Tess Of The Circle – Face the Changes

Fast on the acclaimed heels of Love Is The Drug That You Crave, the first single from their upcoming second album Amplify, British rockers Tess Of The Circle unveil new track Face the Changes to make already intrigued and keen anticipation for their new full-length just that little more impatient. The new single is nothing less than an infection of guitar enterprise and vocal expression which lights up ears and indeed feet.

   As its predecessor produced by Gavin Monaghan, Face the Changes gives a slightly different glimpse to the new album and its hinted varied adventure whilst basking in the enterprise which marked out Love Is The Drug That You Crave as an equally rousing proposition bred on the band’s inspiration of 70’s electric rock armed with enterprising acoustic guitar riffs around biographically spawned lyrics. Fresh from 6 triumphant shows at this year’s Glastonbury Festival and strong attention and radio play for the last single, the Oxford hailing collective led by and bringing to life the songs and music of singer/songwriter/guitarist Tess Jones, share another inescapable temptation with Face The Changes.

Guitars and bass have body and imagination engaged straight away with their initial shuffle, that potent lure kept going as firm beats and the expressive tones of Jones add their own enticing to the vibrant mix. There is a kind of Michael Stipe essence to Jones’ voice, his magnetic lilt supported by further R.E.M. like melodies and the emerging dramatic air of the song. It is a much more resourceful character than that though, its bluesy textures through the guitars of Jones and Lee Clifton and a general infectiousness led by the rhythms of bassist Ben Drummond and drummer Paul Stone slightly recalling the John Butler Trio, but overall its body and buoyant enterprise creates a rousing time amidst a contagiously provocative roar which is all Tess Of The Circle.

Acclaimed debut album Thorns whipped up a wave of attention and greedy appetites previously and on the evidence of both Love Is The Drug That You Crave and now the richly enjoyable Face the Changes, the forthcoming Amplify will be doing the same.

Face the Changes is out now through most online stores.

Pete RingMaster 03/09/2015

Copyright RingMaster: MyFreeCopyright

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

Following Foxes – Self Titled EP

When an artist or band has a background which involves in part the Academy of Contemporary Music in Guildford, there is always an intrigue to learn more, partly because the town is a part of our musical heritage too and mostly because of some of the talent which has been nurtured at the ACM. From one of the UK’s most potent and impressive place of musical education, the likes of Newton Faulkner, Guy Davis who was part of the UK’s finest alternative rock antagonists Reuben, Joe Butterworth of Talanas, and Alexis Demetriou who formed the criminally unrecognised rockers Lost In Wonderland, have made varying impacting but potent marks on the British music scene. It is a long list also including members of Lawson and some bloke named Ed Sheeran, successes to which you can now add home town boys Following Foxes.

With its members all meeting at ACM, Following Foxes formed in 2013 and having a strong past year on the live scene now release their self-titled debut EP to nudge a broader attention to their presence. The five track release is a captivating introduction to the quartet, a handful of songs bred in a melodic caress of folk and indie/acoustic rock which energetically and skilfully bring a summery and creatively tenacious proposition to the senses. Drawing in inspirations from bands such as Biffy Clyro, Mumford & Sons, City and Colour, and Pink Floyd, Following Foxes shows themselves to be a thoroughly magnetic proposal and their EP more than likely to pick up wider media attention to back up already eager play on local radio stations across the South East of the UK.

The band’s new single, Almost Lost It is first up and right away with punchy bass lures from Mike Chapman and a great shuffle of beats within a caress of guitar, has ears and imagination paying close attention. The song relaxes soon after to welcome the strong vocals of Gid Sedgwick, his tones as warm and alluring as the melodic venture already shown by his and Alex Hill’s guitars. Subsequently with ears transfixed, another bait of thick beats from Steve Price adds fresh adventure before the song settles into a vibrant stroll loaded with a folkish revelry and melodic

Artwork by Harry Murr @ Roberts Clothing

swagger. There is still plenty of variety to gait and sound across the song though, sometimes more subtle than in others but a great unpredictable essence which grips the appetite and certain enjoyment.

The following I Saw, You Saw Me Back makes a less dramatic entrance though Sedgwick immediately holds court with his melodic croon and lyrical intimacy. It is still a strongly appealing first touch though which expands into a feisty but composed dance of voice and rhythms within a melodic seduction. As its predecessor, the track soon worms under the skin and into the psyche, a Lennon and McCartney whisper spicing part of the song whilst others times it romps along like a mix of Knots, Common Tongues, and The Radioactive Grandma.

Waiting for Someone, like those before it, simultaneously manages to be a warm reflective hug and a fiery little rocker, the great vocals across the band and occasionally a rigorously driving rhythmic thrust respectively igniting another memorable and increasingly enjoyable offering. It does not quite match up to the first pair such their might, but leaves satisfaction full before making way for Mother Brother. Though you cannot describe any of the songs as aggressive, there is a definite edge to the song when it steps up its energy around harmonically and melodically seductive embraces. It is a compelling end to a fine release; well not exactly an end as there is the brief melodic Outro to come but the party has ended by this point, its atmospheric haunting that drifting away of guests and excitement like after any slice of major fun.

Following Foxes has made a very impressive first step with a release which could straight away set them on a potent journey towards sparking the country’s attention. If not now it is impossible not to think or expect it will happen eventually but seems silly to wait, so go check out this highly pleasing release.

The Following Foxes EP is available now @ https://itunes.apple.com/gb/album/following-foxes-ep1-ep/id964894157

https://www.facebook.com/FollowingFoxes     http://followingfoxes.com/

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

 

The Undercover Hippy – Boyfriend

We all like a flirtation or two right? Even more when it is being received rather than offered and that is exactly what Boyfriend presents and is themed by. The new single from The Undercover Hippy, the song is a mischievous tease looking at similar romantic occurrences and wrongly interpreted signals. It is also a captivating romp of acoustic revelry aligned to roots reggae and embraced in, a new term to us but one which sums up the song perfectly, folk-hop.

The Undercover Hippy is Bristol bred singer songwriter/ producer Billy Rowan, an artist who after 7 years spent DJ’ing and MC’ing on the Drum & Bass circuit took his guitar and pushed forward with a solo presence and his own music from 2007. Though still to be found performing on his own, The Undercover Hippy has grown into a full band with Andreas Millns (keys), Theo Grimshaw (drums), Zak Ranyard (bass), Matthew Pharaoh (percussion/congas), and Jessica Langton (backing vocals) alongside Rowan. Recent years has seen the band light up the festival scene with acclaimed performances at the likes of Glastonbury, The Big Chill, Green Man, The Secret Garden Party, and Jersey Live amidst many more memorable moments, whilst musically they have drawn comparisons to Jack Johnson, The John Butler Trio, Gomez and Xavier Rudd among others. Lyrically, Rowan has a knack of sparking smiles and attention with a craftily sculpted and descriptive narrative which often explores either worldly or personal politics. Boyfriend is a song which simply ignites those embarrassing moments all our youthful endeavours have floundered upon, bringing knowing smiles to the surface as it has body and emotions in a magnetic dance.

The song itself actually brings reminders of, for those old enough to remember, The Piranhas’ track also called Boyfriend. Its premise was very similar but over a more ska seeded devilry and in a small way it is nice to just imagine that that band and song might have been a distant spice to this new slice of tantalising joy. The Undercover Hippy instantly has ears hooked as thick resonating bass lures meet up with spicy swipes of guitar and joyful rhythms, providing a swinging soundtrack to the just as quickly coming and pleasing tones of Rowan. The compelling verse saunters along, kissing the imagination with every flick of a beat and caress of guitar under a sultry breath of keys, before opening up into an infected loaded chorus. Brass and harmonica add to the elevated dance of the song, their colours irresistible alongside the flaming tones of Langton behind the lead of Rowan.

The track just gets juicier and more addictive with every passing second; in certain moments playing like a mix of Disraeli and The Small Gods and Glenn Hodge Banned but distinctly unique from start to finish. Taken from the Monkey Suit album which was released last September, Boyfriend is a song for an early summer and a boisterous year. The single package also comes with a couple of edits of the song plus a trio of remixes from The Future Dub Project, Hiphoppapotamus, and Raithism, so a meaty offering from what is destined to be one of 2015’s most captivating singles.

Boyfriend is available now

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

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

Cris Pinzauti – Black

If like us the name Cris Pinzauti is a mystery then we suggest you change that as soon as possible by checking out his debut solo album Black. Consisting of eight songs which all captivate ears and attention, and at times explodes into one of the most thrilling and essential acoustic rock propositions you are likely to find anywhere, the release just leaves you wanting more. It is not an encounter which always hit the sweet spot of personal tastes but when it did boy the pleasure was thick and irresistible and at those other times satisfaction was still a done deal.

The background to Pinzauti sees him born in in Florence, Italy in 1971 and from a young age writing songs before self-teaching himself the guitar at 16. From here on, Pinzauti was part of numerous musical projects, creative collaborations, and played thousands of concerts throughout Italy and Europe, many with SUZY Q the band he and his brother Marzio founded and hard rock band Devil’s Mojito over recent times. Equally as a solo artist Pinzauti has strapped on his guitar and clicked on his loop station to light up audiences for over a decade in local venues with his creative style of acoustic rock. Now Black is poised to take the singer songwriter’s sounds to broader spotlights and appetites. Recorded exclusively with acoustic guitars, acoustic bass, and additional acoustic guitars used in percussion mode, and with guest appearances on certain tracks from Marco Di Maggio (Di Maggio Connection), Jack Meille (Tygers Of Pan Tang), Francesco Bottai (Articolo 31 and Irene Grandi Band), and brother Marzio, the album is a wake-up call for us all still unaware of this captivating talent.

Themed by “the BLACK or dark side of our lives, that which society labels as “dark”, but in reality is not” and contemplating the shadows behind forbidden love, sex, loneliness, soul searching, cynicism, inner demons, and rock and roll, the album opens with The Devil in the Closet. A breaking storm heralds in the song and its narrative, a stranger walking into a vaudeville bar room springing from an imagination sparked into action by the encounter before the potent tones of Pinzauti unveil more of the expressive scene in the company of his creative fingers on guitar strings. There is a mix of delivery styles to his voice; his offering equally a theatre of characters in the brief but intriguing folk bred opener.

It is a magnetic start but not as potent as the excellent My Black Is Back which follows. The song is instantly popping with melodies against vivacious beats, the infectious coaxing soon enhanced by a gentle strum of guitar. Again Pinzauti mixes up his tones, a gruff offering turning into a much stronger and compelling clean delivery which as the elevated melodies which hug it, gives the song a new energy and pungent contagion. The string plucks equally add a fascinating fun and creativity to the outstanding encounter to match that of the adventurous vocals, which once more never settle with one line of persuasion and only add weight to the enthralling temptation.

The country lined folk croon of Wasted Years comes next and has ears and thoughts hooked with its warm melodies and reflective vocals. The song does not give expectations a hard time but has enjoyment full before the brilliant Down brings its own transfixing beauty to bear on the senses. The resonating bassline is an instant hook whilst the guitars almost flirt as they sculpt a weave of melodic enterprise. Vocally too, and as now expected, Pinzauti only impresses as he increases the infectious tenacity and persuasion of the song’s gentle yet lively stroll.

The Vampire’s Lullaby is one of those moments which still has yet to fully convince. It is again a drama, a music play for today in some ways set in two parts. Let Me In is a spellbinding instrumental narrative, the fingers of Pinzauti bewitching across the strings of his guitar as he sculpts an imagination firing suggestiveness of a gothic tale. The storm of the first track again cracks and shares its intensity as Hush comes in and Pinzauti finds his dustiest Tom Waits like tones to bleed into the dreams of the song’s recipient. The track is a skilled and fascinating offering but one which misses sparking the same reaction as other tracks despite the exceptional vintage wine like melodies he pours across the song. Primarily it is the raw vocals which do not quite do it for us, just a personal thing and for others will work a treat, just like the rest of the compelling track.

The blues flavouring of Forever Yin Forever Yang is a vibrant collusion with a funkier endeavour sure to bring the listener to their feet whilst Hellbound Train explores that country breeding again with a southern rock balladry. Both tracks are short and potent temptations continuing the impressive nature of the album, but soon surpassed by Zombie Attack. The closer is easily the pinnacle of Black, its initial sandy croon the lead into virulent revelry blending melodic rock and pop into one quite sensational triumph. Addictive and ridiculously infectious yet intricately sculpted without taking any short cuts in seducing the listener, the song slips under the skin and into the psyche with sublime craft. Experience also knows that once infected the song never goes away, not that you will wish it to of course.

Black does not quite steal the passions for the whole of its body for us yet there is never a moment you wish to pass over and when it hits its heights, Cris Pinzauti simply has us in the palms of his creative hands. The bottom-line is that this is a must check out rock ‘n’ roll album and as the last line of Zombie Attack says “If Rock is dead, we are a Zombie Attack!” and that about sums up the attitude of this album and rock ‘n’ roll period.

Black is available now via Red Cat Records @ http://www.redcatpromotion.com/ita_store.html

http://www.crispinzauti.com/

RingMaster 27/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Red Rose Empire – The Ballad of Blondie

The Ballad of Blondie is a fascinating single, a song which gently spins through flavours and emotions whilst creating one thoroughly rousing and thrilling proposition. Bred by the inventive craft of UK acoustic rock band Red Rose Empire, and taken from their recently released album You’ve got Red on you, the single grips ears and imagination with cinematic vivacity and emotional intimacy to provide an intensely provocative persuasion.

Hailing from London, the trio of vocalist/acoustic guitarist Paul Claxton, bassist Rick Keating, and drummer Paul Rowland has drawn strong attention and praise through You’ve got Red on you and it is easy to see why if it matches the potent incitement of The Ballad of Blondie. The song opens with a swing of folkish revelry, guitar and bass uniting for a smiling intro framed by firm rhythms. The lively opening then relaxes into a gentle caress with Claxton providing an emotive croon, vocally and with strings, which is aligned to the hazy charm of the bass and shuffling beats. There is a drama to the change though, especially in the vocals, which ebbs and flows before erupting in the blaze of the chorus. Chords twang and vocals soar as a sultry climate bursts over the narrative before the song returns to its more peaceful suasion, though again it is just the coaxing prelude to another fiery breath of sound and passion.

The song continues to drift and roar as the landscape of its evocative theme continues providing a riveting adventure. Warm yet haunted, the song is a masterful and thrilling proposition which not only seduces for itself but sparks the want to check out the album it comes from. If Ballad of Blondie epitomises the potential and invention of Red Rose Empire then they have a very healthy and successful horizon ahead of them.

Ballad of Blondie is available now @ http://redroseempire.bandcamp.com/track/the-ballad-of-blondie

https://www.facebook.com/redroseempire

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Kung Fu Jesus – Wolf

The music world has been blessed with a torrent of thrilling and exceptional introductions from artists of all styles this year so far but there are few which have instantly recruited a willing ardour from the passions as the debut single from Kung Fu Jesus. Released via Gargleblast Records, Wolf is an irresistibly captivating and anthemic blend of acoustic and alternative rock with a healthy folk intimacy. The label’s press release calls the single “astounding” and it is hard to come up with many better adjectives for the riveting proposition.

Kung-Fu Jesus is a musician/writer bred in a Lanarkshire village who took to a global adventure to ‘escape’ the claustrophobic embrace of the place. His journey took in the sights and experiences of places such as South American and Taiwan, whilst emotionally love and its opposite also dramatically coloured the time. Returning home with a wealth of songs in tow Kung-Fu Jesus linked up with long-time friend/producer Andy Miller (De Rosa, Life Without Buildings, Foxface) to work on his compositions and music, resulting in the excellent Wolf whose release comes ahead of debut album Celestial Gold later this year.

Wolf opens up with a percussive shuffle over minimalistic keys. It is an unimposing entrance which barely scratches the surface of ears yet still nudges attention awake before the distinctive tones of Kung Fu Jesus joins a neat web of melodies to spark up greater appetite. Potently catchy and mesmeric, the song soon elevates its enticing with a burst of urgency lined with magnetic hooks and an infectious swagger. There is a feel of Lloyd Cole to the song but equally in its atmospheric keys seeded atmosphere Thomas Dolby. Predominantly though it is a unique flight of thought inspiring and evocative creative colour which sparks feet and emotions to move with eager revelry.

The song is a compelling lure alone but the single package is pushed to greater strength and ingenuity by the accompanying Wander. Again there is a mellow opening to the song which with keys and melodies making a coaxing bed for the vocals to paint with their expression, leads to an energetic dance of imaginative temptation. Impossibly contagious once into its provocative stride, the track swells and seduces with a celestial elegance aligned to a fiery rock flame of guitar and energy. Thoughts of Matt Johnson make hints as the song continues to excite and inflame the imagination but again by its conclusion the highly addictive Wander shows Kung Fu Jesus as a fresh and individual protagonist to cast a new breath to the British music scene.

With the second track stealing the show and both songs providing an extraordinary introduction, Wolf is an inspiring flame leading to the anticipation of a major fire ahead from Kung Fu Jesus, hopefully that will be Celestial Gold.

Wolf is available digitally now via Gargleblast Records @ www.gargleblastrecords.com

https://www.facebook.com/kungfujesusuk

9/10

RingMaster 26/08/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Venus de Vilo – Handle With Scare Pt 1

Horror’s temptress of the night returns with the first part of her debut album Handle With Scare, and from the six tracks it is fair to say that Venus de Vilo has lost none of her seductive revelry and demonic enticements, in fact only increased their potency along with her musical toxicity. With macabre bred passion and tales aligned to an equally dark acoustic temptation, the first teasing of the album has just bout turned an already eager soft spot for her sounds into a stalker-esque compulsion.

Venus first drew blood and attention with the siren call of her previous Edgar Allan Ho EP, a collection of songs which lingered far beyond their intent to become a fixture on the playlist of fans and underground attention, including our own podcast. The Dublin born songstress of the dead has turned the graveyard into her canvas for sonic bloodlust and sinisterly melodic adventure since 2011, proceeding to find a growing legion of fans through her performances across the city’s rock/metal bars, Burlesque and Cabaret nights, and open mic nights. Her presence has subsequently seeped further afield which the Edgar Allan Ho EP only concentrated with its devilish charm and sounds.

Pleasingly Venus has not taken a detour from her individual sound and songwriting which so potently lit up her last release, instead honing it into an even more precise and sirenesque proposition as evidenced by the new songs, starting with I’ve Got 99 Zombies And A Witch Ain’t One. Venus immediately cups ear in her potent voice to open up the song, a Wanda Jackson like depth and potency an immediate hook to which her guitar stabs lend extra drama. Though just voice and guitar, the track is instantly anthemic, swiftly lighting the imagination and sparking cinematic ventures as lady and music unveil the heart of the narrative. Twists in the vocal delivery and guitar stroll beneath haunting harmonies only add to the great melodrama caressing thoughts and emotions, an invitation which feet and voice are unable to resist.

The following Absinthe Makes The Heart Grow Fonder is just as enthralling and compelling, harmonies a delicious croon around the infectious Imelda May like bait of the song primed by Venus and her stringed enticement. Once again a full engagement with the listener is an inevitable rapid success, imagination given further inducement to explore personal shadows and gothic climates. As this and other songs lay ravenously on the psyche, there is a feel of a new confidence and precise intent working away in the heart of the tracks subsequently providing a richer clarity and persuasive tenacity than found in the previous release.

Both Bubbleglum! and Dead! Dead! Dead! keep mortuaries and ears basking in dark vaudeville temptation, the first an incessantly striding tango of stabbing riffs and ghostly harmonies around bewitching vocal predation whilst its successor decides to stalk thoughts before similarly swiping at the senses with feisty chords and Lilith incarnate vocals. Both tracks dance with wicked intent and salacious suasion, enslaving the imagination with vocal hooks within a simple but virulent stroking of guitar.

The Dead Don’t Dance slips into something even more darkly comfortable, a psychobilly whisper flirting with the theatrical colour of the menacing as harmonies shape a thick fog of expression. It is a song which takes a little longer to wrap its shadow spawned tendrils around the passions but eventually does so with unbridled success to emerge as one of the most inventive and dramatically powerful track of the sextet.

Final song Personal Satan swings with sixties embrace in its addictive tempting, essences of Shangri-Las and in some ways the Walker Brothers permeating the mouthwatering graveside balladry. It is a riveting end to a thrilling introduction to Handle With Scare.

With the album’s second half looking to be unveiled later this year anticipation for its full uncaging has gone up in impatience and excitement thanks to this teasing, and if the likes of Horrorpops, The Revillos, Imelda May, and fifties female rock ‘n’ roll instigators is a very palatable attraction for you then Venus de Vilo is a venomous treat just waiting to inflame and devour your lives.

Check out Handle With Scare Pt 1 @https://soundcloud.com/venus-devilo/sets/handle-with-scare

https://www.facebook.com/VenusDeViloSongsFromTheStalkersPointOfView

9/10

RingMaster 18/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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