We’ll Go Machete – Smile Club

We'll Go Machete_RingMaster Review

Though knowing the name and reputation earned through their earlier releases, we had yet to get to grips with a We’ll Go Machete encounter. So it is with thanks to the band’s vocalist/guitarist Paul Warner, who introduced band and new album Smile Club to us just recently. All that can be said is boy have we been missing out, as the band’s second album is a glorious tempest of sound, striking imagination, and creative intensity. Smile Club simply infests ears and psyche with a hex of noise rock, post punk, and math rock plus any other caustic spicing you can think of, and certainly left us not hungry but desperate for more.

With a line-up completed by bassist Chris May and drummer Rachel Fuhrer, the Austin hailing We’ll Go Machete first sparked interest with their 2009 self-titled EP though it was debut album Strong Drunk Hands two years later which was the catalyst to richer attention and acclaim. Live too the band has garnered a healthy name and stature, shows alongside the likes of Future of the Left, Melvins, Hammerhead, and Fatal Flying Guillotines, as well as their own headlining events over time marking We’ll Go Machete out as one of the more exciting emerging propositions. Late to the party, as said Smile Club is our first real taster of the band and fair to say the, as its predecessors, Cedar Fever Records released album just whipped up a frenzy in sound and lustful reactions.

cover_RingMaster Review   Absence is the first welcome stirring of the senses, tangy grooves and thumping beats enriching an instant sonic swamp of noise swiftly loaded up further with the distinctive, angst hued tones of Warner. It is a striking and invigorating mix which has body and thoughts fully involved from the first trespass. Like something springing from a blend of Melvins, Quicksand, and Sofy Major, the track continues to growl and flex its confrontational muscles yet breeds an inescapable contagion. Adventure is already bold in the album, the song for example slipping through mellower evocative scenery across its potently unpredictable landscape for a mighty start to the inventive emprise of Smile Club.

The following and as outstanding Drawstring is just as quickly captivating, its entrance of tenaciously prowling rhythms and rapaciously alluring riffs gripping attention and appetite immediately. Spicy grooves and sharp hooks only add to the emerging theatre of sound and melodic drama with the again pungent voice of Warner only seeming to inflame the sounds around him into greater enthusiasm of craft and energy. Like a web, the track has fresh inescapable treats at every turn, the rhythms of May and Fuhrer cage like in their union around the acidic tapestry cast by the guitar.

A post punk tone and imagination comes with The Bardo though it is soon overwhelmed by a noise rock tsunami of emotional intensity veined by creeping sonic tendrils of guitar. The song does not have the same immediate impact as the pair before, but blossoms into a bordering on sinister persuasion of clanging dissonant chords amidst suggestive and volatile textures to only enslave over time.

Strasberg Air is a far swifter raw seducing with again hooks and rhythmic tenacity key bait in the evolving ingenuity of sound. Like a more restrained Fat Dukes of Fuck and mellower Shevils, the track bounces off the walls of ears and senses with Fuhrer alone creating an inescapable trap with his addictively imaginative beats. Carrying a grungier colour to vocals and melodies, the song leaves a lingering thrill before making way for the melancholic tempest of Scratch Built. The early solemn come doomy premise and air is eventually set ablaze by the corruptive quickstep of toxic riffs and earthy basslines splintered by viciously swung beats. With its own emotional ecoclimate, the track shifts from heavily dark through torrentially volatile to infectiously energetic before heading back into imposing shadows in a final exhilarating outburst.

The major pinnacle of the album is Positive People which comes next. It is another delving into post punk terrain, an eighties genre spicing lining choppy riffs and a wonderfully brooding bass tempting from May. Elements remind of bands such as Artery and The Fire Engines, whilst the cold air certainly has a Joy Division-esque feel to it, but again We’ll Go Machete only sculpt a startling and addictive exploration of their very own. Discord is always a friend of the musician and here perfectly woven into the torment soaked anatomy of one glorious incitement, its majesty continuing into Break the Kettles which evolves out of its predecessor’s tail wind. A slower corrosively elegant proposal, the track binds ears and imagination with sonic lacing whilst simultaneously sending splinters of guitar invention and rhythmic animosity into its angst thick drama.

Both Shot Giant and Cigarettes and Face Masks keep the compelling power and industry of Smile Club ablaze, the first an intensive shuffle pressuring ears with spiteful beat spilling agitation and ravaging riffery but unafraid to slip into something more melodically provocative and hauntingly intimidating. Its successor brews its own ridiculously addictive and threatening maze of fierce imagination and bitchy rhythms infested with swarms of toxic grooves and citric melodic endeavour. Each only ignites greedier pleasure but the second is especially virulently disorientating and thrilling.

The album is brought to an end by firstly the warped harmonious beauty of Molten Tiny Cell, a song nagging in sound and repetitious mastery until satisfaction is drooling and lastly Dust Storms May Exist. The final song is just superb, a hellacious storm of flavour and imagination which at times has a spicing reminiscent of KEN mode, in others moments a raw tone and feel which is similar to In Love Your Mother, and continually leads the listener on a spiral of exhaustive and perpetually resonating adventure in craft, energy, and again relentlessly twisting swirls of rabid sound and invention.

There is plenty more to say in praise of Smile Club but bottom-line is we simply adore it and feverishly recommend it to all fans of noise, psych, punk…well any lover of fierce rock ‘n’ roll.

Smile Club is available now via Cedar Fever Records.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Scanner – Splat

scanner_RingMaster Review

Seeding their own devilish riots in old school punk bred both sides of the Atlantic, Pennsylvanian rockers Scanner unleash their third album to keep the aggressive roar of nostalgic and organic punk rock snarling. There is plenty more essences to the thirteen tracks making up Splat, variety as keen as the attitude fuelling the release, but ultimately album and band is raw rock ‘n’ roll in heart and temptation.

Scanner was formed in 1979 by vocalist/bassist Joe Brady and guitarist/vocalist Junnie Fortney, the band name inspired by the David Cronenberg film Scanners after Brady read about it in a monster magazine. Pretty soon the band was stirring up attention and a loyal following throughout the Central Pennsylvania, Maryland, and Washington D.C. areas. Their sound embraces inspirations from 50’s rock and roll, 60’s hard rock and surf, and 70’s glam and punk, honing it into the band’s own horror/ punk rock, surf and garage punk exploits. 2012 saw the current line-up come together with the addition of drummer/vocalist Troy Alwine, with a year later the trio releasing debut album One Foot In The Grave, And More Pissed Than Ever. It was an acclaimed introduction to the band for a great many and confirmation of the qualities Scanner fans had been enthusing about for the previous pair of decades. Last year was marked by the release of Exploding Heads in Harrisburg – Live Recordings From 1982, a live album of old material as well as the Monsters Axes & Choppers EP from Brady’s other project, horror rockers Losers After Midnight.

With the Brady conceived and produced 45 band strong critically acclaimed benefit compilation album Assault & BATtery, which raised funds for Bat World Sanctuary, also on the CV for 2014, Scanner now set sights on the broadest attention yet with Splat, and as soon as opener Fist in the Air has ears gripped and emotions elevated the thought is that punk fans of all ages and eras need this encounter in their lives. The track quickly ensures the listener is following its title, its opening throaty bassline the lure into familiar yet refreshing punk riffs and sonic spicery. Attitude is ablaze as the plain but inviting tones of Brady incite lyrically and in expression, his bait an easy involvement within the more calm but forceful blend of crisp rhythms and raw riffs.

_0_SPLAT_Cover_RingMaster Review   The strong start is soon overshadowed by Just Like Bela, the band’s horror punk invention lining the predatory gait and design of the song. There is a healthy whiff of Misfits/Wednesday 13 to the encounter but its own character shines through, especially with the inventive mix of vocals and hard rock enterprise which frees itself. As it eclipsed its predecessor, so the track is outdone by the outstanding Living Life to the Emptiest. The third track has the edge and air of Dead Kennedys to its belligerent and anthemic confrontation, entwining it with great slithers of melodic acidity from Fortney’s guitar and punching it through with the raunchy bass and whipping beats of Brady and Alwine respectively.

A rapaciously commanding cover of The Angels’ Straight Jacket comes next, the song given a no frills make-over and emerging with a feel of The Saints to its richly satisfying punk ‘n’ roll, before Biker provides its own seventies inspired enticement. The song takes ears and thoughts right back into the breaking storm of punk rock, its DIY feel a bracing two minutes of raw endeavour and tenacity.

   Letter to the Government spills seventies glam and southern dirt rock revelry in its political attack within a bluesy entanglement of sound and enterprise whilst Running Riot sees Scanner take on the Cock Sparrer’s street punk classic to captivating success before haunting the psyche with Ghost Song. All three tracks have ears and emotions fully enlisted but it is the last of the trio which seduces the imagination and passions most. Its surf/psychobilly climate has echoes of The Meteors and Tiger Army to it but, as with all songs, variety is a vocal part, here punk and seventies garage rock bring extra juicy hues.

The Turbonegro meets Jello Biafra smelling Queen of the Stage has the body bouncing around next whilst a broad smile and further burst of pleasure is sparked by the band’s reworking of Bowie’s Suffragette City. The song has everything which you will have enjoyed in the original but roughed up and twisted around a bit, resulting in a great version to rival any other you may have come across.

Mischief and humour is as much a healthy asset as the flavours and invention of the Scanner sound and all give a fun time in Yeah We Suck, a round-up of ‘advice’ they and most bands will have gained at one time or another. That urge to have a ball continues in the album’s title track, an infectious brawl of virulence which is for the most instrumental but does have a lyrical bounty consisting of just its title being repeated with increasing relish. It, as most before it, has a claim for best song within Splat but the favourite spot gets grasped at the last moment by closing song Kaw-Liga. A country music song written by Hank Williams and Fred Rose, and covered by the likes of Johnny and the Hurricanes, Del Shannon, Roy Orbison, and The Residents over the years, Scanner turn it into a dark rock ‘n’ roll predator. Riffs and rhythms almost stalk the senses as the outstanding blaze of vocals ebb and flow across its sinister surf spiced landscape. It is only half the adventure though, the band breaking out into cow punk devilry too, switching between both provocative contagions throughout for one riveting and thrilling romp.

The US hailing Scanner might be an unknown secret right now but they hopefully and should not be for much longer as Splat trespasses on increasing numbers of ears for an increasing awareness. Go get some is our suggestion.

Splat is out now.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

The Great Adventure – Pretty Lies

The Great Adventure_RingMaster Review

Pretty Lies is the new single from Russian gothic metallers The Great Adventure, a band which maybe is unknown to you right now but taking their new offering alone as a suggestion, has the real potential to become a much broadly known and devoured proposition.

Hailing from Omsk and formed in the January of 2014, The Great Adventure consists of vocalist/keyboardist Christina Engels, guitarist Kesha Larionov, and bassist Alexey Danilov. Their sound fuses gothic and symphonic metal in a captivating, if not yet majorly unique, tapestry of resourceful aggression and melodic imagination. Aligned to that is the feistily alluring voice of Engels, a siren-esque tempting which coaxes the theatre and emotion at the heart of lyrics and song into a tempestuous roar of sound equipped with harsher backing vocal incitement. It is a mix which has seen previous singles and the To Begin To See The Truth EP well received; a success sure to be eclipsed by Pretty Lies, the band’s finest offering to date.

Featuring Ilya Sinitski, the vocalist of post-hardcore band Island Of Skylines, Pretty Lies needs mere seconds to stir ears with its swift wall of thick riffs and muscularly swung beats. Keys are a just as early and potent coaxing as they lay a melodic haze upon the attention sparking entrance. With the mellow and rich tones of Engels’ voice matching the lure of her increasingly inventive and resourceful keys, the song poetically swarms over the senses embracing hues of inspirations of bands like Dream Theater and Within Temptation to its creative breast. It is a skilled and potent persuasion which gets bolder and more voracious as it blossoms, the raw tones of Sinitski spilling causticity across the engaging scenery and the guitar of Larionov spinning lattices of sonic craft and enterprise.

Pretty Lies is the maturest songwriting and weave of sound and textures from the band yet and even if major originality is still in the waiting, the thoroughly enjoyable song shows that The Great Adventure is heading in the right impressive direction.

Pretty Lies is available now.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Richie Campbell – In The 876

Richie campbell_RingMaster Review

With the release of third album In the 876, Richie Campbell shows exactly why he is revered in his homeland of Portugal and becoming one of the most greedily devoured propositions in global reggae. Also infusing rich essences of soul and Latin flirtation into an array of individually distinctive songs, Campbell and album has the body bouncing and ears smiling.

Already drenched in acclaim and rabid attention which has seen the album hit the top of the Portuguese iTunes Charts within 2 hours of its European release in May, In The 876 now gets its UK unveiling with anticipated similar reactions going its way. Recorded between Kingston and Lisbon, and with a title referring to the telephone area code of Jamaica, In The 876 features numerous guests and is the next potent step in the seemingly unstoppable rise of Campbell and his creative stature. The Lisbon hailing singer/songwriter began concentrating on a solo career from 2010 having played in bands over the previous six years. Debut album My Path came out as a free download and subsequently amassed over 250,000 downloads which in turn led to Campbell playing a sold-out show at Lisbon’s Campo Pequeno Bullring. Second album Focused was just as well-received and successful, gaining a nomination in the Portuguese Golden Globes of 2013 and seeing its lead track, That’s How We Roll, awarded Song of the Year at the National Radio Awards.

Now is the turn of In The 876 to arouse thicker spotlights and awareness, in the UK and around the globe, and it gets off to a mighty bang, after its intro like title track, with I Feel Amazing. One of the singles from the album which has already earned potent radio play, the song is pure reggae flirtation. Its rhythms swagger with infectious beats aligned to bass spawned hips whilst guitars and vocals swing with virulent contagion and melodic seducing. From the off, the warmth of sunny skies around optimism rich emotions swim through ears and into the psyche, the whole song quickly an irresistible incitement to dance and smile. Though three and a half minutes long it is seemingly over in a flash, leaving exhausted but over flowing enjoyment behind to be whipped up again a by another single from the album in Best Friend.

cover_RingMaster ReviewThe second song has a mellower gait but is no less insistently catchy and melodically glowing, vocally and musically. Again keys and guitar incite a vibrant canter which has the body swaying incessantly whilst, as in its predecessor, a familiar but refreshing character only adds to its seriously persuasive climate. Vocally Campbell allows his naturally harmonic tones to entangle a more expected reggae seeded delivery resulting in something, as the music, instantly friendly and recognisable yet individual in character to most others.

The impressive start continues with Feels Like which features the wonderful gruff growl of Agent Sasco (also known as Assassin). The song is sublime temptation, its flow and melodies smooth over a canvas just rippling with character and diversity. There is a touch of New Town Kings and UB40 to the encounter and an instinctive romance between ska keys and ears. It is glorious and as it has body dancing and voice crooning, the lead thought is that this surely is a done deal as the next single.

The broader flavouring of the magnetic 25 to Life comes next, its emotive shuffle employing richer rock textures to a soul/reggae blending whilst Man Don’t Cry slips into a smouldering embrace graced with sultry backing vocals around another infectious rhythmic collusion of bass and beats. At times across the album Richie Campbell casts a sound which has familiar seeds in a musically hard to pin down landscape, and here that quality is at its most captivating best, with the song vocally and musically almost kaleidoscopic.

That’s Not Mine sees Jesse Royal guesting in its intimate yet wide social statement which has ears as absorbed by its lyrical jaunt as its aural jabbing and melodic tantalising. Thoughts of The Skints emerge as the song shows, like so many, glimpses and clearer twists of invention and imagination in all aspects before leaving full enjoyment in its wake which Get Over You uses to take ears and limbs into its own flirtatious dance. With the siren-esque beauty of Toian’s voice joining the scintillating escapade, the track boils like the surface of an aural heat wave, its relentless shimmer sizzling and pulsating surface unstoppable.

Both Give It All Away and Knock Me Out provide reasons for the imagination and body to rejoice, though neither can spark the same lusty responses as the tracks before them with personal tastes. The first is one of those songs which have the listener unconsciously lost in movement whilst its successor, which includes the guest appearance of Sara Tavares, is an embrace of soul and Latin elegance. Each fully engages but as suggested lack the same spark as the earlier adventures, something to a lesser extent which applies to the tenaciously lively and colourful Rise From We Fall and its reggae/rock pop samba.

In The 876 is concluded by firstly the excellent Standing Firm, a more formula reggae romp but given plenty of the Campbell Latin spice and vocal soul to fascinate and excite before Better than Today brings it all to a soulful close with provocative keys, emotive vocals and harmonies, and a melancholic jazz lined air. In many ways the song does not quite fit the rest of the album, or shouldn’t but it only provides a powerful end whilst revealing more of the impressive depth within Campbell’s writing and invention.

Exciting us most in its first half but only offering a thickly enjoyable time from start to finish, In The 876 shows exactly why the reggae world is excited over Richie Campbell. It is the UK’s time to explore and get involved with his riveting sound and songs now, and no doubt to get excited too.

In The 876 is released in the UK on August 28th via Chet Records.

RingMaster 27/08/2105

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Diamond Days – Love Struck Kids/I Rewind

diamond days_RingMaster Review

UK alternative rockers Diamond Days released their new single a matter of days ago and already have its successor eagerly waiting for release in a few short weeks, so we thought we would look at both Love Struck Kids and I Rewind in one clean swoop.

Diamond Days hail from the Northwest of the UK and have already impressed and drawn good praise with their We’ve Come A Long Way EP which came out last November. Even before then debut single, Start It From The End had given a potent introduction to the Liverpool quartet, receiving over 60,000 views on YouTube and sparking over 20,000 followers for Diamond Days across the social media. As mentioned We’ve Come A Long Way ignited even stronger and eager attention from fans and indeed media, as well as a live presence which has seen the band supporting the likes of The Blackout, William Control, and Verses, and now it is the turn of their two new singles to stir up more welcome fuss.

cover_RingMaster Review   First, and released a number of days back, is the Seb Berrios and Arthur Indrikovs (Florence & the Machine, Foxes, Jon Newman, Clean Bandit) produced Love Struck Kids. Immediately hefty rhythms and keenly eager riffs are rapping ears but equally a melody built sonic persuasion is there coaxing ears too before the strong voice of Alex Fearn erupts with equal colour. It is a powerful and thickly enticing start which only grips a little tighter as the guitars of Tom Shepherd and Fearn flirt with open enterprise and the commanding rhythmic bait of bassist Tom Jack Jackson and drummer Mark Highdale sets to work.

The song soon shows a familiarity in its surging stride of sound and energy yet has a freshness and invention which turns that to merely another spice in its resourceful adventure, which subsequently brings in mellow keys around an additional reflective vocal piece portraying a deeper emotion fuelled drama. The track is soon roaring as before though to leave ears and appetite just that little greedier and without doubt more energetically pleasured.

It is an invigorating proposition understandably already getting rave responses; a result forthcoming single I Rewind will surely match. In fact it has already drawn great praise as part of the We’ve Come A Long Way EP from where it comes. Featuring Yashin vocalist Harry Radford, the song ‘tickles’ ears and expectations with an initial lure of smiling guitar, this in turn sparking healthy beats and a throaty bassline as the guitars broaden their tapestry and the vocals of Fearn, backed again impressively across band and guest, unfurl the narrative and its emotion.

With a great vocal ‘spitting’ midway and a greater snarl to its heart and nature compared to the first single, I Rewind is a formidable and anthemic incitement and remains, if not arguably the best Diamond Days song to date, certainly the biggest favourite.

Both singles only reinforce and push the reputation and growing stature of Diamond Days, a band it is easy to suspect as it evolves a richer distinct identity to its right now You Me At Six meets Lower Than Atlantis meets Fall Out Boy sound, will only get bigger and better.

Love Struck Kids is out now with I Rewind released in September 2015.

RingMaster 27/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Billy Vincent – Stand On Me

Billy Vincent_RingMaster Review

A plaintive slice of British Americana but fuelled as potently by hope as it is shadows, the new album from Billy Vincent is an ear and imagination catcher. Stand On Me brings twelve tracks of streetwise intimacy and heart bred in the darker corners and depths of London. Their seemingly personal tales entangle the listener in sound and narrative and as shadow exploring as they are, come equally built on blind optimism in a host of individual ways for a landscape of vital rock ‘n’ roll.

Stand On Me is the successor to the band’s well-received debut album She and comes via Swiss label Deepdive Records to whom Billy Vincent recently signed. As mentioned its songs are themed around dark times and shadows but also explore the light to be found in the support of others and indeed hope. Co-writers and vocalist/guitarists Billy Barratt and David Vincent talked about Stand On Me before its release, revealing “We thought it important to choose a title that represents the bigger part of the songs on the record, and Stand On Me is one of those reassuring statements that if you’re lucky, someone close to you might say to you when you feel like you’re out of options, letting you know you can lean on them and it’s all going to be alright”. They went on to say, “A lot of these songs are about that, not letting people you care about crumble and disappear with the rain, it’s a positive thing and we wanted to embrace it”.

With the line-up completed by bassist Joseph Kinsey, lead guitarist Adam Roylance, keyboardist Alex Leith, and drummer Dave Rowlands, Billy Vincent open up Stand On Me with Across My Street and a swift caress of guitar and keys spiked by crisp beats. The song soon settles into a vibrantly magnetic stride wrapped in welcoming melodies and equally alluring vocals, they courted by a darker but no less gripping bassline. A southern spice is never far from the surface of the guitar enterprise either whilst an Elvis Costello meets Pretenders air soaks the song to fine effect. Foot tapping and vocal involvement is simply unavoidable as the song offers a masterful start to the album’s persuasion.

cover_RingMaster Review  A country climate blossoms with the following Sleep When You’re Dead but equally a folkish drama and reflection makes a pungent hue in the sultry presence and emotion of the song too. As in the first track, and most to follow, there is a swing to proceedings, even in its slow croon, which just grabs the imagination as forcibly as the heart spawned lyrics. That catchiness is more unmissable in Hell For Leather. Its opening lure of vocals from across the band is like a fanfare, enticing within the mellower but no less lively stroll of rhythms and melody honed hooks. The track reveals itself to be persistently bewitching, like a snarling fusion of Following Foxes and Seth Lakeman which just gets more rousing and vocally incendiary with every passing minute.

Everybody Else is another with a Costello like texture to its melancholic heart whilst Learning To Drink casts a dark acoustically honed seduction which just grows in sound and strength as its reflective narrative becomes more fiercely soulful. There is enthralling adventure to its evolving scenery and creative drama too, providing ears and emotions with a compelling proposal which as great as it is quickly gets overshadowed by the excellent Loveless Man. With bulkier rhythms and a blues bred lilt to its guitar and melodic endeavour, the song sizzles in ears, the vocals similarly inflamed with their emotive declaration for another lingering highlight.

Both the piano lit, forlornly pensive Dark Are My Days and the crestfallen Waifs & Strays wrap ears in Americana ambience and emotional encouragement, the vocals in the latter especially rosy in their glowing harmonies whilst Cheap simply smoulders in sound and emotion. All three with distinct characters uniting to lure thick attention and pleasure to this part of the album do have to bow to the outstanding You, Me, The World though, a rousing eager stroll with a touch of Denim Snakes’ Russell Toomey to its songwriting and vocal expression. The track is irresistible, stealing top song honours so far and setting another lofty plateau in an increasingly impressive encounter.

The country folk contemplation of Black Suits & Dresses embraces more imposing shadows but immerses them in its own light of optimism and warm soulfulness, leaving the rocking Sheriff Cook to bring the album to a thrilling close. From its first breath, discord and warped strings are toying with the appetite before erupting into a southern lined shuffle of enticing rhythms and smiling melodies skipped over by great grit lined vocals. There is a rebelliousness to the song, an open hint of roguishness which ensures every note and beat has the possibility of breaking ranks and sparking mass discordance. It never happens but assists in making the track increasingly bolder and unpredictable to ultimately give Stand On Me its pinnacle.

Americana and definitely country is not a flavour which gets much attention or eagerness in giving it the opportunity to be part of our ever evolving personal soundtracks here, but Stand On Me just engrosses from start to finish, with particular moments which, as the final song, lights a blaze in ears and appetite. Billy Vincent is a band gearing up to a massive future we suggest with plenty of evidence to be found within Stand On Me.

Stand On Me is available from August 28th via Deepdive Records.

Ringmaster 27/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Helene Greenwood – Flat Roof House

H Greenwood_RingMaster Review

You like us have probably never stood back and realised, let alone explored, the mesmeric charm and elegance of elements within the walls and scenery we spend most hours within. London based singer and composer Helene Greenwood has and reveals the” ethereal moments of beauty in the domestic environment” in her forthcoming second album and before it new single Flat Roof House. Bred in the already renowned creative and perceptive fascination which fuelled her previously acclaimed propositions, the new single is a siren in sound and immersion in atmosphere, an aural free spirit of celestial seduction.

helene-greenwood-flat-roof-house-single_RingMaster Review     Composing music since the age of ten, the Dover born Greenwood went on to study with internationally acclaimed singers Nia Lynn and Anita Wardell, and particularly explore composition with John Woolrich whose words “music is made from hundreds of pebbles, and that each pebble has a different idea, and every pebble needs a special colour and quality to it” obviously stayed with and inspired her, as Flat Roof House alone suggests with its kaleidoscopic weave of sonic colour and textures. The sultry summer embrace of debut EP The Break awoke ears and awareness across fans and media to the emerging talent and uniqueness of Greenwood in 2013, with her first album Collectable You later that same year, exploring and revealing even greater evocative depth and imagination in songs devouring the diversity of flavour and texture.

Flat Roof House suggests that Greenwoods second album Exquisitely Hopeless will be certainly an equal to its predecessor’s bewitching enchantment of poetic imagination and adventurous sound, and we suspect probably eclipse it, though one song is just a note in an album’s full tune of course. From its first breath, Flat Roof House is sharing with ears a warm ambience soaked in emotive hues. It is an absorbing entrance which only blossoms as the recognisable hug of Greenwood’s vocals joins the equally expanding croon of keys. Darker strings and skimpy but inviting beats only add to the seducing air of song and its ethereal dream pop laced splendour, and fair to say that in no time ears and certainly imagination are fully lured into a dream state of melodic wonder and brightly haunting radiance. As it progresses, the track and Greenwood almost shed their creative skin as the sun at the heart of the track dissolves into rays of beauty and shimmering majesty for a vaporous sonic finale.

The track is spellbinding and Helene Greenwood a unique creative voice in ambience fuelled music with her entwining of numerous styles and colours, to simply it, so many times breath-taking and inescapably transfixing. It is proven again with Flat Roof House and no doubt will be again in a few weeks by Exquisitely Hopeless.

Flat Roof House is available from August 28th.

RingMaster 27/08/2015

Copyright RingMaster: MyFreeCopyright For more independent exploration check out http://www.zykotika.com/