enough to remember, The Piranhas’ track also called Boyfriend. Its premise was very similar but over a more ska seeded devilry and in cover170x170a small way it is nice to just imagine that that band and song might have been a distant spice to this new slice of tantalising joy. The Undercover Hippy instantly has ears hooked as thick resonating bass lures meet up with spicy swipes of guitar and joyful rhythms, providing a swinging soundtrack to the just as quickly coming and pleasing tones of Rowan. The compelling verse saunters along, kissing the imagination with every flick of a beat and caress of guitar under a sultry breath of keys, before opening up into an infected loaded chorus. Brass and harmonica add to the elevated dance of the song, their colours irresistible alongside the flaming tones of Langton behind the lead of Rowan.

The track just gets juicier and more addictive with every passing second; in certain moments playing like a mix of Disraeli and The Small Gods and Glenn Hodge Banned but distinctly unique from start to finish. Taken from the Monkey Suit album which was released last September, Boyfriend is a song for an early summer and a boisterous year. The single package also comes with a couple of edits of the song plus a trio of remixes from The Future Dub Project, Hiphoppapotamus, and Raithism, so a meaty offering from what is destined to be one of 2015’s most captivating singles.

Boyfriend is available now

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

RingMaster 02/03/2015

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/