Colony House – When I Was Younger

Colony House new pic_RingMaster Review

Recently US indie rockers Colony House released their first UK single in the feisty and captivating shape of Silhouettes to coincide a host of live dates across Europe with Ohio quartet Walk The Moon. Fair to say a healthy buzz was bred and earned by both the shows and the single which was taken from the band’s debut album When I Was Younger; a fuss easy to expect leading to further potent success this side of the pond with the assumed release of the album here too.

Hailing from Nashville, Colony House was formed by Caleb and Will Chapman, the sons of Contemporary Christian pop superstar Steven Curtis Chapman, with Scott Mills who the pair met through a cousin. Initially called Caleb, the band switched to the name of Colony House in 2013, continuing to work on their first album which they began in 2012 and completed that following year. Its songs are a bold and openly intimate look at issues and experiences observed and felt by the band, the accidental death of the brother’s 5-year-old adoptive sister Maria Sue in 2008 one such tragedy. Their songs, as shown by the album, also explore a hope and understanding within the raw elements theming their bodies, their sounds similarly nurtured to accentuate and emphasize their themes with rich success.

artwork_RingMaster Review     The new single opens up the album and swiftly has ears enticed and gripped, Silhouettes swinging in with energetic rhythms and jangly guitar within a warm atmosphere led by the potent vocals. There is an instant familiarity to the sound of the song, nothing specific but recognisable hues welcoming an appetite for vibrant pop rock. It also comes with a thick drama and magnetic virulence, the song bridging melodic intimacy and rousing incitements with a stirring quality that soaks the album throughout as shown by the track’s successor Second Guessing Games. Again hearty and gentle caresses with a catchy intent lead into boisterous exploits with matching infectiousness, their persuasions alternating and entwining across the dynamic swing of the equally impressing track.

Variety is a constant across When I Was Younger too, the sultry and persistently revolving mix of electronic imagination and indie seduction colouring Caught Me By Surprise and the shadowed eighties toned theatre of Roll With the Punches quick evidence. Both of the excellent encounters steal attention with ease, the second especially compelling within its China Crisis meets Editors like weave of emotive melodies and immersive atmospherics around the ever impressing vocals and craft of the band.

There is a touch of UK band The Sea to the Colony House sound, an element hinting throughout but especially coming to mind within the tenaciously resourceful Keep On Keeping On, one of many tracks which just linger in the memory with its gentle but inescapable hooks and a wonderfully unpredictable imagination merging tender elements with fiery textures and emotional intensity. There is also a natural roar to the song and many of its companions which you can easily visualise being a potent force live, the album, we are assured by those in the know, a strong reflection of the band’s rich energy and power on stage.

Through the lively and heartfelt croon of Waiting for My Time to Come and the bluesy tonic of 2:20, band and album continue to enthral and offer spicy variations, the surf rock lined exploits of guitar in the second of the two especially invigorating before Learning How to Love lowers the intensity with its melodic romancing of the senses. It is a potent caressing which still has a rhythmic agitation to keep an eye on, one sparking increasing volatility as the song grows into its smouldering bellow of melodic temptation without breaking its controlling reins.

Through the acoustic serenade of Won’t Give Up and the evolving energy and creative landscape of Moving Forward, satisfaction and enjoyment is full even if neither quite lights the fires as forcibly and long term as earlier tracks or as constantly in the case of the latter. Glorious has a similar success, making a heavily pleasing and increasingly magnetic companion with every listen but not leaving the same seeds to entice an urgent return as say Silhouettes or Caught Me By Surprise.

The album closes out with Lose Control, another skilled theatre of sound and expression weaving in melancholic strings, dramatic rhythms, and the ever bracing mix of melodic and vocal heart. It is an anthemic end to an excellent introduction to the UK of Colony House, and easy to see why they are a healthily devoured proposal back home.

We have no details of the UK release of When I Was Younger but it seems it is on the cards with Silhouettes a more than exciting teaser worth big attention.

The UK and US releases of Silhouettes and When I Was Younger respectively can be found through most online stores.

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

Pete RingMaster 16/12/2015

Copyright RingMaster: MyFreeCopyright

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The Tuesday Club – Boo Hoo EP

 

_RingMaster ReviewTTC

With the release of the Boo Hoo EP, The Tuesday Club has completed the release of their new album in fine style. The last in the quadrilogy combining to create the band’s 4 x EP Box Set second album, the ‘Heart’ section of the release presents three tracks as ever soaked in the UK band’s unique creative devilry. It is arguably the most diverse of the four EPs and in many ways the most low key yet it easily incites another greedy reaction in an ever keen appetite for the mischievous punk ‘n’ roll devilment of the Walmington-on-Sea hailing ‘concert party’.

With the trio of My Consciousness, Forbidden Kiss, and the freshly released Lady Gargar EPs having already stirred up attention and imagination for the fully body of the album, their releases backed by the band’s ever ravenous live presence around the country, the final piece of the captivating jigsaw gets the job done with its title track alone. Boo Hoo walks in with the recognisable Tuesday Club swagger and bullish mischief that has always fuelled their songs and releases since emerging back in 2011 wrapped in the echoes of the infamous home guard of their town and the in your face zeal of seventies punk. Over time the band’s sound has only evolved, taking on vaudevillian hues to go with its imagination as evidenced potently within that first song on the EP. Guitars and beats make the first temptation, bass a quick second, all leading to the distinct vocal tones of Andreas Vanderbraindrain whose entrance only inspires more revelry in hooks, riffs, and the warm mist of keys. As ever there is a whiff of bands like early Adam and The Ants and Albertos Y Los Paranoias to the romp, though to be honest body and soul are physically and quickly locked in to the swing and antics of the track to spend too much time contemplating comparisons.

BooHooEP4_RingMaster Review    The track is typical Tuesday Club, a glorious enticement to get bold with before Beat Oven takes over. Handclaps line the way for a subsequent sultry guitar which in turn wraps the vocals of Vanderbraindrain and presumably The Minx who sadly left the band recently but we are assuming was in the thick of the recording of the new EP first. With a catchy but subdued sway, the song strolls along sharing its infectious chorus and gait, a tempting again hard to resist getting involved in. There is also an initially undefined familiarity to the lure of the song, especially in its chorus, which is revealed somewhat when the band breaks into a sample of Tainted Love to wink at and tease the listener. It is an alluring encounter if without the spark of its predecessor.

The release is completed by the wonderfully dour but magnetic prowl of Greyer Shades, its melancholic air and melodic post punk like imagination at first captivating and over time simply compelling. It has a stark design reminiscent of Wire, a melodic sparkle and psych rock resonance similar to XTC, and a rhythmic and vocal seduction carrying the healthy scent of The Fall or Young Marble Giants to it and though it takes its time to fully convince, by the end of the first listen and definitely the second or third, Greyer Shades gets right under the skin to ultimately stealing the passions.

The album is done and all out there igniting and corrupting ears and hearts with relish; Boo Hoo completing and summing things up nicely. If The Tuesday Club is already your cup of earl grey then the new EP is another must have along with its counterparts but if new to the band’s notorious off-kilter punk ‘n’ roll temptation it is time to enlist with the Boo Hoo EP the call up card.

Boo Hoo, as all the other EP’s, is available now @ http://thetuesdayclub.tmstor.es/cart/product.php?id=27053

https://www.facebook.com/thisisthetuesdayclub    http://thisisthetuesdayclub.co.uk/

Pete RingMaster 16/12/2015

Copyright RingMaster: MyFreeCopyright

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Markradonn – The Serpentine Deception

Markradonn Serpentine Deception EP cover_RingMaster Review

Whether calling the Markradonn sound experimental death metal, brass death metal, progressive death metal or any other variation of its invention you wish to describe it as, and all potently applicable terms, the broad brush is that it is one truly unique proposition igniting ears and the imagination. Real and bold originality is a relatively scarce commodity in the music world let alone metal scene right now it seems but the Florida hailing Markradonn is one of those creative protagonists wearing uniqueness as openly as craft and invention. The band’s acclaimed 2013 debut EP Final Dying Breath revealed the rich potential and fiercely imaginative songwriting/composing fuelling the conspicuous sound of the band and now its successor The Serpentine Deception takes it all to another striking and mouth-watering level.

Markradonn is a death/extreme metal band, that is their heart but with its live brass section and similarly bold timpani temptation to simplify the rich flavours and textures woven into their music, they create an emotively dramatic and creatively dynamic proposal unlike anything else out there. As suggested, The Serpentine Deception finds the band exploring their most imaginative work yet. The EP’s tracks reveal more intricacy in their design and sound, a fiercer roar in their bracing confrontation, and thicker intensity in their atmospheric lures, a new evolution in an already fluid sound making a thick impact straight away.

Initiation Through Torment opens up The Serpentine Deception; a cinematic/vocal sample coaxing ears and attention as a portentous whisper skirts the background. In a matter of a few more breaths, the stirring resonance of rhythms and warm swipes of brass unite as a similarly potent predation is uncaged by guitars and the dark rasping tones of vocalist/guitarist/songwriter Haniel Adhar. The blend instantly swamps ears in drama and intrigue, their contrasts colluding in an inviting yet ravenous consumption of the senses. It is a stirring and compelling incitement, the light and almost celebratory blaze of brass, as well as the timpani led rhythmic swing, merging with the dark predatory blackened death honed textures cast through guitar, bass, and voice. There is a feeling of coming of age in the tone of the track too, its protagonist journeying through the song’s title with celebration and tempestuousness around them.

Already hooked, body and imagination is swiftly and fully engaged again as the rhythmic entrance of NIN.GISH.ZI.DA God Of The Tree Of Life draws the listener into a jazzy web sculpted in the embrace of a primal and deviously tempestuous sound. The tapestry crafted is fascinating, a seamlessly and inspired fusion of conflicting elements which leave thoughts as bewildered as they are bewitched and ears eagerly trapped within the hellacious waltz.

The EP’s title track is equally spellbinding; the instrumental a shamanic visitation upon body and emotions as tribal rhythms and the raw tonal call of a didgeridoo magnetically involve the listener in atmospheric adventure. There is a great essence of shadow hued distortion to the track too which shows its ingenuity in brief but masterful glimpses. As meditative as it is evocatively invasive, the outstanding track makes way for The Veil Of Negative Existence Part 1- Ain, Nothingness; an instinctively infectious trespass with its own individual bedlam of resourcefulness and dramatic virulence. There is a touch of Trepalium to the track, a vague scent in the cosmopolitan yet melodically intimate weave conjured by Markradonn, which in turn is walled in by a blackened causticity soaked in rancorous imagination and veined by Adhar’s enticingly cancerous tones. The track is a labyrinth of simultaneous seductive and venom, an invigorating intrusion leaving bodies swinging and appetite inflamed.

Closing instrumental Stillness, Silence Of The Primal Mind is a gentler tantalising of the senses, a sonic travelogue of emotive scenery in an aural landscape painted by melodic guitar and melancholic brass. An immersive flight to which thoughts are given the freedom to cast their own poetic narrative, it brings the release to an enthralling end, well until pressing that play button again which is the instinctive next move.

Working towards the release of their debut album Ceremonial Abnegation Part 1: Excoriation Of The Flesh, Markradonn is one of the true fresh breaths in metal, from its underground to its broadest landscape. As for The Serpentine Deception, that is simply a must investigation for all with the heart for real and rewarding adventure.

The Serpentine Deception EP is available in association with Bluntface Records from December 15th through the band’s GoFundMe page where news of the album and details of a DVD, which will have a collection of performances, a full show with multiple camera angles, and clips from production videos and practices can also be found.

Recording Line-up for The Serpentine Deception:

Haniel Adhar: All Guitars; Vocals

Tim Carter: Drums and Percussion

Jonathan Gabriel Katz: Timani and Concert Percussion; Drums

Richard Blankenship: Principle Trombone and Brass

Dennis Bottaro: 6 string bass, Didgeridoo , Hand Percussion, Guitar

Drew Prichard: Cimbasso; Tuba

Robin Sisk: Tuba

Danny Rowland: Tuba; Euphonium

Austin Kinard: Trumpet and Brass

Gavin Pritchard: Hand Percussion

Nicholas Weaver: Fretless bass, French Horn, and Trumpet (Live)

Beka West: Euphonium, Trombone (Live)

Allen C Raia: Rhythm Guitar (Live)

Jesse Hudson: Vocals and Trombone (Live)

https://www.facebook.com/Markradonn  https://twitter.com/Markradonn

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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

Scarlet Echo – Emergency Exit

SE pic_RingMaster Review

Every now and then a band comes along and just grabs attention by the balls with an almost knowing instinct on what the passions go for. For us UK quartet Scarlet Echo is such a proposition, and though their new single Emergency Exit is just one song from an album yet to be heard here, it and the band have quickly given a keen to be greedy appetite one thrilling poke.

Formed in 2012, the Essex hailing Scarlet Echo has earned a strong word of mouth reputation through their live presence and compelling sound, a buzz reaching us well before a note was heard. The past couple of years or so has seen the band share stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, The Buzzcocks, The Hoosiers, and Department S, and it is the latter in their early days which new single Emergency Exit brings to mind in some ways.

Taken from An Exact Portrayal of Nothing in Particular, the band’s debut album, Emergency Exit instantly splatters ears in inviting melodic drops cast by the guitar. They are quickly joined by the dark throaty temptation of the bass, it in turned courted by the excellent and diverse vocals led by Hannah. The jangle of her and Jamie’s guitars continue to coax and excite as the rhythmic shadows sprung by Miles and the swinging beats of Alex bring further irresistible bait. There is a definite eighties hue to the post punk meets indie rock contagion seducing ears and the imagination, with that colouring of Department S, their early singles especially hinted at, coming to mind as the song hits its dynamic stride. Also though, the melodic prowess of The Passions is reminded of by the single and the darker tonal might of Au Pairs and Horse Party, a band also exciting the now, comes to thoughts too as the track continues to transfix and thrill.

Ultimately though, the outstanding Emergency Exit with a matching video, breeds a character and addictiveness solely Scarlet Echo sculpted with a need to explore their album growing in its wake, and with increasing impatience after every listen.

Emergency Exit is available now, as also An Exact Portrayal of Nothing in Particular, via iTunes.

https://www.facebook.com/scarletecho   http://www.scarletecho.co.uk   https://twitter.com/scarletecho

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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

Bells and Hunters – Modern Witch’s Songbook Vol I: Fairy Tales

Bells and Hunters - Modern Witch's Songbook Vol I- Fairy Tales - cover_RingMaster Review

Hailing out of Washington DC, Bells and Hunters recently recorded their debut album Modern Witch’s Songbook and has set about revealing it to us all via three instalments. The first part comes in the new and suitably titled EP, Modern Witch’s Songbook Vol I: Fairy Tales. Consisting of four tracks revelling in the diversity of sound and imagination which the band’s fans already heartily embrace, the EP is a captivating introduction for the rest of us to the Bells and Hunters temptation.

Bells and Hunters began in 2008, formed by vocalist Kelliann Beavers and vocalist/guitarist Keith Fischer who united through “a mutual love of creativity, song writing, and Jeff Buckley.” In no time their emerging eclectic sound enticed ears; its fusion of folk, blues, and varied decades of rock stirring up attention, as shown by debut EP The Static Sea in 2010. Three years later the band released their acclaimed first album Weddings and Funerals, though the next horizons of the band almost saw it all come to an end as members relocated to other cities across the US. Instead Beavers and Fischer called on long-time friends in drummer Guido Dehoratiis, guitarist Joe McMurray, and bassist Avi Walter, to be replaced later by Eric Putnam, to complete the new line-up.

It is fair to say that the Bells and Hunters sound has been in constant evolution across its releases but Vol I: Fairy Tales shows the biggest step through its quartet of offerings, a trait to be presumably continued across the remaining parts of the album ahead. Opening with Bruises, the EP quickly grips ears and appetite with the song’s fiery start veined by great spicy grooves with a touch of Rocket From the Crypt to them. Led along by thumping beats and eager riffs, those grooves and indeed song soon have hips swinging and attention quickly on board, even more so as the similarly tangy tones of Beavers show their magnetic lure. The track continues to stomp and invention romp with infectious enterprise and anthemic energy, those early hooks still perpetual bait within the controlled yet rousing character of the Morningwood meets Martha and The Muffins like persuasion of the song.

Warm and vibrant Keys bring the following Mexico into view next, the engaging entrance springing into a busier blues rock toned canter led by the vocals of Fischer this time around. Again rhythms are a pungent enticement, bold and firmly offered as the guitars spin a spicy sonic web courted by the rich addition of Beaver’s dark siren-esque vocal backing. Sultrily tantalising, the song makes a compelling proposal more than matched by that of Lady Luck. Again sticky blues air and melodic flames colour a flavoursome stroll, though a dark country spicing adding brings new ripe hues to the seductive shadows and evocative breath of the fiery croon.

The EP is brought to an end by the electronic tempting of Fairy Tails; a song merging eighties synth pop and nineties indie rock in an electro romance. It is a hug further enhanced by the primal bass resonance rumbling within the ethereal and increasingly muggy embrace of sound and vocal seducing from within the song. Reminding of Young Marble Giants in some ways, it is a mesmeric conclusion to a great first taste for us of Bells and Hunters.

The second part of their new album is released February 2016 and anticipation for that, thanks to the thoroughly enjoyable Vol I: Fairy Tales, is already impatient in us and a great many more.

Modern Witch’s Songbook Vol I: Fairy Tales is out now and available as a name your price download at the Bells and Hunters Bandcamp profile.

https://www.facebook.com/bellsandhunters   http://www.bellsandhunters.com/   https://twitter.com/bellsandhunters

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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

Fins A Luminous – Setting Souls/Funeral Shake

cover_RingMaster Review

The introduction made to us by Fins A Luminous when making us aware of their new single was “We are UK music makers Fins A Luminous and we make music that combines dark electronica, mind-bending soundscapes and hypnotising vocals.” That just about sums up all the info available about the project but more importantly also the style and impact of their music as evidenced by the double A-sided single Setting Souls/Funeral Shake. Each track is an individual adventure of evocative electronic and emotive exploration which, though one song connects with personal tastes more than the other, leaves the imagination and pleasure revelling in the immersive prowess of the music.

Setting Souls is a fusion of house inspired electronics and melodic expression with shadow wrapped vocals a potent temper and contrast. There is an eighties hue to the track early on, a whiff of bands like Heaven 17 and Associates emerging before darker shades and repetitive enterprise emerge carrying hints of later decades and electronic diversity. From a good first impression, the song becomes a potent grower, making a bigger persuasion with every listen though each time it still gets eclipsed by its companion.

As expected the tone and atmosphere of Funeral Shake is a darker exploration living up to its name in tone and atmosphere; the gothic air and crawling melodic suggestiveness a haunting funereal romance on body and thoughts. It carries an intimacy in its vocal reflection and melancholic sound which counters the wider ethereal atmosphere of its compelling spatial soundscape. Again the track is a fascinating blending of contrasts and irresistibly mesmeric as it smothers ears in emotively thick and immersive electronic smog, its lingering success breeding a needy compulsion to hear more.

Funeral Shake certainly stole the show with a personal appetite and inspired hopes it was a reflection of the core direction of the Fins A Luminous imagination, but then again Setting Souls was more than a small part of the enjoyment found in the single so something similar for the band’s next release would not see a turning up of the nose either.

Setting Souls/Funeral Shake is out now as a name your price download at the Fins A Luminous Bandcamp profile.

https://www.facebook.com/finsaluminous   https://twitter.com/finsaluminous

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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Raptor King – Dinocracy

PROMO BAND RAPTOR KING _RingMaster Review

     Raptor King is a French band which going by their backstory, and tale within their new release, consists of Raptor V, a dino king from the cretaceous era which ended up in 2015 via a temporal gate, becoming trapped in the western suburbs of Paris within Boulogne-Billancourt. Determined to conquer this new world, he enlists two acolytes in guitarist Nightsmoke and drummer Don Coco. Removing the story from the facts we are left with little more to say on Raptor King except, and the most important thing to add, that they create one forcibly stirring and compelling sludge metal roar with plenty more to its voracious and thrilling incitement. There are raw expulsions from hardcore to thrash, heavy rock to well any kind of predatory sound you wish to think of involved in the hellacious Raptor King confrontation too and as proven by debut EP Dinocracy, it sets ears and emotions ablaze.

The band’s music is a bruising and rousing mix of familiarity and fresh creative emprise, all rolled into a sonic animus which chews on the senses whilst treating the passions to metal seeded punk ‘n’ roll anthems easy to get swiftly and fully involved with. The proof is right there with the EP’s opening track Da Fuck Where I Just Lend, and only becomes a stronger convincing and ferocious evidence with each passing encounter. The first track instantly entangles ears in a web of sonic enticement with a warped nature, the guitar wrapping the senses in spidery grooves as skittish as the rhythms around them. Raptor V just as swiftly reveals his thick range of delivery styles, his core tone gruff and ravenous but adept at taking it to rawer extremes or in spreading some unpolished but melodic enticing too. Across the song and indeed release, thoughts grab hints of the bands ranging from Motorhead to Face Down, White Zombie to King Hiss, Black Tusk to Pigs and more, but perpetually the tempest emerges as its own distinctive beast.

FRONT COVER RAPTOR KING DINOCRACY_RingMaster Review   The excellent start is straight away eclipsed by The Campaign, the track crawling over the listener from its breath, carrying an intimidation soon realised in vocals and the thumping roll of beats too. They are in turn aligned to a predacious intent in the bass and guitars, all continuing to stalk until building to a rabid onslaught led by again a great vocal variety acting as one. Track and band are unrelenting in their infesting and bullying of the senses, creating a virulent energy and infectiousness within a barbarous badgering of sound that simply stirs one’s own energy and appetite. There is a definite Killing Joke feel to the song also but again a colour in the rabid tapestry spawned by the band.

Jugular steps up next, launching from a sonic lancing of the senses with a rugged swagger and great entanglement of swinging beats and carnivorous bass predation. Once more that Jaz Coleman and co scent makes a potent and gripping additive in the mix of classic metal tenacity, heavily boned rock ‘n’ roll adventure, and the blackened invasiveness which courts some of the vocals and shadows of the outstanding encounter. Many of those flavours emerge again in the abrasive hostility of Acolytes (Nightsmoke – Don Coco), traits woven perfectly into the ridiculously captivating and enslaving primal stomp. Again you can argue that many aspects of the track are recognisable textures and temptations but with grooves a salacious web as both Nightsmoke and Coco weave a trap of addiction stoking rhythms and Raptor V’s at times reptilian vocals as magnetic as his growling prowess, the track as the EP, provides easily one of most enjoyable and invigorating riots this year.

Dinocracy is brought to a close by In Your Face, a storm of heavy metal and heftily imposing rock ‘n’ roll built on a frame of bone shuddering beats and grumpy antagonism. It is the least impacting song on the EP but due to the carnal and imaginative brilliance of its companions more than anything it might lack. Fair to say with another great blend of vocals, cutting rhythms, and instinctively enslaving grooves, all wrapped in the constant unpredictability that Raptor King work with, the song only excites, impresses, and grows more controlling over time.

A smile is never far from the face across Dinocracy, the lyrical fun as ripe as the invention and resourcefulness of their mighty sound. As suggested it might not be your choice of original release of 2015 but as the most thrilling and creatively anthemic it is in with a mighty shout.

The Dinocracy EP is available now via http://raptorking.bigcartel.com/product/dinocracy-ep

http://www.raptorkingrocks.com/   https://www.facebook.com/raptorkingrocks   https://twitter.com/raptorkingrocks

Pete RingMaster 14/12/2015

Copyright RingMaster: MyFreeCopyright

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