Eight Days – More To Life


Seemingly tagged as melodic hardcore more often than not but showing a hefty side in hook laden punk rock in their new proposition, British trio Eight Days is one of those bands knocking on the door of broader attention. Since emerging on the first breath of 2014, the London based outfit has earned a reputation of being one of the more potent forces within the underground scene. Evidence of that strength linked with a generous invention for ears and imagination to embrace can be found in the More To Life EP, a release suggesting that Eight Days might soon be going above ground to tap into national attention.

With inspirations said to come from the likes of Norma Jean, Black Peaks, Blink 182, and Yellowcard, Eight days released their debut at the end of their first year. The well-received No Idols EP was followed by the band rampaging across the UK on numerous tours before sophomore EP, Surrounded By The Ones Who Want Me To Fail, was unveiled to greater acclaim, proving that the months had also seen the band’s songwriting and sound blossoming.

More to Life is another step forward in all aspects by Eight days, a quartet of songs as raw and emotionally intrusive as they are fiercely infectious with dramatic hooks and surprising twists to the fore. There are still areas where uniqueness is a less obvious proposal but continuing as they are, that is something easy to suspect being remedied in the future.

eight-days-cover-artwork_RingMasterReviewThe EP opens up with Was It All Worth It and straight away the track has attention hooked as a melody, with a mix of warmth and shadow in its character, wraps enticingly around ears. A rising storm of rhythms led by the feisty beats of  Lewis Fife with the brooding rumble of James Carty’s bass alongside soon join the invitation, it all taking the listener into the turbulent yet catchy heart of the song where the guitar of Ben Brazier casts suggestive melodies and inventive hooks around his emotion flushed vocal squalls. It is a potent mix captivating from start to finish, melodic and post hardcore textures engaging each other in an arguably less than original but certainly potent way for a strong start to the release.

The band’s imagination kicks up a gear from hereon in starting with Unclear as the threesome bring some stronger punk rock elements into their bruising dramatic roar. Carrying a touch of Cancer Bats to its bellow, the second song bounds through ears with venom and animosity though again the instinctive catchiness of their song’s gaits and swinging rhythms make it all very enticing. Spicy hooks and unexpected twist and turns in the imagination of the song makes it stand out in no time, group shouts and the predatory growl of the bass adding to a creative drama not as obvious in its predecessor.

It is a fresh invention and boldness even more persuasive in the following Counterweight. From its first breath, the song is throwing tangy grooves and virulent hooks at the listener while Brazier’s throat is raw through ire fuelled confrontation. The track is irritable rock ‘n’ roll, an irrepressible trespass on the senses and the biggest highlight of the already impressing release.

A growling grouchy bassline opens up final track Walls; hard and melodic rock spiced flavours mixing with the band’s instinctive aggressive enterprise. At times a twist away from taking best song honours from its predecessor, the song is a fine end to a very satisfying release.

More To Life is proof that Eight Days are something fresh in a crowded melodic hardcore scene and once they find that real uniqueness there may be no stopping them.

The More To Life EP is out in stores on Friday 14th October and @ https://eightdaysuk.bandcamp.com/album/more-to-life and http://eightdaysuk.bigcartel.com/

https://www.facebook.com/EightDaysUK  https://twitter.com/eightdaysuk

Pete RingMaster 13/10/2016
Copyright RingMaster: MyFreeCopyright

Merging cultures: exploring the music of Ian Carvalho


Ian Carvalho is a South American born, Europe raised musician who blends an array of genres and sounds around a lyrical suggestiveness nurtured by his upbringing, observations of life around him, and experiences had. Drawing more and more attention with every show and song unveiled, we took the chance to talk with Ian about his past, his music, and his approach to his solo work.

Hello Ian and thanks for taking time out to talk with us.

Thank you for having me here!

Can you first give us some background to your project?

The decision to go solo came after me and the member of the band I played with for 8 years decided to take a break.

So you have been in other bands before? Has that time and the music you played had any impact on what you are doing now, in maybe inspiring a change of style or direction?

I played the drums with the band called NOVONADA for a very long time; we explored different genres, experimented quite a lot and blended in our work very different sonorities. This kind of approach is still with me as a solo artist, but with the extra treat that I can follow my own feelings and make music 100% the way I want.

Was there any specific idea behind what you wanted you solo work to explore?

When I decided to start this project I wanted to try myself in an all new territory. Being the only one responsible for composing and writing is at the same time fulfilling and draining! I always played within a band so, of course, one has to reach some kind of compromise. Being on my own means that I have more freedom when it gets to the creative process. I can decide what to write about, how to express the emotion I want to convey, what rhythm the song will have etc. My aim is to offer an all-around experience to the listener. I want the audience to be fully involved, to reach their subconscious and evoke in them all the emotion I’m trying to communicate.

IC_RingMasterReviewDo the same things still drive you when you were musically fresh-faced or have they evolved over time?

Being the beginning of my solo career I reckon I still have a lot to give. There have been some evolutions in my music, especially in terms of lyrics and themes. I think that my music has a bit more of a social component to it now.

Has that been more of an organic movement of sound or more you deliberately wanting to try more new things?

I definitely wanted to try some new stuff sound wise, but in the same time I consider my work as an organic evolution. Not all the songs can be categorised under the same genre, but the themes and topics are closely connected, making it a unicum.

Are there any particular inspirations which have impacted not only on your music but your technical approach to creating and playing music?

For the most part my inspiration comes from human life, history, philosophy and from the outcome of their combination. Being something that has an impact also in my own existence (everyone’s life is even if we don’t always realise it) I feel the need to express these emotions and experiences, hoping to have an impact and to engage in these reflections also on the audience.

Is there a regular process to your songwriting?

Most of the time I start from an idea, a sentence from a book I find peculiarly intriguing etc….That works as an incipit, as something that gives me some food for thought, and from there I develop my writings and lyrics. Other times I simply get struck by sudden inspiration and the song comes flowing out of my head!

Where do you draw the biggest inspirations to the lyrical side of your songs from?

My own heritage is often part of my lyrics. I’m half Italian half Brazilian and had a quite confusing, but funny, childhood living and traveling between two continents. That always made me the “new kid”, so to speak I always saw the relationships, the society from a different perspective and that gave the chance to develop a certain sensibility toward different lives (in terms of society, traditions, religions and way of living). I write in English, Italian and Portuguese, sometimes mixing the languages in the same song, because each of them have a slightly different way to express a feeling or an idea. I’m fascinated by the evocative power of words and by how much a language can describe the history and the type of approach to life of the people using it.

Can you please give us some background to your latest release?

My latest release Morpheo in Eros is deeply influenced by the 70’s and 80’s history of the Chilean people under Pinochet dictatorship. My song writing is very influenced by South America’s history, culture and tradition.

The EP’s start has a dreamlike, soft taste to it. As it progresses it becomes more crude and violent while reaching the end exploding in the last song. The main theme is “the mistake”. It’s the error that can be either understood as the one of the single human being as well as the universal one.

Do you go into the recording of your songs with them pretty much in their final state or prefer to develop them as you record?ian-carvalho-2

I usually get to the studio in the final stage of the work and then go through all the necessary adjustments with the sound engineer. For my last work I collaborated with Andrea Nardoni, Relaxo Studio’s sound engineer, my co-producer and friend. (http://www.relaxostudio.com/)

Tell us about the live side to your music?

I love being on stage, there’s so much excitement in the air! I always give my 110% even if the sound may end up losing a bit quality wise, because I’m completely into the music and I have this need of making the audience feel it as much as I am.

It is not easy for any new band or project to make an impact regionally let alone nationally and further afield. How have you found it?

I reckon that unless you already have made a name for yourself and/or have enough money behind you, it’s going to be extremely hard. The drive is always necessary anyway, but having some extra will help you going against the odds and to pull through any circumstance.

How about the internet and social media? How has that impacted on you to date?

The internet gave me the opportunity to make my music available worldwide and to discover that my work and my former band were appreciated abroad. Thanks to the internet I managed to organise two tours in South America for example. I think of the internet and social media as an instrument, and you have to know how to use it if you want it to work to you advantage either you being already famous or a newbie.

Once again a big thanks for sharing time with us; anything you would like to add for the readers?

Thank you for having me here! The only thing I can add is: buy my EP, come to my gig (next coming up is 12th November at the Finsbury http://www.thefinsbury.co.uk/) and find out for yourself!

https://www.facebook.com/iancarvalhoproject   http://www.iancarvalho.com/

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Bad Llama – Shedding Skin EP


British alternative rockers Bad Llama have taken their time to find the right ingredients in their character and sound but on the evidence of their debut EP and its lead single, the Burton Upon Trent based quintet have found that moment and then some. The Shedding Skin EP is a powerful and emotively atmospheric proposal, all creative muscle and melodic fire, and its first single The Wolf You Feed, a slice of thick enterprise.

The current line-up of the band stepped forward earlier this year but under previous name, Wet Lettuce and the Magik Bean, Bad Llama formed in 2012. Taking their time to find the right vocalist, the first year was spent as an instrumental proposal before frontman Kyle Jordan and bassist Lewis Hutchings joined the band in 2013. Completed by drummer Gaz Waddell and guitarists Dan Houlbrooke and Sam Wyatt, the five-piece has reached the moment where real attention is taking notice of them and especially their new ear pleasing releases.

EP opener, The Healer slowly looms up on the senses, its atmospheric presence almost portentous even as lively rhythms and an inviting hook pave the way for the potent vocals of Jordan. Instantly there is a thick catchiness to the song, the bass of Hutchings swinging along as beats match its brooding stride. The slower chorus brings a darker ambience though again the band cleverly blend shadows with crystaline radiance as variation in voice and sound impress. It is a captivating start to the release; a song full of intrigue and twists suggesting it is going in one direction only to move in another and back again.

 The band’s new single strolls in next, The Wolf You Feed led by another hook lined melody before exotic hues escape the guitar, Jordan and Hutchings grabbing the imagination with their relative tempting. The bass is especially compelling though matched by the spicy liquor of Houlbrooke and Sam Wyatt’s melody fuelled exploits while Waddell’s arms swing with a creative tenacity which makes his beats magnetic. Fair to say that the great start to Shedding Skin just got better, the fiery solo within boiling sonic fumes a shot of additional goodness to flavour an emotional ride through depression and turmoil.

Paint in Sound steps forward next with a familiar yet indefinable air to its bubbly melody and contagious tone. Inspirations to the band include the likes of Incubus, Tool, Soundgarden, Jane’s Addiction, Korn, and Pearl Jam, and it is the first pair in that list which most come to mind though even with its seemingly recognisable nature, the song confirms that Bad Llama are developing a  sound distinct to them; something as here gripping ears and imagination.

A mellower proposition in many ways compared to its predecessors, 10 Years Time swiftly shows it too has a tempestuously emotive heart and rugged creative teeth to its body. The song is a volcano, bubbling up and erupting with emotion and intensity within a darkly lit reflective landscape, Jordan impressing again as he shares the song’s heart.

With their EP completed by the pleasure breeding Exile, Bad Llama has attention and imagination in the palms of their hand by the time Shedding Skin disappears. They have come a long way since their previous guise and sound, employing a maturity and invention which ensures each song has its moment of sole attention. You get the feeling there is still plenty more to come too, the band still on the lower rungs of their creativity meaning their next steps will only be eagerly awaited.

The Shedding Skin EP and The Wolf You Feed single are out now across most online stores.


21.10.16 – O2 Academy 3, Birmingham

28.10. 16 The Leopard Inn, Burton

https://www.facebook.com/WetLettuceandTheMagicBean/  https://twitter.com/BadLlamaBand

Pete RingMaster 10/10/2016

Copyright RingMaster: MyFreeCopyright

Twister – Designed State of Mind


Since forming, UK rock pop band Twister has shared stages with the likes of Status Quo, Simple Minds, Texas, Scouting for Girls, Jools Holland, and The Joy Formidable, Guns ’n’ Roses guitarist Ron Thal (Bumblefoot) on his 2015 UK tour, and finished second out of 12,000 acts in the Surface Festival. Each moment has drawn praise and vocal support, something not hard to understand whilst listening to the band’s new mini album Designed State of Mind.

Offering six vibrant and emotionally intensive affairs, Designed State of Mind catches ears with its instinctive catchiness and the imagination with its accomplished melody rich character. Straight away as opener and the band’s new single hits ears, there is an instant show of new maturity and a blossoming in the band’s sound since previous album This Isn’t Wonderland of 2014. Songs are more rounded and the united craft of the band tighter, Trees alone revelling in that growth. Quickly tangy hooks and spicy melodies entangle with the darker hues of a lively bass, beats swinging with matching eagerness as the infectious encounter descends on ears and appetite. Impossibly contagious by the time of its pop loaded chorus, the track bounces around inspiring the same in body and spirit; Jake Grimes, Matthew Whitaker, and Joe Major a lively proposition around the potent voice of Stevie Stoker.

twister-album-artwork-design_RingMasterReviewed-state-of-mindIt is a thrilling start which the EP at times equals and or closely misses but constantly sparks strong enjoyment starting with Monroe. More of as grower than its predecessor and with a touch of restraint to its seeming want to explode, the song strolls along with rhythmic shadows aligned to reflective melodies as vocals again caress ears with a firm and captivating touch. It too has a chorus which is hard not to get involved in while its melancholic air seduces before the excellent Fist Fight by the Waterside steps forward.

Once more suggestive melodies and tenacious rhythms collude with Stoker’s powerful tones as the song’s character has the spirit and punch its title might suggest. Touching on the predatory at times, the track easily rivals the opener as a main highlight and quickly matched by the mellower reflective charm of Monopolise. Reflective voice and melody coax ears before the song broadens out into an anthemic croon with feisty energy and heart to the fore. There is a touch of ABC to the song, if that band had turned to hard rock, it ending as infectiously enticing as anything on the album.

Designed State of Mind ends with the equally red-blooded Feeding Frenzy, a rousing encounter if missing the final vital spark of previous songs within the album and lastly Fortune Favours the Bold, a warm and boldly engaging song again not quite reaching the heights of before. Nevertheless the pair brings the album to a highly pleasing close adding to a want to hear more from Twister, a Durham hailing band rising up the UK rock scene with every passing success.

Designed State of Mind is out now through most online stores.

https://www.facebook.com/TwisterUK   https://twitter.com/wearetwister

Pete RingMaster 10/10/2016

Copyright RingMaster: MyFreeCopyright

Shotgun Rodeo – The New Standard


You might suggest there are more unique proposals coming forth this year but there will be very few encounters which ignite and incite the passions as The New Standard. The six track roar from Norwegian metallers Shotgun Rodeo is as infectiously virulent as the common cold and as instinctively anthemic as any slab of rock ‘n’ roll can be.

Hailing from Trondheim, Shotgun Rodeo have been weaving riotous incidents from contagious strands of groove, thrash, and heavy metal  since 2008 which each subsequent release becoming more focused, potent, and as proven by their latest escapade irresistible. Previous EPs, Dead End Massacre (2012) and Guilty as Charged (2013) drew strong awareness of the quartet with debut album World Wide Genocide especially whipping up enthused attention. That time has seen their multi-flavoured sound become even more adventurous and diverse which The New Standard takes to a new compelling level.

From its first breath the EP sees predacious riffs and imagination enslaving grooves almost battling for attention, each earning their equal share alongside robustly eager rhythms and an overall contagiousness as opener Batshit Crazy leaps at and consumes ears. An enticing groove lined riff opens up the assault, it swiftly joined by heavy beats and broader wave of riffery amidst increasing spicy grooving. The great dirty tones of vocalist Nino Escopeta are soon there inciting involvement too as the song strolls with an aggressive almost arrogant swagger. The swinging rhythms of drummer Doomfang and bassist J.Buvarp trap attention virtually on their own, chaining an eager attention for the tapestry of grouchy riffs and sonic seduction from the strings of guitarist Don Shrediablo to further flirt with the listener within. With its chorus icing on the infectious cake, the track is the first of six which can make anyone lose all inhibitions in public view which is some feat when if like us you are someone hiding a voice which has rats fleeing towards a sinking ship.

shotgun-rodeo-the-new-standard-artwork_RingMasterReviewThe excellent start is taken up another gear with the outstanding temptings of Uncontainable. It too is a brawling stomp of cantankerous riffs and soliciting grooves lorded over by boisterous vocals while being driven by surging rhythms. Once more the band casts a chorus impossible to escape, the blend of heavy and feverish rock ‘n’ roll fuelling a kaleidoscope of spices from hard rock and classic metal to old school rock with plenty of other darker ravenous textures involved. Giving a seriously and gloriously anthemic battering to the senses, the track takes best track honours though it is persistently challenged throughout The New Standard and songs like its successor Around The Bend.

A heavier and darker proposal, the third track stalks ears while easily entangling them in more melody rich grooving, subsequently luring them into a chorus that is as raptorial as it is sublimely catchy. Shotgun Rodeo is unafraid to bring some death metal seeded shadows to their sound either, and it is that lurking hue which unites all the varying elements of the song perfectly, marked by the bestial growling of the bass in turn tempered by the broad enterprise of Shrediablo in a song which is a bit like King Hiss meeting Lamb Of God.

From one compelling moment to another as Drawing Blood From Stone takes over, it too a predatory proposition with twists into contagion loaded inciting of ears and involvement. Merging old school and modern hungry metal in one fiercely imposing captivation, the thrilling trespass of the imagination makes way for the EP’s title track. Once more grooves wrap around ears and appetite as rhythms hunt and attitude loaded vocals challenge, a combination which soon crafts its own individually surly engagement to further hook and ignite the passions.

The EP ends with the groove infected rock ‘n’ roll of Scatterbrain where the guitar spreads some southern goodness in its endeavours while rhythms provide a more fractious but no less alluring invitation. It is a rousing and exhilarating close to the EP, a slightly psychotic proposal all raw sweetness and deceitful animosity which just lights the fires all over again.

The New Standard might not be the most original thing you might come across but few bands involve familiar essences and textures in such a masterfully magnetic and seriously rousing fashion. As the release grips ears once again to say Shotgun Rodeo and The New Standard EP is a must is more than easy.

The New Standard EP is out now across most online stores.

http://www.shotgunrodeo.com/   http://www.facebook.com/ShotgunRodeo  http://www.twitter.com/shotgun_rodeo

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Big Jesus – Oneiric

Pic cred: Chris Sullivan

Pic cred: Chris Sullivan

Imposingly dreamy, Oneiric is a proposal which simply infests, seduces, and lingers with increasing potency listen by listen. The new album from Atlanta bred outfit Big Jesus, the transfixing Oneiric is a warm serenade of the senses but equally has a predacious side to its shadows and rhythmic weight which hooks eager attention. Mellow and raw, seductive and fiery, the band’s sound sits somewhere between My Bloody Valentine and Deftones, Smashing Pumpkins and Palms but is all the time weaving its own distinct adventures now collected on one gripping album.

According to vocalist/bassist Spencer Ussery, the Big Jesus sound was bred on inspirations found in nineties rock;  everything from metal, psychedelic pop, shoegaze, hip hop, and classical piano music impacting on the ideas and music of the band. It is a mix which lured potent interest in the band with the release of their debut album One, and is set to escalate as the Matt Hyde (Deftones, Slayer, Monster Magnet, Sum 41, Alkaline Trio) produced Oneiric swarms over more and more ears.

Bringing four tracks from their earlier release with six new encounters, Oneiric quickly grabs ears and imagination with opener SP, the song instantly a writhing mix of fuzzy melodies and hungry grouchy riffs. It is imposing yet inviting, especially as the warm tones of Ussery float across the feisty landscape of the song. Guitarists CJ Ridings and Thomas Gonzalez cast a great web of warm and aggressive enterprise too, riffs and grooves a conflicting yet beautifully united adventure which with the ethereal nature of Ussery’s voice offers a House Of Love meets Smashing Pumpkins enticing.

art_RingMasterReviewThe snarling air of Ussery’s bass and the intensively swinging beats of Joe Sweat make a matching powerful lure, their driving energy and dark nature as virulent in the following pair of Always and Lock & Key. The first of the two is a ridiculously catchy affair, it’s relentlessly twisting grooves and rhythms a feistily contagious invitation wrapped in magnificent psychedelia/ shoegaze spiced vocals while its successor musically ventures down the same creative avenue to create its own tempting while caressing the senses with romantic melodies as sonic suggestiveness warms with celestial hues. Again there is heaviness and intensity involved which sublimely tempers the bright air and only increases the potency on ears and imagination.

Through the rapacious directness and melodic meanderings of Floating Past You and the gentle yet intrusive and slightly melancholic croon of Fader, the album transfixes with ease while their successors, the sonically incendiary Shards and the heavy metal hued Oneirica only tighten the pull of one increasingly engaging encounter. The latter is another song which fizzes with infectious vitality and a rhythmic boisterousness which seems to inspire all the other elements making up the outstanding and seriously enjoyable multi-flavoured track.

Shrimp caresses the senses with its melodic and vocal gossamer next; a golden kiss on ears with a fiercer underbelly. it is an irresistible calling on appetite and emotions before Felt In Reverse coaxes the senses with magnetic reverberation into another sonically flaming and vocally seductive fire of sound and imagination. As at times across the album, surface elements of the song seem a touch similar to that of other tracks but with closer focus and each subsequent play, the song reveals its own mesmeric and often wonderfully volatile character of craft and invention.

Concluded by Heaviest Heart and its mix of irritable predatory riffs and airy almost diaphanous melodies and harmonies, Oneiric is pure temptation in your speakers. As suggested, the album simply grows and further entangles the listener with every listen, unveiling plenty to satisfy fans of rock music from psych and melodic rock to shoegaze and grunge.

Oneiric is out now via Mascot Label Group / Mascot Records and available across most online stores and @ http://www.mascotlabelgroup.com/big-jesus/

http://bigjesus.net/   https://www.facebook.com/bigassjesus/   https://twitter.com/bigassjesus

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Conformist – Lifestyle Bible


It has been three years since British electronic weaving producer Conformist released his debut album Paid to Fake It to swiftly draw attention and acclaim. It was a weird and often psychotic tapestry of sound and samples which simply ignited the imagination as enjoyably as it did ears. Now the Cardiff born conjuror is back with its successor, the equally as dramatic and compelling Lifestyle Bible. It is more of the same creative adventure but with a new honing of inventiveness amid greater suggestive collages of sound.

Conformist is the project of Michael Simmons, who as mentioned stirred up attention with the 2013 release of Paid to Fake It. Written between 2014 and 2016, the Jerome Schmitt (Alt-J, Diplo, Mr Scruff) mastered Lifestyle Bible is an unrelenting flickering of sound and incisive sampling, a non-stop parade of textures and aural suggestiveness but with a tightness to its weaves and greater rounded character to its songs which insists Conformist is a proposition if not necessarily ahead of the game is certainly weaving its own creative field.

The previous album drew comparisons to the likes of Steinski, The Dust Brothers, Avalanches, and Aphex Twin. They are references again easy to offer up for Lifestyle Bible but as suggested Simmons is honing a unique proposal with every new track. As opener Trust Exercises entangles ears, swiftly a new air of adventure to the album escapes its creator, the track virtually creating its weave before ears as strands of electronic intrigue and twisting samples interlock and unite as it emerges. Repetition and sonic psychosis only add to the brewing landscape of persuasion, all elements tempting rather than forcibly taking attention but successful all the same.

artwork_RingMasterReviewThe following industrially stalked electro punk romp of Rock n Roll Dead Man slips straight out of the final lure of its predecessor, quickly parading commanding beats as hooks and strands of sound wind around the imagination. Again it is a perpetual stabbing of sounds bound in melodic mischief; like a disorientated rocker lurching from hook to hook with endearing prowess before stepping aside for new single Komputer Jenerated and its funk ‘n’ roll swing of electronics. There is a whiff of Yello to the devilry soon baiting and enslaving the senses, its sudden stop and go moments and off kilter twists all adding fuel to one fiery captivating ride.

Next up Harm Hides at Home is a slower bloomer though straight away it has ears fully engaged but it is with every passing minute and listen that layer by layer it reveals its compelling depths whilst coming over with fresh character each and every time whilst swinging from the same constantly seductive vine of melodic enterprise.

The variety within the album continues as the warped presence and psychosis of Life! Death! Prizes! clambers psychotically across the senses and imagination before the excellent A Snake Eating Its Own Tail saunters through ever magnetic creative circles, each rotation a writhing web of electronic provocation with a flavoursome touch of Pop Will Eat Itself to it.

The album is completed by the screwy exploits of firstly Art Colony, a pixilated jungle of beats and electronics which again inescapably conjures new adventures within thoughts with every listen, and lastly the enveloping melodic and sinister drama of the Nothing Important Happened Today. Intimate in its haunting proposal courted by ominous noir lit shadows, the track is almost a baiting of the emotions; a daring of thinking all is well as dangers lurk in an encroaching sombre dark.

It is a fine and compelling end to another great proposition from Conformist. Lifestyle Bible is an album which will trap and excite all who like their imaginations to be twisted and turned inside out by their electronic music, as well as their eager ears.

Lifestyle Bible is released October 14th through Consumer Consumer Records @ http://www.conformistmusic.co.uk/shop/4587936298/lifestyle-bible—cd-album/10915384

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

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright