Sheafs – Vox Pop

With rebellion in its heart and every senses trespassing riff that it unleashes, Vox Pop is the debut EP from UK outfit Sheafs and we suggest one of the most rousing and truly exciting encounters you will be likely to come across this year.

Formed in 2015, Sheffield hailing Sheafs has certainly teased and tempted attention with their songs and live presence which has seen them support the likes of The Amazons, The Coral, IDLES, and Greta Van Fleet but they have now made a full-blooded demand on scrutiny and recognition with Vox Pop which surely will prove impossible for the masses to ignore. Produced by Dead Nature/Spring King talent Tarek Musa and Jonathan Hucks, the EP pounces on ears from its first breath, its indie rock/pop punk nurtured sounds insatiable in their aggressive virulence and defiant condemnation loaded words “confronting the frustrations of a consumerist world that profits from people’s low self-esteem and self-doubt” a potent incitement.

Thinking Out Loud bursts from EP and speakers first, the track rhythmically pounding out an invitation to which guitars add rich impetus with their inviting grooves. Once a thick bassline joins the enticement, the song was in full control of attention, vocalist Lawrence Feenstra completing the fertile lure with a delivery as striking as the hooks which litter the already irresistible song. The guitars of Chris Goodacre and Charles Mellor spring a web of riffs and melodic wiring, clarity and fuzziness aligning within its irrepressible trap. The song is superb, addiction spilled with every note and syllable as the band’s already proving individual sound leapt upon ears and appetite.

As reinforced by next up World Is Falling Apart, the distinctiveness of Sheafs‘ sound is inescapable though there is something of an Asylums meets Baddies breath to it at times. The EP’s second track shows more restraint in its energy though every aspect is a boisterous incitement from its intoxicating groove to the rhythmic shuffle cast by the bass of Callum Wright and Charlie Eastap’s beats. A psych rock spice wraps each melody and seeps into every atmospheric intimation bred in the open imagination of the quintet as again inherent infectiousness fuels every intensity soaked moment uncaged before the band’s new single Total Vanity erupts. Straight away rhythms and riffs seize the moment, each pounding out audacious virulence incitement as Feenstra’s tones and words spring their own inimitable motivation upon ears and thoughts. The track is raucous splendour, a slice of fearless irresistibility sure to lead fresh hordes to the mutiny of Sheafs.

Shopping equally gripped from its first call, a post punk nagging at the heart of another unapologetically virulent tempting. As with all tracks there is a delicious tempestuousness which boils up in varying degrees but always adds riveting drama and energy to the contagion of in this case consumer exploitation.

With the just as magnificent Care Less bringing the EP to a close, the incendiary track an insatiable infestation of punk bred, dissent soaked rock ‘n’ roll, Vox Pop is an explosion of sound which certainly stopped us in our tracks. New music consistently grabs attention and excites but few things spark real anticipation of major things ahead; Sheafs and their full introduction is one of those rare moments so are you ready?

Vox Pop is out now via Blood Records.

https://www.sheafs.co.uk/   https://www.facebook.com/sheafsband   https://twitter.com/sheafsband

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

Radio Mafia – Don’t Think About It EP

An email from band member Dave introduced us to Irish outfit Radio Mafia and a debut EP which offered surprise after surprise. Don’t Think About It springs four tracks upon ears which are openly distinct to each other but united in treating expectations with contempt.

There is little we can tell you about Radio Mafia right now apart from they being a quintet hailing from Drogheda who have been a potent part of the local and Dublin music scene. They also have a debut album set for release later in the summer but first there is the small but seriously potent matter of this first EP to explore and quite likely get excited over.

With a general tag of being a rock band, Radio Mafia swiftly reveal that term covers a canvas of flavours and styles which never left us anything less than fascinated. Don’t Think About It opens with its title track, the song a gentle lure on ears with its instinctive funk pop stroll. The deep tone of the bass swiftly proved thick captivation matched by that urged by the emotive prowess of the vocals, both gaining a fiery energy as the track brews an earthy rock fuelled eruption.

It is a potent start to the release but soon eclipsed by the impressive presence of B.R.S., the second track immediately revealing muscle in its character and infectiousness. With eager riffs and ripe hooks aligning with thick swinging rhythms, the song roars and growls, unapologetic irritability coursing through its veins as electronic intimation adds bold temptation. In time, that energetic aggression turns into a senses crawling predation with a sludge thick appetite, the track only escalating its weight of persuasion and enjoyment with the unforeseen twist.

Glass Soldier is next up and again immediately had attention gripped with its flirtatious bassline, one soon matched by keys and the general swing bred nature of the track’s eager stroll. The bass continues to throw its rhythmic sway as drums set the track’s manipulative shuffle, guitar and keys brewing their own particular melodic captivation around the united vocals of the band. As with its predecessors the song simply hit the spot and as those before it in sharing its own particularly unique sound showed expectations a middle finger and pleasure a warm welcome.

Fit To Die completes the line-up, the track another with a heavier rock heart with just a touch of Therapy? like punk to its rapacious roar. As temptation lines every raw melodic wire intensity wraps each vocal roar just as aggression soaks the rhythmic intimacy of the track. It is a great end to a fine first union with Radio Mafia, an EP which may be thrilled the most with its earthy rock instincts but only lit ears and imagination from start to finish.

Don’t Think About It is out now.

https://www.facebook.com/RadioMafiaOfficial/

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

Sixth Dimension – Tabula Rasa

It has been a fair while since we have heard from Czech thrashers Sixth Dimension and time which has seen the band go through a few changes but now they have returned to accost attention with a new EP and a quartet of tracks which we have no reserve in saying are their finest yet.

Based within Most and Teplice, Sixth Dimension emerged in 2002 and swiftly made a strong mark on the local and in turn national metal scene. A quartet of EPs has pushed their presence and reputation further afield with the last pair of Přežít! and Trauma firmly nudging on richer and broader spotlights. Four years after the release of the latter the band is back, now a quartet and with fresh aggressive fertility in their sound and songwriting, it all encapsulated within their striking attention demanding new EP, Tabula Rasa.

Tabula Rasa opens up with Vztek (Rage) and a barrage of barbarous but defined rhythms from drummer Buchy, his heady beats banging on the door of the senses and attention before being joined by a tide of riffs and the heavy grumble of Jenda’s bass. Quickly the bassist’s vocals spring their antipathy and magnetism into the assault, the guitars of Bombo and Špirda continuing to entrap and arouse with voracious riffs and grooves. There has always been a raw feral breath to the band’s thrash metal confrontations and the first song of the EP alone shows it has lost none of its potency even as craft and imagination in songwriting and sound has further grown.

The striking start to the release is only accentuated by next up Soudy (Judgments) and this time riffs from Jenda’s bass ignite ears alongside the bone shaking rapier swings of Buchy. It is another compelling start to a track that only brews greater animosity and temptation as guitars and vocals bring their accusation and dispute. As with the first song there is a richer metal spicing to the band’s individual thrash bred creativity, a composed and skilfully crafted enterprise which already sets the Tabula Rasa apart.

Inspired by the poem Der Ackermann aus Böhmen (Ploughman of Bohemia) by Johannes von Tepl dated 1401 A.D., …A Smrt (…and the Death) is a ravenous indeed malicious affair in heart and attack. Rhythms fly with voracious intent as riffs and grooves sear the senses, Jenda’s tones and indeed the backing calls of the band as spiteful as they are anthemic. Even so the melodic design of the song is raw seduction, the irritability of the track fuelling its nagging before the EP closes out with Závist Navzdory (Despite the Envy (A history of estrangement and dream)), a track which itself is inspired by the literary world, in this case by a book by Z.Kalista on Albrecht von Wallenstein.

The most turbulent and tempestuously hostile track on the release, it also springs some of the most infectious grooves amidst addictive sonic temptation. From start to finish the song defiled and inflamed the ears and appetite, a habit forming assail on the senses which pretty much sums up Tabula Rasa as a whole.

As we said it has been a while since Sixth Dimension stood toe to toe and challenged major recognition and now we know who our money is on thanks to their rather fine new EP.

Tabula Rasa is out now across numerous online stores.

https://www.facebook.com/pg/sixthdimensionthrash/

Pete RingMaster 15/03/2020

Copyright RingMasterReview: MyFreeCopyright

Andreas and the Wolf – Fountain Of Truth

As DJ’s for the past two years or so, through their radio show Andreas and the Wolf has fed ears a rich diet of the very best DIY escapades within and outside of the Perfect Pop Co-Op family. Before and during that time they have also teased and excited with a collection of their own tracks; alternative electronica bred songs which have caught and inflamed the imagination into its own shenanigans. Now a highly anticipated debut album is poised to present the band’s full body of enterprise and an apologetically compelling piece of mischievous magnetism it is too.

Andreas and the Wolf is the creation and coming together of Andreas Vanderbraindrain (A.K.A Dermot Illogical of Reverse Family but maybe better known as frontman of The Tuesday Club) and Johnny V (The Scratch/The Tuesday Club). As mentioned their long time partnership has been more concentrated on their fine Andreas and the Wolf podcast and the Perfect Pop Co-Op label in recent times but as Fountain Of Truth proves that time has also seen their musical adventure together equally flourish.

From its first breath there is a healthy mix of nostalgia and bold uniqueness about the album’s sound. It is an enticement which is teasingly difficult to pin down but let us give a possible hint by saying the imagining of a fusion of Television Personalities, Subway Sect, and Fad Gadget with maybe the garage instincts of The Clean for further spicing gives a taste of what delights Fountain Of Truth shares.

All I Want is You sets the album off in beguiling style, its uncomplicated yet richly woven electro pop serenade swift captivation. Guitar and synth embrace their melodic hearts around the inimitable tones of Andreas, sleight but fertile hooks adding to the lure of sentiment part romantic yet just a bit patronising.

It is a potent start to the release which is quickly backed and eclipsed by The Public Domain. As rhythms offer their invitation a masterful bassline strides forward and fair to say from thereon in we were hooked. Its flirtatious swing is quickly straddled by Andreas’ just as tempting vocals, the fuzzy breath of guitar wrapped in the similarly teasing arms of keys. Everything about the song proved virulent, hips and appetite dancing to its punk lined devilry before Morbid Fascination unveiled its British Electric Foundation meets early Human League like shuffle. As suggested earlier though, it is one of a set of infection loaded songs which rises with individual character and a true uniqueness of sound.

Similarly each track offers up something different to that before within their echoes of shadows which crowd our lives, a lyrical theme and creative trait continuing with the synth pop contagion that is Spiral. With a musical grin carried by every note, the song lit up ears and spirit, its eighties inspired instincts a vocal temptation upon electronic nagging and off-kilter imagination. Familiarity and true freshness unite in its viral exploits and aberrant imagination, instincts which mark the album as a whole in varying but always present richness as Fashion Wheel proves with its Paul Haig-esque saunter. It is a song teasing glamour and grandness but always holds its reserve and control to only increase its allure and tension before eager attention.

Through the anomalous pop of the irresistible Friction Free Zone and the haunting tenebrous seduction of its title track, Fountain Of Truth only escalated its grip on ears and pleasure, both songs rivetingly adding further momentous peaks to its landscape with the latter built around another bassline which had the juices lustily flowing, while immediately after Dead Pan Delivery Man had limbs and hips swinging with its indie jangle meets electro pop punk contagion to leave another indelible mark on the imagination.

Limited Ambition brings the album to a close, the track an electro dub loaded stroll with its own atypical disposition though one which may have its seeds sown in a Swell Maps meets The Members bedding. It is a fascinating indeed hypnotic end to an album which has only festered in the passions and imagination for greater pleasure and personal indulgence by the play.

Whether through their radio shows or the rather wonderful Fountain of Truth, Andreas and The Wolf are here to light up our lives and with their first album they do that and more.

Fountain of Truth is released October 9th via Perfect Pop Co-Op.

Check out the Andreas and the Wolf radio shows @ https://www.mixcloud.com/perfectpopcoop/

https://andreasandthewolf.co.uk/   https://twitter.com/andreasandtwolf

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

Vovkulaka – Self Titled

Having recently devoured an EP featuring four of their fan’s favourite tracks, there could only be one next port of call and that was the self-titled debut album from Ukrainian metallers Vovkulaka. If that introduction to the band impressed and excited then we can only say that this twelve track release had us lusting for the striking sounds and rousing songs it held.

Emerging in 20914, Vovkulaka (Ukrainian for werewolf) is primarily the solo project of Odessa based vocalist/drummer/songwriter VolK but an adventure also featuring members from Bulgaria and the United States with Stone of metallers Contortion providing guitar and its stage line-up up completed by dancers and percussionists Naya G and JuleZ, and guitarist Ivan Manoloff. Vovkulaka creates a voracious sound bred in the heart of industrial and nu metal but one embracing a host of other flavours such as gothic metal and dubstep. Like a fusion of Fear Factory, Korn, Slipknot, Society 1, Type O Negative and Rob Zombie it grips attention but with an individuality which ensures it boldly stands out from anything else. Lyrically VolK’s inspiration and invention finds its seeds in his passion for ghost hunting and the paranormal experiences found as well as more personal issues; shadows and darkness sought and embraced to immerse the listener in the most compelling encounters.

Produced by Darian Rundall (Pennywise, Suicidal Tendencies, Yellowcard), the album immediately had the senses and psyche hooked with its opener, Summon The Demon. The brief track is a rhythmic calling, VolK revealing his percussive skill and manipulation as carnivorously haunting beats conjure an atmosphere from darker realms. It may barely be a bidding escaping a minute but proves an irresistible invitation leading to the equally ravening haunting of Cemetery Voices. Crawling over ears and senses, the track is a heavy but compelling trespass but one already a lively threat through the skittish percussion of VolK around his rapaciously slow vocal drawl. The similarly sinister lures of guitar and electronics only add to the captivation quickly bred, the track a sign if mere hint of things to come.

Darkness Calling follows with again a rhythmic tempting which burrowed under the skin. Electronic fingering and the sonic courting of guitar brings shadows and ears together, the Korn-esque flames of the latter lighting up the earthier but no less infectious declaration from VolK’s voice. The track is superb, its senses grinding grooves and dubstep throbbing swift addiction and quickly matched in potency by the even more esurient intent and drama of My Devil. Keys gently entice with a crepuscular sheen before the track erupts in another ravenous incitement, again psyche burrowing grooves leading the way as raptorial rhythms pounce. The contrast of crystalline electronics and musical predation simply gripped attention, all the while rhythms jabbing and stalking with manipulative animation as gut bred vocals magnetically nagged; a dubstep solo from DJ Gigantor from the band Evol Intent extra creative flesh to feast upon.

Emerging from a calm if again minatory caress Defy enslaved ears in its tenebrous realm; defiance and decay embroiled at the heart of its visceral grumble as it wormed deeper and deeper under the skin through raw-boned but rich grooves and provocatively niggling rhythms. With Volk’s cadaverous vocals ever enthralling, the track easily gripped and inspired the imagination before Priest Hole unleashed its own addictive fall from grace. VolK’s rhythms alone ruptured attention, their deeply probing bait aligned to scurrilous but rousing grooves and the illuminated eeriness of keys. The track quickly made a stake for best track acclaim though quickly challenged by the decayed and vicious malevolence of Death Ground. Nefarious grooves wind around ears as corrupt rhythms surround sinful vocals, the result one glorious ungodly delight.

The band’s acclaimed first single is next, Glory To The Heroes a track breaching ears and keen support across the globe with its release in 2018. Featuring Keith Lynch (Bill Ward Band, Ozzy Osbourne) on guitar and dedicated to Ukrainian soldier Nadiya Savchenko who was jailed in Russia but released in May 2016, the track quickly revealed why it made such a strong impact before, savage riffs and punishing rhythms perfectly set against light shimmering keys and melodic seduction as Fear Factory meets Pitchshifter like industrial discontent corrupts the air.

As the contagious venom and dexterity of Whispered Lies seduced as it invaded and Purple Door writhed and crawled into body and psyche with flesh-eating grooves across bone resonating percussion, the album shared further aspects to the Vovkulaka darkness and sound. The latter is something akin to Korn being violated by Godflesh as angels caress the carcass while The Dark Empty chews on the listener’s emotional flesh with rabid jaws coaxed by feral grooves and maniacal rhythms as VolK’s vocals again direct the rich pleasure.

The album closes with a metal version of the Ukrainian National Anthem though the CD also offers a couple of bonus tracks in a drum solo enhanced Darkness Calling and an instrumental version of Defy.

Vovkulaka is a band which should, if any of the references we suggested to their unique presence appeals, no must, be checked out but be warned such their debut album’s dark triumph there will be no turning back.

The Vovkulaka album is available now across most online stores.

https://vovkulaka.com/   https://www.facebook.com/VovkulakaFanPage   https://twitter.com/VovkulakaMusic

Pete RingMaster 15/03/2020

Copyright RingMasterReview: MyFreeCopyright

The romance of light and shadows: a singles round-up

With the ever welcome keen insight of Shauna McLarnon of Shameless PR and the outstanding band Ummagma, we offer up another quartet of singles deserving of your explorations.

First up is the new solo track from Harry Stafford of post-punk gothic rockers Inca Babies and a rather potent taste of the Manchester hailing musician’s forthcoming album, Gothic Urban Blues.

Painted Ocean is a song which casts a web of intrigue and intimation within a jazz and blues wired dark rock landscape. It is a dark echo of the world we live in yet equally intimates on a personal level as its morose yet spirit rousing stroll works away on body and rock ‘n’ roll instincts.

Within its drama bold body, Stafford’s narrative is just as magnetic and enticing; word and sound entangling in a shadow nurtured sea of dark imagination and devilish enterprise further lit by jazz flamed brass across soulful blues enterprise.

Something akin to a blend of The Filthy Tongues and Tom waits, Painted Ocean proved quickly and thickly irresistible and an invitation to Gothic Urban Blues impossible to turn down.

In contrast to the darken skies cast by Mr Stafford, Ukraine’s 6th Crowd weaves an electronic enticement in new single, The Day is Over, which boldly almost viscerally shimmers with electronic luminescence though this is underlined by its own suggestive shadows.

6th Crowd is the solo project of Kyiv based Dari Maksymova who is better known as the front-woman, synth and bass player of post-punk band On The Wane. Her own musical exploration is bred in the heart of synth pop and rave dance floored electro rock adventure and has already offered up a debut single in Самозванцы which was keenly received, together both tracks a taster of her debut EP, Avoid The Void, expected in late spring.

A purposeful rhythmic lure aligns to a similarly dark and immediately firm electronic murmur as The Day is Over stirs, crystalline sparks lighting its temptation. As Maksymova’s radiant tones join the emerging proposal, further light and enterprise is cast by synths yet still that balance of dark and light offers an intimation and tempestuousness which firmly enthrals attention. With Maksymova sharing the song’s heart in her own national tongue it is left to the music to inform the imagination and that it does with almost teasing effortlessness, The Day is Over a source of infection and enterprise sure to lure a greater wealth of ears to its creator and her forthcoming EP.

With a double EP in Fishbowl/ Terrestrial due March 20th, Alienbaby Collective is another fine proposition offering up some potent teasers in the shape of singles of which Degenerate Moon is an infestation of sound, a noise rock bred trespass of ears and imagination as captivating in its melodic craft as it is in fuzz induced irreverence.

Almost menacingly infectious and with a melodic enterprise verging on the toxic, the track is a moment of raw beauty further escalated by the entrancing tones of Liú Mottes, the former guitarist in Blue Crime and New YX and currently part of SOON, Slow Worries, and OBOL LE. Her solo project, Alienbaby Collective creates a sound which holds no fear in going where the listener may fear yet as proven by the bewitching Degenerate Moon it is the source of haunting pleasure, something also epitomised within double A-sided single Fruit/I Don’t Recall Waking Up released even more recently, an incitement which fascinates as it courts emotive responses to its post punk endowed noise rock nurtured predominantly instrumental haunting.

Together both singles suggest, no insist, that Fishbowl/ Terrestrial is a challenge ears and imaginations should take on.

Lastly we have for your intrigue, the new single from The Mystery Plan. With their fifth album, Zsa Zsa, scheduled for an April release through Ten Millimeter Omega Recordings, the US outfit drop the enticing offering of Ballad of JC Quinn as a lead and warm up for intrigue and attention on March 6th.

The song is a vibrant and infectious slice of the band’s dream pop meets melodic alternative rock adventure. With lively “folk nova” rhythms adding to the swinging instinctive funk stroll of the song, it needed little time to reveal a richness of ingredients and flavours as equally swift captivation.

Having already ignited the senses and appetite with previous uniquely sounding and equally contagious single, the Massive Attack-esque Al Gore Rhythms, the North Carolina hailing quintet repeat the captivating deed again with Ballad of JC Quinn; The Mystery Plan laying down grounds for a definite exploration of the sure to be unique charms of Zsa Zsa.

Painted Ocean from Harry Stafford is digitally available now with Gothic Urban Blues released March 27th, both via Black Lagoon Records with album pre-ordering available now @ https://harrystafford.bandcamp.com/album/gothic-urban-blues

https://www.facebook.com/harrystaffordUK/    https://twitter.com/harrystaf62

The Day is Over from 6th Crowd is available now @ https://6thcrowd.bandcamp.com/track/the-day-is-over

https://www.facebook.com/6thcrowd

Alienbaby Collective’s Degenerate Moon and Fruit/I Don’t Recall Waking Up are out now through Humm Recordings with pre-ordering for Fishbowl/ Terrestrial available @ https://hummrecordings.bandcamp.com/album/alienbaby-collective-fishbowl-terrestrial-lp-humm10

https://www.facebook.com/alienbabycollective/

The Mystery Plan drop Ballad of JC Quinn on March 6th via Ten Millimeter Omega Recordings with Zsa Zsa due for release April 3rd.

https://www.facebook.com/themysteryplannc/   https://twitter.com/mystery_plan,

Pete RingMaster 05/03/2020

Copyright RingMasterReview: MyFreeCopyright

Pia Fraus – Empty Parks

Photo by Joosep Volk

There are numerous traits which enthral attention within the new album from Estonian band Pia Fraus with with fascination leading the way. In its contrast lit body it offers an embrace of ears and imagination thick in melancholy yet is as life affirming and rich in hope and optimism as any heart could desire.  From its first to last shoegaze nurtured breath Empty Parks eagerly beguiled whilst presenting tracks just as keenly buoyant with contagious dreampop instincts.

Formed in 1998, Pia Fraus has crafted a potent sound and reputation across five studio albums and a host of similarly well and enthusiastically received EPs and singles not forgetting a wealth of shows and tours across Europe and further afield. Their new album, which the band declare their poppiest yet, sees the sextet of vocalist/synthist Eve Komp, vocalist/guitarist/synthist Rein Fuks, bassist Reijo Tagapere, synthist Kärt Ojavee, drummer Joosep Volk and backing vocalist Kristel Eplik linking up with producer John McEntire (Tortoise, The Sea and Cake, Stereolab, Broken Social Scene, Teenage Fanclub), himself a true musical inspiration to songwriter Fuks.

Empty Parks has emerged as one spellbinding encounter, a dreamy soulful whisper of pop magnetism sure to provide a warm knowing hug around any dark day whilst recognising the shadows such times bring. From the moment album opener Hidden Parks spread its pensive seduction Empty Parks was charming ears and senses. A soothing touch of keys is swiftly entangled in intoxicating strands spun by the guitar, rhythms a darker hue in the contemplation but just as encouraging with their catchy stroll. With the familiar and always beguiling mix of Komp and Fuk’s vocals, the song effortlessly slipped under the skin, the band’s expected but never dulled blend of female and male vocals rapture in its own right.

 An even paced enticement, the track makes for a transfixing start though the following Love Sports had body and attention quickly bouncing with greater urgency straight after; its pop virulence and melody thick mesmerism pure captivation. As with all tracks there is a delicious claustrophobic effect to the song’s temptation, an easy and whole immersion in its creative enchantment which never warrants a wish to escape in this song or the album as a whole.

Slow Boat Fades Out is next up, a track which shares the radiance and bearing of nineties bred shoegaze with the band’s distinctive character of touch and sound which is further lit up by that sublime vocal union while successor Mr. Land Freezer bounds in on a spirited canter drenched in a thick electronic mist. Both tracks share imagination stirring hooks and melodies which caress like lustful lovers and each with increasing dexterity had the body swinging as they slithered under the skin.

Across the wonderful Young Marble Giants meets The Pastels like graceful beauty of Sweet Sunday Snow and the similar tantalising of The New Water with something of an XTC air to its riveting pop enterprise, the album only tightened their hold on ears and pleasure with Paper Flower Projects adding its own substantial enticement. In comparison to its predecessors, it is almost rowdy in its energy and muggy in its breath but another provider of melodic and harmonic radiance around a rhythmic inducement which makes you want to dance within a web of guitar and bass fertility which grips ears and accentuates the pleasure.

If not quite inciting the passions as those before it, You’re Not in Love held attention firmly in its dextrous hands before Nice and Clever and Late Summer Night soon after shared their respective melancholy bound and increasingly tempestuous serenade and balmy yet similarly suggestively mercurial and intense proposal on ears, the latter with a captivating drone like quality.

Australian Boots brings Empty Parks to a close, the song a final absorbing caress which harbours its own emotive disturbance, one which openly and eagerly simmers but never quite erupts. The track is a joy of intrigue and intimation within an equally thrilling embrace and a fine end to a release which simply kept the real world at bay for forty five odd minutes.

Empty Parks is out now via Seksound / Vinyl Junkie; available @ https://piafraus.bandcamp.com/album/empty-parks

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

Pete RingMaster 05/03/2020

Copyright RingMasterReview: MyFreeCopyright