Cilver – Not The End Of The World

Cliver_RingMasterReview

Some bands and their sound just seem to naturally spark attention and so it is with US based hard rockers Cilver. Over the past three years, the quartet has drawn a wave of increasing interest and support with their sound, success backed by an equally ascending live presence. Now the band is looking at waking up a broader expanse or ears and spotlights with debut album Not The End Of The World. As their sound in general, it is a rousing roar of familiar and distinctly fresh essences and textures creating a commandingly contagious spirit sparking proposition very easy to find a greedy appetite for.

Formed by Romanian born vocalist Uliana Preotu and guitarist Leon Lyazidi, a pair who had already been part of MeTalkPretty, Cilver began in New York in 2013. Within months they linked up with Ron “Bumblefoot” Thal (Guns N’ Roses, Art Of Anarchy) and released debut single In My Head. It and a subsequent EP of the same name the following year, quickly caught the attention of fans and media alike; inspiring eOne to sign them and now release the band’s first album. 2014 also saw Cilver land a spot on Revolver magazine’s Hottest Chicks in Hard Rock Tour alongside bands like Sick Puppies, Lacuna Coil, and Eyes Set to Kill. With a line-up completed by bassist Josh Pillbox and guitarist Ramsey Modiri, Cilver is now poised to spark their busiest and most successful year yet with Not The End Of The World, and a collection of songs seemingly as much inspired by the founding duo’s experiences of being first-generation immigrants and life in the last days of communist rule in Romania as well as the hard journey to the point they are at now.

The album opens with Break Free and quickly has ears and intrigue involved as an opening vine of guitar is swiftly joined by crispy beats and the effect laced vocals of Preotu. A few more eager seconds sees the song in clear view and enticing limbs and imagination with its wall of imposing riffs and thumping rhythms. That initial hook still beckons within the now tempestuous climate and roar of the song with Preotu only impressing more and more with every syllable shared. Major surprises maybe less noticeable within the song but it has the body and spirit bouncing with infectious ease whilst blowing hard with a fresh breath of energy and sound.

Cilver_NTEOTW_Cover_RingMasterReviewThe great start continues with I’m America, the first single from and teaser for the album released at the tail of last year. From the off, the song has a gentle but devilish swagger accentuated by Preotu’s voice, a swing which really catches alight within a handful of seconds as grooves entwine the catchy rhythmic enticement badgering ears. Again there is something thickly recognisable about the track yet an element which seems to only add to the bluesy groove fest of anthemic dexterity and creative tenacity. The song simply beguiles ears and appetite, using the listener’s body like a puppeteer though it is soon outshine by the excellent Headstone, a song with toxic grooves which just seduce the imagination. There is a touch of Sick Puppies to the song but of the three so far, it is the most unique and in turn striking proposal so far with Preotu’s vocals glorious and again almost stealing all the limelight from the superb sonic and rhythmic craft on offer.

Razorblade romps in with creative and physical energy to the fore, a zeal just as open in the darker prowling moments that frequent this ear gripping proposition. With its predacious rock ‘n’ roll lit by a host of fiery hooks and a wonderfully unpredictable invention, the track marks another pinnacle in the lofty creative landscape of the album;  a success emulated by the less invasive and irritable but just as dramatic and compelling Afterlife. Arguably the most lyrically evocative proposal yet on the release with Lyazidi’s keys bringing a haunting and vivacious beauty to the emerging sonic blaze, the song captivates as it reveals more of the diversity in the band’s songwriting and hard rock bred sound.

Rich melancholic strings and poetic keys open up the following power ballad Frozen, Preotu’s presence almost siren-esque in her range of vocal expression and emotive theatre, whilst its successor, It’s My Life, is a growling incitement of defiance and attitude carrying punk irritability to its chest thumping rock ‘n’ roll. Both tracks increasingly incite with every listen, as does the album, though each time they get eclipsed by the soaring roar of Bleed For You. Vocally and atmospherically, the track is a fire of temptation, emotionally crackling as rhythms snap and sonic enterprise flame around the heart bred outpouring of Preotu.

In My Head has the air boiling next, the track as powerful and irresistible as the first time it tempted ears three years back. It’s infectiousness is virulent and confrontation bracing, whilst the imagination fuelling it is rarely surpassed within Not The End Of The World, or indeed other similarly styled releases in recent times.

The album is concluded by the galvanic adventures of firstly Behind These Eyes and finally Not Afraid. The first of the two is a more expectations satisfying encounter but heftily pleasing whilst the closer is as much punk as it is hard rock and a fierce and memorable stomp to close things up on.

Not The End Of The World is an album which leaves you alive with energy and spirit; it might not be the most unique but for a rousing, breathless, and thrilling experience, it and Cilver stand as an unreserved recommendation.

Not The End Of The World is released April 29th via eOne; physically @ http://www.amazon.com/s/ref=dp_byline_sr_music_1?ie=UTF8&field-artist=Cilver&search-alias=music and digitally @ https://cilver.lnk.to/NotTheEndOfTheWorld

http://www.cilverband.com   https://www.facebook.com/Cilver   http://www.twitter.com/cilverband

Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

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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.

art_RingMasterReviewIt 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 Cavemen – Self Titled

The Cavemen_RingMasterReview

With a name like The Cavemen, you instantly give a suggestion of sound and character before a note is flung at ears. Thoughts imagine something raw and primal; a sound stripped to the bone with no concern for niceties and that is exactly what you get in the New Zealander’s self-titled debut album. The Cavemen creates attitude driven garage punk ‘n’ roll which simply stirs up the punk inside and twists it into songs which are as addictively contagious as they are belligerently mischievous.

Formed by a quartet of high school teens, The Cavemen emerged in 2012 after spending “several years of under aged drinking and loitering around the various basements, graveyards and parking lots of their home city.” With their dirty and intrusive sound honed to the virulently imposing height found on the new release, the quartet of vocalist Paul Caveman, guitarist Jack Caveman, bassist Nick Caveman, and drummer Jake Caveman soon began stirring up their homeland’s live scene. That success though was soon facing obstacles which led to the band to looking at moving over to the UK, Paul explaining with the thought, “No bar will have us, no station will play us… We might as well bugger off to the other side of the world.” So now London based, The Cavemen has linked up with Dirty Water Records for the global release of their debut full-length, an album having already ignited eager appetites with its previous limited vinyl release via 1:12 Records.

Think The Cramps and The Stooges meets The Damned, in their early days, and The Ramones and you get a clue to the incitement leaping out from the album’s opener alone. Mentally Ill swiftly has ears and appetite gripped with its brawling lo-fi devilment; guitars and bass creating a swiftly gripping tempting as beats trespass the senses with their antagonistic swing and vocals deliver every syllable in a rabid squall of tone and attitude. Garage rock meets ’77 punk rock, the track is an attention grabbing start to the album instantly backed and eclipsed by the irritable confrontation of Fuck For Hate. Hook and grooves entangle as the song stirs up ear and spirit; vocals egging on the track’s rebellion and discontent as it worms under the skin.

cavemen front sleeve_RingMasterReviewIt too is then over shadowed a touch by the outstanding Stand By Your Ghoul. Straight away the collusion of guitar and bass hooks has lips being licked, then smiling broadly as Hamond-esque keys dance devilishly on the imagination within another handful of tempting seconds. The prime bait reminds of seventies band The Piranhas, or more specifically their single Jilly whilst the bare boned roar of the track manages to come over as something between The Dirtbombs and The Horrors in their early days.

The album’s punk driven rock ‘n’ roll continues to seriously involve and excite body and spirit as the fifty scowling seconds of Scumbag leads to the minute and a half invasive seduction of Rides With The Reich. Barely a track goes by without escaping the two minute mark, a short sharp riot approach which does not stop songs like this also uncaging the most contagious of hooks and swaggers within senses bracing tempests of multi-faceted punk rock.

Rock ‘n’ Roll Retard bristles and romps next; wearing its old school punk nature as sonic belligerence before At The Pub barges in with its gang mentality punk ‘n’ roll. Again there is little resistance from feet and vocal chords as participation to yet another song from The Cavemen is inescapable; a submission given time and time again to its persuasion and to brawls like Fucked In The Head and Drink Driving. Again that garage rock flavouring creates great flames of eventful contrasts in the creative truculence stirring up ears, the second of this pair managing to find an oi! like challenge to get even greedier over too.

The limb throwing swagger of School Sucks offers a fractious anthem next whilst Crimes Tonight squeezes some power pop revelry into its sixties/seventies infested rock ‘n’ roll; a fusion of flavours casting something that is The Sonics meets The Saints like. Both tracks, it goes without saying by this point in the album, has the body bouncing and emotions defiant, the latter aspect even more so with the dirty Motorhead tinged rock ‘n’ roll of Glass Breakfast.

The album closes with the irresistible furnace of Trash Talkin’ Paint Huffin’ Girl, a final fevered stomp of incendiary punk and rock devilry as raw and primitive as it is ferociously galvanic. It is a rigorously boiling end to a thrilling blaze of rapacious rock ‘n’ roll from a band which sparks a new flame, song by song, in the bushfire of pleasure which runs through album and its thorough enjoyment.

Time to free the primitive in us all with The Cavemen!

The Cavemen album is released via Dirty Water Records on April 25th @ http://www.dirtywaterrecords.co.uk/shop/ and digitally @ https://thecavemennz.bandcamp.com/

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Pete RingMaster 25/04/2016

Copyright RingMaster: MyFreeCopyright

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BoneHawk – Albino Rhino

BONEHAWK_RingMasterReview

Having already been gobbled up in as a limited vinyl release through Hornacious Wax Records in 2014, Albino Rhino from US heavy rockers BoneHawk gets its official CD release via Ripple Music, who the band recently signed with, this month. Already preceded by single/video Los Vientos, as part of the label’s Second Coming Of Heavy series but not actually on the album, the band’s returning debut album is an invitation and wake call to those yet to discover the melodic and groove woven rock ‘n’ roll of the Michigan quartet.

With its seeds already sown when guitarist/vocalist Matt Helt and guitarist Chad Houts first met and bonded in third grade at school in Kalamazoo, BoneHawk emerged in 2011 after the pair played together in various projects over the years. With bassist Chris Voss alongside Houts and Helt who also provided drums, the trio set about recording Albino Rhino with Jim Diamond at Ghetto Recorders in Detroit. In less than two months the first run of vinyl was sold out whilst, with drummer Jay Rylander and bassist Taylor Wallace by now alongside the founding duo, BoneHawk was being devoured on their local live scene. A second ‘Ultraviolet Purple’ pressing of the album followed and either sparked the attention or came about through the attention of Ripple Music boss Todd Severin. Whichever the line of events, it has led to the CD availability of Albino Rhino, a release which maybe did not blow us away but certainly has sparked persistence in returning for more helpings of the band’s riff loaded and groove strapped persuasion.

Inspirations for the band seem to stem from the likes of Iron Maiden, Thin Lizzy, Led Zeppelin, and Black Sabbath; the latter certainly and quickly an open influence and hue to Albino Rhino. It opens with Argenia and straight away grooves are enjoyably entangling ears as the bass almost dances on the ear with its throaty tempting. Beats have a hefty swipe to their touch too whilst riffs and the harmonic tone of the vocals, singular and as a pair, bring further magnetism to a quickly and highly infectious song. The blend of dark and melodic, heavy and light grabs the imagination with ease, contrasting as potently with the more intensive touch of the rhythms as the song continues to captivate and impress.

art_RingMasterReviewThe following Sexy Beast is just as swift a persuasion; its sizzling air immediately coating the senses with an appetising coaxing, almost echoing the fiery textures which coloured its predecessor before casting its own spicy flames in a prowling gait. There is a great delta blues like tone to the track and especially its rich melodies and emotive tone, but as shown in the first track and becomes repeated throughout Albino Rhino, things never seem to hang around in one shade of sound or imagination for long. Hot Mary is the same; the song evolving an initial heavy stroll with a juicy blues scent to its grooves through catchy swings of beats and riffs matched in infectiousness by the ever engaging vocals of Helt.

Weaving a seventies heavy rock vibe, Tonight We Ride steps up next, keeping the listener’s physical and vocal involvement as busy as ever whilst Warchild is like a net of appetite trapping grooves and stoner-esque temptation. Sometimes it takes a band like BoneHawk to make ears remember how close many genres are to each other, how they are a one-step evolution from another and the relative pointlessness of tags in so many ways. The song is a festival of flavour even in its generally reserved and slim body; a paint box of rock ‘n’ roll colours especially vibrant in its furnace of a chorus and additional crescendos.

Ulysses puts in its claim for best track honours next, the song a feisty and ears blistering stomp of individual craft and anthemic tempting quickly followed by the dirtier, almost sludgy theatre of Desert Run. Its rugged landscape is sultry and almost imposing but with its cow bell and searing tendrils of melodic acidity alone, its creative body is just as welcoming as anything on offer by the album.

There is a whiff of Pentagram to Nomad which next takes over and envelops ears in a tangy melodic smoulder with again grooves which seem to writhe and entangle with snake like dexterity as rhythms cage and provoke even stronger physical engagement. There is an instinctive bond between song and listener which is never absent from any track within the album and certainly not the closing pair of the virulently swinging Going Over The High Side and the closing title track of Albino Rhino. For almost eight minutes, the final encounter fascinates and enthrals with its individual drama of sound and accomplished craft sculpted with stirring imagination. In many ways it is the most unique song on the album and a potent end to the spirit rousing encounter.

We look eagerly forward to what comes next from BoneHawk; going by Albino Rhino it is likely to be weighty and seriously alluring. Add a little more originality and the band could kick up a real storm of attention around themselves to build on what will assumedly arise from this highly enjoyable re-release.

Albino Rhino is released on CD on April 22nd via Ripple Music across most stores and downloadable now @ https://bonehawk.bandcamp.com/album/albino-rhino-2

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Pete RingMaster 22/04/2016

Copyright RingMaster: MyFreeCopyright

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She Drew The Gun – Memories Of The Future

she drew the gun_RingMasterReview

Fronted by and centred round songs inspired by the real life experiences of Louisa Roach, She Drew The Gun is a proposition easy to get physically and emotionally involved with, especially with debut album Memories Of The Future leading the way. The eleven track release is a romance of evocative sound and insightful word wrapped in the most delicious melodic and harmonic temptation. It is also a collection of songs unafraid to embrace shadows of the heart and life in its often wistful but always mesmeric weave of voice and sound.

The Wirral hailing She Drew The Gun sound lays somewhere between dream pop and folk punk, the former the predominate hue in the project’s unique proposal. It is a sound and certainly style honed by Roach through her early days performing at open mic events and various acoustic shows. The linking up with percussionist Sian Monaghan added another depth and shade to her music which soon after found eager support from Steve Lamacq. With bassist Jack Turner joining up, the trio received an invitation to perform a BBC introducing live session at Maida Vale last year which was backed by numerous acclaimed underground releases, all leading to the creation and unveiling of debut album Memories Of The Future. With the line-up since completed by keyboardist Jenni Kickhefer, a jump to 2016 sees a year looking like being a major event in the emergence of the band led by the release of  the James Skelly (The Coral) recorded album’s and new adventures into the UK live scene, not forgetting that She Drew The Gun has just been announced as winners of the Glasto ‘Emerging Talent’ Competition.

Memories Of The Future opens up with Where I End And You Begin, a gentle swing of a song with fuzzy air and the instantly distinctive tones of Roach enveloping ears with seductive prowess. Harmonies only add to the coxing as rhythms add their slightly darker but no less forceful touch. There is a bit of fellow UK band Horse Party to the song but quickly it shows itself an individual as Kickhefer’s keys lay a tender evocative breeze upon the senses and an imagination already stirred by Roach’s lyrical charm.

art_RingMasterReviewThe excellent start continues with the similarly magnetic Since You Were Not Mine, a siren of melodic and harmonic enslavement from band and Roach. For indefinable reasons, and as its predecessor, there is something familiar about the song but nothing easy to pin down as it has thoughts and body swaying to its poetic waltz before If You Could See takes over charming ears with its slightly darker emotion and more haunted ambience. Spatial yet intimate, the song finds increasing zeal in its gait and catchiness without ever hitting anything beyond second gear, a restraint which bewitches as potently as the wash of melancholic beauty serenading ears.

From its opening rhythmic shuffle Chains has feet in eager movement with hips, increasingly so too as its infectiousness roams the low key but open drama of rhythmic and electronic enterprise as vocal captivation plays. The song is an enslaver of body and appetite, as too the following Pebbles with its acoustic hug where Roach steals attention from the world with voice and guitar. It is a success she constantly repeats as in the jazz and folk scented What Will You Do. It is a glorious enchantment that quickly and increasingly seduces the passions especially with its touch of  creative theatre which reminds of Gabby Young & Other Animals but also in its relaxed but virulent tempting too. The track is just another triumph in an already lofty range of such and joined straight way by Poem where voice and word command attention as around them guitar and keys provide an equally provocative climate; this time Young Marble Giants being sparked as a relatively close hint to its majesty.

A pulsating resonance echoes across the sounds of I Am Not Alone next, the song a hypnotic pop croon as emotive as it is infectiously compelling, whilst the following Be Mine takes ears into another acoustic romance courted by the romance of stringed and key spun shadows aligned to rhythmic drama. Both tracks put a hex on the senses, inciting rapturous smiles in return for their unique endeavours before the rawer tenacity of Pit Pony takes the album into another enjoyable twist of imagination with its Red Blood Shoes tinged pop ‘n’ roll which has the body bouncing and appetite greedier still.

Closing on the warm solemnity of Or So I Thought, voice and keys an emotive ‘psalm’ for the senses, Memories Of The Future leaves ears and pleasure basking. It is a spellbinding collection of tracks bred from songwriting which seems to instinctively connect with the listener. The buzz around She Drew A Gun has been feistily brewing in past months and now it is very easy to see and hear why; with even greater things surely yet to come the way of the band and us.

Memories Of The Future is released April 22nd via Skeleton Key on CD, vinyl, and download across most stores.

Upcoming Live Shows

APRIL

22 YORK – The Fulford Arms

24 GLASGOW – The Hug & Pint

26 BRISTOL – The Louisiana

28 LONDON – The Victoria

29 LIVERPOOL – Buyers Club

30 BIRMINGHAM – The Sunflower Lounge

http://www.shedrewthegun.com/   https://www.facebook.com/SheDrewTheGun   https://twitter.com/shedrewthegun   https://www.instagram.com/shedrewthegun

Pete RingMaster 21/04/2016

Copyright RingMaster: MyFreeCopyright

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

The Machismo’s – Share One With A Friend

TM's_RingMasterReview

At times listening to Share One With A Friend, the new album from The Machismo’s, it is hard to decide whether it is a kaleidoscope of its author’s talents and imagination or a bedlam of the same. It is one of the most eclectic and unpredictable escapades you could wish to be confronted with and one of the most inescapably enjoyable.

The album consists of fifteen one of a kind slices of creative exploration and mischief, and the first new songs from the band in eighteen years. Its sound ranges from indie and alternative to punk and noise rock with experimentation at every turn. The band itself probably described their music and release best via their Facebook page where it says they are “Putting the Punk and the Weirdness back into Indie.” with “Now includes added poetry….” as an extra essence. It is a suggestion that they certainly live up to within Share One With A Friend.

The band itself is the brainchild of Sam Marsh, once of the compelling and irresistible Jacob’s Mouse. Initially a solo project, The Machismo’s formed in 1995 and recorded two full albums in Sam’s home cassette portastudio. Recruiting additional members for their live exploits, the band never really exploded into serious action though and disappeared with many recordings put aside unreleased as Sam moved onto other projects. Almost two decades later though, he relooked at those songs and releases that lay awaiting attention and realising their quality and worth, released the 1996 recorded debut album Good Things About To Happen in 2013 whilst also reviving the band with Rachel Marsh and Karly Stebbings. The album was a striking invitation for those of us missing the Bury St Edmunds hailing band first time around to explore, and it seems a spark for Sam himself to push The Machismo’s on with new zeal in what is a very exciting music scene within his home town right now. As mentioned, Share One With A Friend offers the first brand new tracks from the band in a long time whilst equally offering reasons to suggest that The Machismo’s is one of the most compelling propositions within the British music scene, past and present.

The album opens with the warm and fuzzy indie pop of The Loveliest, the song a sizzle of melodic guitar jangle and robust rhythms around the expressive tones of Sam. It has an echo of the tracks within that debut album as a raw and unfussy elegance captivates as potently as the catchy swing of the song. It is a straight forward start, in comparison to things to come, and an alluring one with its additional folkish hues before the unpredictable tango of Vrrrm! takes over. Beats throw their agitated lures all over the place from the start, though finding more restraint as punkish flames of guitar align with the great dual vocal persuasion. The further ears get into it, the more volatile and thrilling things become; all the time a debut album era Squeeze essence adding to the off-kilter indie punk attraction of the song.

cover_RingMasterReviewThe outstanding Collapse To Be Rebuilt grips ears and imagination next with its garage punk infused punk ‘n’ roll. With an addictive swagger as riffs and rogue voices add their unconventional roars, the Iggy Pop meets Pere Ubu like stomp has ears and body bouncing, and an already awoken appetite licking its lips and greedy to indulge in the following dark theatre of Bad Dreams.  Straight away a grumbling static storm crowds and rumbles around vocal poetry as a single slim guitar melody adds its own melancholic emotion to that of the vocals within the thickly compelling piece.

It is hard not to think of Jacob’s Mouse a little as the sultry sway and bewitching climate of When You Know It’s Real seduces ears next, its bulbous rhythmic swing the spine for flirtatious melodic vocals and the percussive imagination making equally irresistible advances within the excellent track. It has a brilliance of presence and fun which is emulated instantly by the punk devilry of Rise Again. Snarling guitars opens up and a flirtatious noir lit hook pushes on the irresistible encounter; the latter swiftly joined by the swinging vocal persuasion which as much as anything urges hips and spirit to get involved. Twanging bass groans, sonic sighs, and ear clipping beats only add to the smile inducing adventure of drooping hopes and their Viagra crafted resurrection; whilst the combined festivity of all creates one of those moments that only lingers.

Through the likes of the muggy aired and sonically bracing Should Recognise and in turn the folkish canter of Plastic Surgery, with Sam again leaning on his poetic craft as much as his musical prowess, band and album surprise and enthral, using the following Belvia to stir up an even stronger hunger with its scuzzy pop punk trespass. It has an old school punk tone to its rapacious character and energy too, a hue which only adds to the dirty and inviting bait rushing through ears.

Post punk meets indie discord is maybe the best description for the ear grabbing, pleasure giving lo fi stroll of Gotcha!, bands like The Three Johns and Swell Maps coming to mind for certain essences of the song. To be fair though, any references are hints to portray the individuality of song and The Machismo’s free and rebellious experiments of sound and imagination which continue to evade expectations with the folk laced croon of A Better Man and the addiction forging shuffle of The Storm. Like The Jazz Butcher meets Mark E. Smith but not, the latter track is manna to ears and passions; the kind of stripped back rock ‘n’ roll with a grin in its heart that all music should be bred from.

The album concludes with the trio of firstly, the melodically salty and slightly Cajun scented However Nice You Are, There’s Always Someone Who Think’s You’re A, the Pixies-esque garage punk rumble of Class A High, and finally the nursery bred and chimed ingenuity of Machismo’s 4 Tha Kids!; all three songs offering yet more fresh twists in the album’s tale to feel stimulated and refreshed by.

The Machismo’s is not exactly a new band but their presence and invention within the album feels like something that is, which of course the album’s songs are.  So if you are looking for the unconventional but something damn good too, then go Share One With A Friend.

Also worth noting as treating yourself with is The Poets Pendulum: Is It Good Or Is It Shit?, an album of Sam Marsh’s poetry which he has been bringing to the band’s live shows for quite a while to eager responses. Both albums are available as Name Your Price Downloads @ https://themachismos.bandcamp.com/album/share-one-with-a-friend with Share One With A Friend also available on very Ltd Ed vinyl.

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Pete RingMaster 21/04/2016

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