The Tuesday Club – Art Is Magic

Trials and turbulences are no strangers to most bands but few as acute as that which impacted on British outfit The Tuesday Club and almost brought it to an end. Now though they are poised to release “unlikely album 3” in the shape of Art Is Magic, a slab of multi-flavoured rock ‘n’ roll which certainly gets under the skin in no time but an itch which just gets more delicious and addictive by the listen. It is their finest moment built across ten bold devilish tracks embracing old and new sounds with a unique imagination and their inimitable touch.

Formed in 2011 in Walmington-on-Sea, the renowned setting for British legendary comedy Dad’s Army, The Tuesday Club was an eight piece extravaganza of sound and creative revelry embracing the sights and mischief of their home town’s TV heritage. Their sound blossomed with the punk nurtured DIY attitude and inspiring sounds of the late seventies yet from day one cast its own aural image as proven by debut album See You Next Tuesday in 2013. It was a proposition though which was evolving from that first release and in open exploration by the band’s second album which was released as a quadrilogy of four EPs.

Devastation hit after the release of the first EP when drummer Terry Super Cockell tragically died. Though the band completed the album’s unveiling it was obviously without zeal; as they say the following EPs released in a ‘daze’, with the band falling to its knees and closing in on demise as members subsequently left. It was a challenging, life questioning and changing time which was not so obvious to the outside world at the time such the quality of those releases but maybe now best understood by checking out Reverse Family’s current project 365 days of songwriting, the band the solo project of TTC’s founding member Andreas Vanderbraindrain though he goes by Dermot Illogical for it. It is a still on-going colossal collection of tracks written across those times released as an EP a week for a year, many of its songs spawned from the darkness he personally fell into through those times.

TTC did survive though, its remaining members regrouping and finding a new breath and energy, stripping away “much of the old ‘glamour’ replacing it with a new urgency and directness.” Alongside vocalist Vanderbraindrain, the band now consists of guitarist Dave Worm, bassist/keyboardist Rogerio Marauder, and drummer Blairdrick Sharpely. As they suggested, the quartet has stripped back the TTC sound and brought forward its raw breath and instinctive imagination whilst broadening yet honing its creative flavourings and adventure.

Art is Magic opens with its title track, slipping in on a rhythmic coaxing until a lash of sound sparks a post punk lined stroll led by Vanderbraindrain’s distinctive tones. The song prowls the senses, keys simultaneously providing a melancholic yet mystique lined caress; it all uniting in an infectious swing and call to join its arcane devilry. Captivation was swift and only escalated as the track tempted and teased with its seventies lent enterprise.

It is a thickly potent start to the album keenly backed by the poppier rock exploits of Always taking things too far. It bounces around like a mix of Athletico Spizz 80 and Mammal Hum, a fusion of new wave and art rock which poked the appetite initially, whetted its lips further before thereon in fully teasing eager greed by the listen. It is a trait of the album as a whole, making an attention grabbing first impression but spawning lustier reactions by the play though some songs like Soulless City Syndrome had us instantly drooling. Its opening noir tinted intimation simply nurtured intrigue, the following electronic and tenacious punk ‘n’ roll of the song sparking the passions as it cantered lustfully through ears. The best track on Art is Magic, it twists and lures like an Adicts meets Zanti Misfits inspired dervish wearing a cape woven with threads of The Monochrome Set for one unique and gorgeous encounter.

It is a hard task to follow such a pinnacle yet Fruit Salad Girl with its spiky pop rock makes relatively light work of it, the infection loaded romp a nagging rock ‘n’ roll roar which had the body bouncing and vocal chords blaring in no time before Drowning My Sorrows allowed a breath to be taken with its folk pop saunter. Not that it is a dormant on the catchiness, its easy going but boisterous swing leading feet and hips away like a collusion of The Farmer Boys and Swell Maps.

Put your Faith in what you can control similarly has a laid back but tenaciously catchy gait and demeanour, again the band’s lo-fi instincts breeding a richly appetising temptation as rhythmically persuasive as it is melodically and lyrically sharp. Thus eager involvement was swift and as forcibly recruited by the bolder rousing punk ‘n’ roll of We are the Team, a song which is the band announcing they are undefeated and returning with new vigour and invention whilst creating a personal declaration for all to embrace.

It would be a shock not to have the scent of early Adam and The Ants somewhere within a TTC encounter, Let the kids run the country the irresistible moment within Art Is Magic as the band source their own earlier traits and another influences’ for a greed brewing slice of aural virulence before the darker tone and shadows of Rock and Roll’s not a science infests ears and psyche like a viral infection you cannot shake off, or in this case want to. The song reminded of short lived Welsh punks The Table at times but again TTC spin a web of sound and addiction all their own.

The album concludes with Who and youz army, a rhythmically tenacious and infectiously barbed slice of punk rock which would have aroused air punching crowds back in the day just as now. Its hooks are familiar yet inescapable and its character old school with the irritability of today; ingredients ensuring Art Is Magic goes out on a major high.

Listening to their album just hits home what we would be missing without The Tuesday Club and how lucky newcomers will be now discovering them through such a glorious romp.

Art Is Magic is released May 6th with its launch party the same night @ The Lower Red Lion in St. Albans pre-ordering available now @ https://theperfectpopco-op.bandcamp.com/album/art-is-magic

http://thisisthetuesdayclub.co.uk/    https://www.facebook.com/thisisthetuesdayclub/   https://twitter.com/thetuesdayclub1    https://twitter.com/Vnderbraindrain

Pete RingMaster 30/03/2018

Copyright RingMaster: MyFreeCopyright

Reverse Family: 365 days of songwriting

Last August we gave you a first look and insight into the epic new project from Reverse Family. Starting the following October, the plan with 365 was to release 52 EPs as one a week for a whole year, each of their songs representing a single day in the inspiring life of its creator.

Reverse Family is the solo project of Dermot Illogical, though you may know him as Andreas Vanderbraindrain, the frontman of British outfit The Tuesday Club. With its brainchild embracing the various talents of others, Reverse Family first grabbed keen attention with debut album My Songs About Life Mid Crisis in 2016. In so many ways 365 is a whole new ball game for the band, a project taking the listener into the heart and thoughts, not forgetting darkness, Dermot personally experienced as he came to terms with personal despair through the death of a great friend and band mate, going through divorce, dealing with the serious illness of both parents and other traumas taking Dermot to the edge.

Since that first collection of songs sent our way to announce the release of 365, the project has been in full swing with some more teasers sent for our ears to explore. So time to give you more insight into a collection of songs which we can say to date has grabbed the imagination and pleasured ears in varying persistently enjoyable ways by focusing on a few more which have recently been unveiled.

Day 20 provides The Suns rays are just like birthdays, an inviting stroll built around a great post punk bassline as crispy beats align to the distinctive tones of Dermot. Reflecting on the radiance of the weather as emotions rise and fall, the track is a thickly infectious affair nagging away at ears like a pleasurable itch.

There is great diversity to the sound and personas of songs with 365 too, Was I a good man (day 15) swinging along with a sixties garage pop hues as guitars offer their psych kissed jangle while No Reason to run (day 6) has the rhythmic shuffle of a King Trigger aligned to an off kilter twee/ indie pop croon. Hugging a melody which enthrals in its nagging simplicity, the track is simply mesmeric, almost shamanic in its virulent enterprise.

Equally irresistible is the bricks and mortar snarl of Sunshade City (day 21). It has a gnarly tone around the pulsating shadowy lure of the bass, both at the heart of its post punk/industrial examination while with matching success We Got It (day26) sees Reverse Family embrace early Adam and The Ants textures in its resourceful punk dance. With so many tracks unveiled already it is hard to pick a favourite but this always figures in any contemplation as too does  the twang lilted Keep Being the Good Guy (day 25). Its country punk tinge and another irresistible bass line and tone court the ever virulent vocal delivery of Dermot, it all uniting in one seriously catchy persuasion.

Seductive acoustic discord flirts from within Dark pop (day 7) and insatiable askew pop punk is bred through the rousing antics of Pay the price (day 3) while School gate politics (day 64) is a prowling harassment with menacing shadows and post punk intimation, kind of like a Bowie meets Artery contemplation. All three are additional pinnacles in the lofty landscape of tracks released to date and definite favourites with us among so many more.

It has to be said though that Movin’ forward (day 74) is the cream of the crop, its repetitious swing and hook lined lure simply irresistible; a real ear worm as dark as it is vibrant. There are numerous potent ways to get into 365, such as the delicious lithe tenebrific pop ‘n’ roll of Your wandering hands (day 82) but Movin’ forward is addiction in the waiting.

There is so much more to discover already with 365, aside from our glimpses, with EPs released currently standing at 19 as you read, and all there for your exploration, @ http://reversefamily.co.uk/  with plenty more adventure to come which you can keep up with through the Perfect Pop Co-Op magazine. 365 is DIY majesty with drama to be found at every turn and so much pleasure too.

https://www.facebook.com/reversefamily/    https://twitter.com/PerfectPopCoOp

Read our introduction to Reverse Family and 365 @ https://ringmasterreviewintroduces.wordpress.com/2017/08/26/day-by-day-with-reverse-family/

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

Day by day with Reverse Family

We all have different outlets for extreme emotions be they bred in grief, frustration, anxiety or romance for example. For many an artistic avenue is the release from such overwhelming trespasses and so it is with Reverse Family who are about to unleash a daunting but we can already assure you irresistible adventure for ears.

The Reverse Family is the solo project of Dermot Illogical, someone probably better known right now as Andreas Vanderbraindrain, the frontman of British outfit The Tuesday Club. Towards the end of last year, he released acclaimed debut album My Songs About Life Mid Crisis, a collection of multi-flavoured lo-fi experimental goodness which continues to hang around in the imagination and passions like an inescapable itch. It was an introduction which commanded attention and breeds real anticipation for the next epic outing with Reverse Family.

Starting in October, Dermot is releasing 365, a project made up of 52 EPs released as one a week for a whole year. Before panicking, shouting impossible, or mistakenly thinking anything that massive has to be more filler than thriller let us declare that with the evidence of the sampler sent by the man our way in our hands, it is going to be an escapade taking ears and imagination on a helter-skelter of honest and emotionally raw but instinctively fun exploration; a journey given greater intimate potency by Dermot’s diary entry of that particular day by the way of ‘sleeve notes’.

The tracks making up the project were all recorded DIY style at home between Jan 1st 2015 and Dec 31st 2015 with Dermot playing every instrument and sharing every syllable. Everything heard is as played and recorded; no editing or tampering made with every song bred in heart and spontaneity. It is an organic air and array of textures which grips the imagination as much as the sounds themselves; a fly-on-the-wall like climate baring the same open heart as that of their creator.

The catalyst to the project was the death of Terry, the drummer of The Tuesday Club. His sad passing came just as the band was deservedly stirring bigger and bolder praise carrying spotlights, a time topped by the band supporting Toyah at The 02 Islington and releasing their most successful and critically acclaimed EP to date. It was a world crushing time for the band and especially for Dermot who was also coming to terms with divorce, life dictating and changing illnesses for both parents as well as the constant struggle of being self-employed. It was a time many would have buckled under but Dermot focused all the suffocating turbulence into his music and turned it into a creative quest, one which at times you feel probably completely took over his world but gave him a survival and now the listener a spark for pleasure and thoughtful contemplation.

As the tracks we have reveal there is no ‘woe is me’ self-pity fuelling the adventure. Yes, it scratches his open wounds at times and is not always sharing smiles but every moment is an open insight and reflection on his feelings across the evolving year of those challenges and the life around Dermot in St. Albans with plenty of knowing black humour involved along the way.

The first track swiftly grabbing years was Future son – The Twa Twa’s, day 8 of the creative pilgrimage. Instantly it reminds of My Songs About Life Mid Crisis with its post punk twang and Dirk Wears White Sox era Adam and The Ants like character. A gorgeous hook lurks within the angular clamour, Dermot’s vocal delivery a swinging flirtation matching the similar allure of bass. The structurally organic design of the track alone is a web of lust clasping shenanigans, the song in its whole a psyche infesting treat.

Some tracks have an even rawer sound and temptation than others, This house is empty (day 10) one which borders abrasive in sound but within its causticity is an instinctive funkiness which has the body bouncing and appetite eagerly exploring words and emotion. There is a sense of despair and also hope carrying new beginnings felt with the track, a conflict most of us are no strangers too at some point and can grab with nodding recognition.

The clutch of songs within the sampler show the great array of styles embraced by the Reverse Family sound, the outstanding I stand alone (day 13) a post punk natured infestation managing to sound like a mix of Fire Engines, Swell Maps and unsurprisingly The Tuesday Club with Dermot’s distinctive tones yet is unique in every pore while MP3 (day 310) is a junction box of sonic wires casting a Devo meets Pere Ubu scented discord over the imagination.

The darker, grungier Faded colours (day 336) offers melancholy at its most magnetic, In my head (day 337) sharing a sonically and emotionally haunting incursion on the senses as pained as it is corrosively elegant, and both songs continue the broadening maze of flavours and emotional tempestuousness within the sampler alone. Like many tracks, each is also a relatively brief encounter; fleeting moments in an unsettled and often unsettling day though Bad cartoon (day 343) stays a little longer with its melodically jangling and evocatively persuasive as Bowie-esque toning draws the listener with seductive ease into its own personal melancholy.

The punk ‘n’ roll of Do it just for me (day 344) hits the spot just as easily, its tenacious canter a gentle cacophony of guitar, rhythms, and voice while I built a new contraption (day 356) shares a broad grin in its post punk/art rock pop. The pair relish in the addictive prowess Dermot constantly finds in his minimalistic but oh so potent grooves and hooks, though he saves maybe the most addictive for Breathy graffiti (day 365), its electronic poking the kind of inescapable nagging lust was bred for.

So that gives a hint of what is in store for us once 365 begins revealing its heart in a few weeks. It would be a little unrealistic to expect every one of the songs within the 52 EPs, each suggested to contain seven tracks, will hit the lofty heights of those on the sampler but do expect each to be the most honest and spontaneously shared temptations sure to intrigue and captivate like nothing else around today.

We for one just cannot wait!

The first of the 365 EPs will be released digitally from 2nd October 2015 through Perfect Pop Co-Op / Nub Country with one a week through to the first week of October 2018. For more information keep an eye on http://reversefamily.co.uk and https://www.facebook.com/reversefamily/ or through https://twitter.com/PerfectPopCoOp and the Perfect Pop Co-Op magazine.

Pete RingMaster 26/08/2017

Copyright RingMaster: MyFreeCopyright

Introducing Reverse Family

RF_RingMasterReview

Ever had that dream where an insect invades the ear and sets up home to mercilessly tease and torment thereon in? If so, a form of similar reality is about to be unleashed as the Reverse Family step forward to announce themselves with a sound which trespasses and festers in the psyche. The difference is that this is set to be the most welcome invasion of ears as it crawls with relish into the imagination.

Reverse Family is the solo project of Walmington-on-Sea resident Dermot Illogical, better known as Andreas Vanderbraindrain, the frontman of British band The Tuesday Club. Aided by a fluid band of collaborators from time to time, the new offering from Dermot is a lo-fi exploration into an experimental DIY web of sounds and flavours which is hard to pin down but certainly embraces everything from post punk and noise pop to indie and old school punk.

The RingMaster Review had the honour and pleasure to be the first to hear the tracks set to make up My Songs About Life Mid Crisis, the debut album from Reverse Family which is not due until next year through Perfect Pop Co-op but makes the ideal introduction to the new proposition so we thought we would share our findings within its dementedly addictive lures.

The first song we came up against was Alchopoppers on Fast Food, a brief and gentle yet deviously engaging song which instantly entices thoughts of seventies bands like Swell Maps and The Shapes but with the melodic natures of The Freshies. It is captivating stuff even with a drop into calmer waters which does not quite connect with personal tastes. We are not sure of the album’s track order but if this is to be the opener it provides a potent start though the brilliant Way It Goes is an even bigger pull. Carrying an early Adam and The Ants feel to its magnetic stroll, the song is pure addiction with a funk revelry bubbling under its pop punk surface, Dermot as vocally mischievous as the guitar led sounds around him.

art_RingMasterReviewThere is great variety to the songs too; Bit Slits for example flirting with the senses through keys which manage to sound like the brass flames of Essential Logic while guitar and vocals veer towards the Nikki Sudden school of discord blessed minimalistic seduction while Electronic 6 entangles portentous keys and winy guitars with fuzzy vocals for a Dalek I Love You/Artery scented melancholy. It is fair to say that Dermot wears influences openly yet each song develops its own distinct character under often familiar hues.

Hand of God has a darker and meatier nature to its predacious swing, contagious hooks and a great grumbling bassline aligning with melodic enterprise for a proposal which swiftly grips ears and appetite; a success just as easily won by the lively pop bounce of One Eyed, a seemingly early Television Personalities seeded encounter and the hypnotic I Can Sense Their Watching Eyes. This too has a flavour of Dirk Wears White Sox to it but with funky beats and another irresistible post punk guitar jangle in its off kilter dub teased shuffle, the track blossoming into another unique proposition within My Songs About Life Mid Crisis.

Other tracks in the mix are Business or Pleasure, a delicious song which sounds like Weezer soaping The Piranhas while recording it all in the bath, The Legend of Pierre with its haunting keys wrapped sultry croon, and Odd Mix Newgates, a seductive magnetic monotone tone spawned track surely inspired by Mark E. Smith.

The collection of tracks are completed by Higher Power with plaintive melodies and dour yet emotionally suggestive vocals and the outstanding May Number 10 Dream which again hints at bands like The Fall, Marc Riley and The Creepers, and The Mekons, as well as the criminally catchy Sods Law. Hips and feet beware as even in its low key nature it will have you swinging in an instant.

There are so many highlights offered by the Reverse Family songs; each track connecting with an ever eager hunger for punk fuelled, post punk spiced imagination. Plastic Punks epitomises this perfectly, its Fire Engines toned melodic jangle and Spizzenergi devilry sheer temptation again emerging as something specific to Reverse Family.

With a tongue in cheek lining to the lyrical reflection shaping songs which spreads into the music itself, Reverse Family is a beguiling adventure with a nod to the past and a grip on an imagination as fresh as it is, well quite simply a touch loco.

As mentioned My Songs About Life Mid Crisis is due for release next April but it is never too soon to get into something this craftily tasty.

http://reversefamily.co.uk

https://www.facebook.com/reversefamily/

Pete RingMaster 07/11/2016

Copyright RingMaster: MyFreeCopyright

The DeRellas – Freakshow

DeRellas_RingMasterReview

Kicking off their own album Rockaway Records in rousing style, UK punk ‘n’ rollers The DeRellas release new mini-album Freakshow. It is an insatiable six track roar of the band’s familiar glam infested sleaze punk rock ‘n’ roll but equally their most instinctive punk rock centred trespass upon the senses. The result an incitement which just fires up the instincts to be bad whilst treating ears to their most irresistible proposal yet.

Freakshow is also the first offering from the London hailing quartet without vocalist Robbie, one of the band’s founders along with bassist Timmy DeRella. Stepping forward to fill the spot as if he has always been there is Stevie D, the band’s line-up completed by lead guitarist Luca DeRella and also new drummer Bish, once of Flesh for Lulu. It is a foursome which goes straight for the jugular with the Pat Collier produced Freakshow; from its first breath tearing up its surroundings like Johnny Thunders meets The Boys infested with the raw power pop of The Quakes.

Rip It Up descends on the senses first, from its first rap of drums and spicy grooves winding around ears with a salacious attitude backed by tangy grooves and predacious rhythms. Stevie’s vocals are just as cantankerous as the sounds around him, carrying a great irritable edge potently backed by Timmy and Luca as a strong catchiness invades song and ears. Carrying a touch of The Damned to its darker riffs and rhythmic imposing, the song without ripping up trees is a strong and enjoyable start to Freakshow which blossoms into a greater beast hereon in.

Strung Out Sin City grumbles and rumbles upon an already keen appetite straight away next. A nagging potency lines its riffs whilst rhythmically the track is enjoyably heavier and darker than its predecessor, it all combining with a lively imagination which sees the song quickly eclipsing the opener. It too has a chorus which demands involvement whilst Stevie’s rhythmic guitar prowess is a great echo of the sonic enterprise cast by Luca. There is plenty about The DeRellas sound which is familiar but as here rarely to the detriment of creating its own character and persuasive individuality.

cover_RingMasterReviewHinted at in the last song, a great 999 flavouring invades next up Soho Hotel, an essence which accentuates the virulence of the song and its fiercely catchy demeanour led by the swinging bass groove of Timmy and Stevie’s rousing delivery. Bish’s beats equally make a lively impact throughout as sonic flames escape the strings of Luca. The song is another step up in power and adventure within Freakshow more than matched by the album’s outstanding title track. Taking best track honours, it is a bad boy encounter; defiant in heart and aggressive in bearing stirring up all the punk rock/rock ‘n’ roll instincts within itself and the listener.

Dress Up, Mess Up is another pushing thoughts towards 999 comparisons without losing its own DeRellas identity; the song a boisterous stomp of hungry riffs and bitchy rhythms as vocals and melodic toxicity inflame an eagerness to get involved. Again you could say surprises are low yet everything about the song and indeed Freakshow is fresh and all persuasive.

The release closes with a captivating version of the Adam and The Ants track Plastic Surgery, The DeRellas giving it a rawer Sex Pistols/The Adicts edge which just hits the spot dead centre.

Freakshow is The DeRellas at their most punk yet and no coincidence that the album outshines their previous and thoroughly enjoyable reputation marking encounters. It is also a great start to their new label which we would suggest in providing more of the same will be hitting, like the band, far loftier heights.

Freakshow is out now through Rockaway Records digitally and on CD and 10” green vinyl @ http://thederellas.bigcartel.com/

Up Coming Live Dates:

Friday 11 November – Birmingham, Hare & Hounds (with The Black Bombers and The Primevals)

Thursday 17 November – Bristol, Thunderbolt (with The Setbacks)

Saturday 19 November – Reading, Rising Sun Arts Centre (with Rage DC and The Go Go Cult)

Sunday 27 November – London, The 100 Club (with The Crunch)

Sunday 11 December – Edinburgh, Bannermans (with Buzzbomb + more TBC)

http://derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Three minutes and counting…talking pop with The Perfect Pop Co-op

pp_RingMaster Review

Recently we featured The Perfect Pop Co-op on the site, an indie label reminding of days past with their DIY attitude and energy and excitement with the kind of sounds and releases already unveiled. Formed by members of outstanding, one of a kind UK band the Tuesday Club, The Perfect Pop Co-op is ready to stir up the music scene with pop bred revelry. We set about getting to the heart of the label with creators Andy, John, and Dave…  

Hello and thanks for sparing time to talk with us.

The Perfect Pop Co-op has been around for a while now, tell us about its beginnings.

Andy: The Perfect Pop Co began as an idea around 2011. All of the members of the Tuesday Club were in different bands at the time and we were looking at a vehicle to release material through. Previous to the PPCO, we (John and Andy) were in a band called The Scratch and used to release our material through our own label Ponyland Records; PPCO was based on those lines, but basically the idea was a Rough Trade style collective or Factory Records, which was more accurate in the fact that both they and we had no budget or business acumen… (allegedly)…

So it is fair to say that the label was formed as much as anything because of The Tuesday Club but was also diverted from realising its initial intent because of the band’s success?

Andy: Well as we said we had already had the idea and done the vinyl renaissance thing too, our first 7″ (The Scratch) came out in 2002 when vinyl most defiantly wasn’t hip, but yes especially as at the time of starting the Tuesday Club we were an 8 piece so there was budget, desire, and more than a little material ready and waiting. Jordan had Recharged Radio, Andy, John and Terry had The Scratch, Dave was in We are White Worm, Minki had 50ft Woman, Lozz had been in loads of bands and since left to form Knock Off and Brian had been in lots of bands too and worked as a session player.

John: Yeah – as Andy said, we’d originally set up the label to release all the different bands we were in – but as the Tuesday Club was such fun the other bands went on the back burner and the TCs became our main focus.

Dave: The mistress became the muse if you like.  For me, it was like falling in love with being in a band again; limitless possibility and no baggage.  Remembering why I wanted to do this in the first place.

pp tc_RingMaster ReviewWhy form a label in the first place. I know The Tuesday Club is not exactly a band which is ever idle so it was not because of wanting to find something to do.

Andy: Basically we were overflowing with ideas and concepts and needed a way of archiving them coherently, but at the same time giving the world a chance to listen in. Since it’s conception The Bleeed, Andreas and The Wolf and two or three other off shots have happened, not least The D.O.D.O from 2011 and Reverse Family that has been in existence since 2006.

John: We’ve always been pretty prolific on the writing and recording front… not everything always fitted with what we were doing with the Tuesday Club, and with 8 of us in the band, getting the time to get us all together to write, rehearse and record material meant that there was always a surplus of tracks – so with The Bleeed, that was 4 out of the 8 of us recording some of those tracks in the gaps between working on the Tuesday Club.

I am assuming The Tuesday Club came first, a fair time before the start of the label? Give us some idea to the background of the band too; how you all got together etc.

Andy: Actually the label may have come slightly earlier; we started putting on nights at a local pub in St. Albans, The White Hart Tap. The Scratch generally headlined, 50ft Woman played and we had other bands come down as support. We had these loyalty cards that got stamped and we gave away free stuff to people who collected enough stamps. I think the Tuesday’s were only rehearsing at this time, I seem to think 2011 November, Electrowerkz in London being our debut.

What was the spark to Perfect Pop Co-op returning to its original idea and bringing other projects to ears?

Andy: There had been a lot of upheaval in the band, the tragic loss of Terry hit us all very hard; Lozz and Brian had already left, I guess we were unsure of the future and kind of thought we need something solid and positive to focus on

At the moment, the bands and releases on Perfect Pop Co-op are all linked in some way or another to members of the band?

Andy: Yes at the moment, each project features at least one or more past or present member of The Tuesday Club, but we do have dreams of samplers featuring other bands, we are basically trying to raise the profile of PPCO to see where it can take us

Can you give us some insight to the bands currently filling the label’s cast?

Andy: Each band has a different sound, though most in fact all have Andy singing on them; there are a lot of styles. We see The D.O.D.O for instance as a 60’s tinged – psych experiment. The Bleeed is our goth, Hammer Horror side, but we also have 2 or 3 experimental pop acts and an 80s synth duo! We never set out to write in a style, and tend to go with where it takes us. Our latest plans are for a PPCO invasion of Irish 4 piece Girl Band, who blew our minds when they played in St. Albans last year.

John: We often write and record tracks concentrated bursts with whoever is about – for example The DODO album was written and recorded in 3 weeks over Christmas a few years back with 3 out of the 5 of us in The Scratch – and so that became one project. Another, as yet unnamed project, which still needs mixing – was an albums worth of stuff recorded by 3 of us from The Tuesday Club last August – so that will become another project – so I guess these bands are all just different permutations of a wider pool of friends – so each one is different as we all bring different things to the party.

Are these all on-going projects too; bands we can expect more releases and new songs from in the future?PPart_RingMaster Review

Andy: Yes, we have plans to release something new for every month of this year; generally when a new mag (IN THE CLUB) is out. In the club 028 May 16 comes out so a new release will, not only older material, but we are intending to record a new track a month in our bunker, under the Perfect pop review.

What are the differences, if any, of releasing just one’s band’s material and having many projects to take care of?

Andy: There’s no difference really, other than the style of the artwork.

I read somewhere about the labels’ idea of the ‘perfect’ pop song. Can you elaborate on that and does it mean we are safe from hearing meandering ten minute epics from you? haha

Andy: Well everyone’s idea of perfect pop is slightly different, none of us are Queen fans, but Bohemian Rhapsody wasn’t 2 minutes or O Superman by Laurie Anderson. Personally my favourite ever single is Buffalo Stance by Neneh Cherry, but I don’t think you could beat Ride a White Swan by T.Rex or Tainted Love by Soft Cell, they are more the area we are dabbling in I’d say.

John: I think we all have a love of the 7 inch single – fitting everything into a 3 minute blast of perfection is quite an art and growing up in the 70s and 80s we were spoilt with great examples – what I liked back then was that often really quite weird tracks could get onto top of the pops. Laurie Anderson is a good example – but things like the Flying Lizards – I Want Money… or Pump up the Volume by MARRS.

Dave: Speak for yourselves.  Queen is a bit of a guilty pleasure.  Great pop music is like that elusive thing where a song hits the spot, first time, and it lives with you forever.  It’s just…..right.  No thought required, no second listen, just perfect.

Perfect pop…

Is there a plan in motion with Perfect Pop Co-op in regard to expanding artists and where you hope to be in say two or five years?

Andy: Yes as we said earlier, first we need the world to know we’re here, from there who knows

Will the label remain an in house bed of creativity or are you looking at some point in releasing records from other bands?

Andy: The Creativity bit is key to us, but yes we’d love to one day have PPCO numbers all over people’s record collection.

The remit will always remain pop in its varied guises?

Andy: Yes, I think a catchy chorus is always they key

Tell us more about the online magazine from Perfect Pop Co-op.

Andy: The mag started as a vehicle for The Tuesday Club and everyone contributed daft columns, and we did a monthly podcast of tracks we liked by new and old bands. But as the band evolved/changed we got less TC and more PPCO, plus now we have more outside contributions. We like getting bands we like involved too, our In the Club section has already featured Richard Norris (Beyond the Wizards Sleeve), John Robb (Membranes), Will Crewdson (Adam and the Ants), Maggie Demonde (Scarlet Fantastic) and Pete Jones (Department S), plus loads of local St. Albans bands we like too. The idea is defiantly ‘fanzine’ in the style of the Old punk zine ‘Sniffing Glue‘, very DIY, rather than the old NME or Melody Maker – there’s no time for loads of editorial, but that’s not to say that we wouldn’t welcome an editor Pete 😉 – trouble is the pays crap… £0 per hour! Basically the mag is a free way to support and PR our musical community and hopefully tempt people into buy our wares!

ppart2_RingMaster ReviewWhat is in line for our ears and imagination rom the label in the coming weeks?

Andy: Next up we are going to put out an Andreas and The Wolf single track and with the June mag is Zerox, The Tuesday Club cover of the Adam and The Ants classic, we recently did a gig with Adam’s current guitarist Will Crewdson – top bloke and in more bands than our own Rogerio TC, so we thought what with Adam back on the road too why not get that baby out in circulation!

And from our favourites The Tuesday Club?

Andy: We’ve just been back in the studio with our producer the fab Steve Honest at Hackney Road and recorded 4 tracks towards a new album (3), which we hope to have out in the spring of 2017.

Will there be a live aspect to the label, i.e. shows with your bands together at any point?

Andy: That was something we spoke about which is where the PPCO review idea came from, it’s definitely a possibility

Once again big thanks for the chat and time shared. Anything you would like to add?

Andy: Our thanks is to you Pete for your continued support. All we’d say to the world is get over to our bandcamp and get involved 🙂 The Perfect Pop Co-Op

Read out feature on The Perfect Pop Co-Op @ https://ringmasterreviewintroduces.wordpress.com/2016/05/17/introducing-the-perfect-pop-co-op/

Keep an eye and ear out for what comes next at, musically https://theperfectpopco-op.bandcamp.com  and in word and vision @ https://issuu.com/perfectpopco-op/docs/in_the_club_028_may_16/1

https://www.facebook.com/The-Perfect-Pop-Co-Op-205518542879875/

Pete RingMaster

The RingMaster Review 02/06/2016

The Tuesday Club – Boo Hoo EP

 

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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

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

The Tuesday Club – Lady Gargar EP

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After a summer taking their notorious concert party around the UK to the usual heavy dosage of acclaim and noise complaints by the neighbours, The Tuesday Club are breaking out the tea and tunes with the release of new EP Lady Gargar. The third in of a set of 4 EPs eventually uniting for the band’s next 4 x EP Box Set album, the ‘Body’ section of the eventual full-length brings three songs drenched in the recognisable Tuesday Club sound and devilry but as is always the way finding just that little more mischievous invention to refresh and excite.

Still looking and endearing like rejects from the Home Guard, men and woman who most likely would have been thrown out for goosing the vicar and flattening haystacks in the arms of land girls, The Tuesday Club just get more essential and addictive with every release, Lady Gargar as an EP and new single no exception. The successor to the My Consciousness EP out last October and the Forbidden Kiss EP of June this year, Lady Gargar romps and stomps like a Canadian/US soldier providing illicit booty in the Blitz, seducing and swaying with virulent punk ‘n’ roll pop temptation.

ep cover_RingMaster Review   The EP opens with its title track, the Walmington-on-Sea septet bringing Lady Gargar into view on a lone scrub of guitar and soon after, the distinctive vocal devilment of Andreas Vanderbraindrain and The Minx. Like Dirk Wears White Sox Adam and The Ants colluding with Oingo Boingo era Danny Elfman, the track slips through ears with thick flirtatious hooks and a broadly smiling swagger. Within this festivity, the keys of Rogerio Marauder bloom with melodic warmth as the beats of Titti Bartelski jab and lead an inescapable incitement on feet and hips. Everything about the song is magnetic, the guitars of Dave Worm and J Rod spewing catchy riffs and grooves as freely as the bass of The Beautiful Wolf wanders through it all in its own individual way.

Scars are Superstars steps up next, straight away laying down bait of jagged riffs and punchy beats as the rest of the band add their infectious spices with increasingly riveting success. Weaving in new wave and power pop enterprise into its relentlessly keen energy and gait, the song bounds along like a teenager in the heat of summer and puberty; grinning with sparkling hooks and the ever becoming vocal union of Vanderbraindrain’s spiv like devilment and The Minx’s Amazonian lure.

     Resistance (Makes the Heart Grown Fonder) completes the line-up upon the EP, its personal instant magnetism the perfect coaxing into an even stronger contagion of inimitable temptation. More a canter than its predecessors, the song ambles along with a Radio Stars meets Wreckless Eric enticing, at times a whiff of Ten Pole Tudor also showing its scent, simply bewitching at all times as it incites the body to use every angle at the hips disposal for a gentle but determined swing.

Recent releases have shown The Tuesday Club on a trend of being more and more creatively captivating with the Lady Gargar EP their new pinnacle in the defence of our pleasures and souls. Roll on EP 4 is all that is left to say.

The Lady Gargar EP is released on October 19th wit pre-orders available now @ http://thetuesdayclub.tmstor.es/cart/product.php?id=26399

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

Upcoming Live shows:

Oct 19 8:00pm     The Horns     Watford, UK (EP Launch Show)

Oct 23 8:00pm     PDM At Harveys     Luton, UK

Oct 24 7:00pm     Cockfest! at The Town Hall     St. Albans, UK

Oct 31 7:30pm     Trestle Arts Centre     St. Albans, UK

Nov 01 6:00pm     Lower Red Lion     St. Albans, UK

Nov 08 8:00pm     The Garage     London, UK (supporting Toyah)

Pete RingMaster 14/10/2105

Copyright RingMaster: MyFreeCopyright

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

Hawk Eyes – Everything is Fine

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Debut album Ideal set the seeds for a lustful appetite which the following That’s What This Is not only cemented but took to new feverish heights; so anticipation for us and their fans for new album Everything is Fine was not exactly calm. Every want and expectation demanded of UK rockers Hawk Eyes it has to be said is swiftly met by the bands second full-length but it is only half of the story. On their breath-taking new encounter, the band explores new instinctively primal and raw depths within a greater and furiously fevered invention. Everything is Fine is rock ‘n’ roll at its most rugged and voracious, but also offered in its greatest imaginatively virulent form.

The heart and persuasion of the Leeds band began in the guise of Chickenhawk, a proposition similarly making a potent impression through their live presence and the album Modern Bodies of 2010. It was from the name change to Hawk Eyes though, that the unit tapped into a broader and richer vein of attention and personal creative exploration with a similarly expanding and creatively rebellious sound. The first album under the new guise, Ideals set a bigger roar within the British rock scene which That’s What This Is pushed even further but now having had Everything is Fine raging through ears into the passions, it is easy to say they were just hearty appetisers for a much bigger inventive meal.

The writing of the PledgeMusic funded Everything Is Fine began in 2012, songs emerging within and round the band’s constant hunger to tour and play shows, which included supported the likes of System of A Down at arena shows and playing the biggest music festivals across Europe, as well as SXSW over in the States. Even writers block for vocalist and guitarist Paul Astick could not derail the oncoming creative storm driving the new album, the man solving his problem by absconding to a hole at Spurn Point in Yorkshire on a really bleak evening with the outcome an oppressively dark and wonderfully ravenous title track.

The album though starts off with the inescapable lure of The Trap, a song making a gentle and slightly melancholic entrance with an air and dark stringed caress to match. Its first minute is a 4ca338c20ba067f7ab9f5dd77375627a0tantalising coaxing for ears and imagination before parting its veils for the pungent and anthemic rhythmic lure of drummer John Mackenzie aligned to the just as compelling throaty bassline offered by Ryan Clark. The outstanding vocals of the band are soon crooning and lifting the energy of the song, never letting it off its leash but prowling the senses and emotions with riveting expression and expertise. There is a breath of Dioramic and Pigeon Lake to the track, a harmonic and shadow wrapped breeze which only lifts the passions further as the opener crowds excitingly around the listener leading them towards a superb hook loaded vocal and almost combative climax.

The exceptional start is backed feistily by the sonic agitation of The Ambassador, a song grasping a dirtier hardcore laced vocal and rhythmic confrontation to its melodically clothed and tenaciously muscular breast. Hooks tease and riffs abrase from Robert Stephens and Astick, as vocals eye ball the listener with their boisterous tones and narrative. It is a blend ensuring body and emotions continue to be tightly clasped ready for the exceptional call of Die Trying. Soon offering punk vivacity to its heavier metal seeded tempest, the track equally finds an alternative rock contagion which offers shades of bands like Baddies in its unique creative brawl. It is a thumping encounter bringing further spices to its magnetic turbulence, a grungy essence as intriguing and gripping as the sinew driven aspects of the masterful persuasion.

There is strong variety to the flavours of the song and even greater diversity to the album, as straight away shown by the raucous heavy rock stomp of Permission with its progressively honed melodies and the catchy warm stroll of The Ballad Of Michael McGlue. The first roars like a mix of Queens Of The Stone Age and Therapy? whilst the second looks at another more indie/alternative rock canvas coloured with funky beats and melodically inflamed evocative hues. Both captivate with ease, though the sudden stop of the latter and the immediate charge of the following More Than A Million soon has album and listener hitting greater exhaustive energies. The wonderfully toxic snarl of the bass and accompanying acidic grooves chain the passions instantly, whilst the continually impressive vocals of Astick along with the unpredictable nature of song and individual creativity within the band, enthrals as they lure body and voice into the swing and anthem of the track.

Terribly Quelled shows its aggressive proclivity next, snarling with resourceful and inviting belligerence attached to punk fuelled anthemic suasion before Night Music absorbs a Faith No More like climate as it provides another fascinating and increasingly addictive inducement complete with roaming rhythms, mesmeric vocals, and sonic blazes. Both songs leave emotions high though are soon in the shadow of the outstanding I Never Lose and the album’s scintillating title track. The first of the pair twists and flirts with an agitated new wave bloomed enterprise reminding of the likes of We Are The Physics. This is aligned to an unbridled stalking of heavy rock ‘n’ roll rabidity for striking success, whilst the latter is a tempestuous consumption of ears with a post punk and discord lit bluster of predatory imagination and sonic causticity. It is also, from within its corrosive smother, one seriously infectious proposal brilliantly closing with a thrilling parade of enterprise which hints of very early Adam and The Ants.

Everything Is Fine is brought to an engrossing end by firstly, the controlled yet ferocious avalanche of rhythmic intimidation and sonic examination that is Enemies, and lastly the seven minute plus TFF. The final song does not quite match up to all that went before it, yet leaves the listener engulfed in a tapestry of melodic and dramatically multi-flavoured adventure, which shows just how exceptional other songs are to outshine it.

In many ways Hawk Eyes had a head start thanks to the already hungry appetite for their sounds already bred by the band previously but Everything Is Fine surpasses all hopes and greedy demands with quick and masterful majesty. Start those best of year lists right now and put Hawk Eyes right at the top.

Everything Is Fine is available from February 9th through Red Vole @ https://itunes.apple.com/gb/album/everything-is-fine/id962728478

Check out Hawk Eyes on tour@

Thurs Feb 12, Maguire’s Pizza Bar, Liverpool

Fri Feb 13, Barfly, London

Sat Feb 14, The Joiners, Southampton

Mon Feb 16, Louisiana, Bristol

Tues Feb 17, Bodega, Nottingham

Weds Feb 18, Sound Control, Manchester

Thurs Feb 19, The Cluny, Newcastle

Fri Feb 20, Nice N Sleasy, Glasgow

Sat Feb 21, Brudenell Social Club, Leeds

http://www.hawkeyesmusic.com

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Cauldronated/ Dave.I.D / Sebastian Bartz at The Unicorn January 30th 2015

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It was a night so cold that face stubble receded to search for warmth and involved a walk long enough to worry time zones, but all was forgotten at The Unicorn, Camden on the last Friday of January 2015, thanks to a trio of bands which left the senses reeling and emotions elevated. The night marked the return of the venue’s Post-Punk Club, and the dramatic union of what are three of the UK’s most uniquely original and inventive bands right now.

Anticipation was already a heady brew for Cauldronated, the new band of Dave Barbarossa of Adam and The Ants, Bow Wow Wow, Republica, Chicane… the list goes on…fame. An appetite sparked by his history and confirmed thanks to already unleashed tracks and videos. Equally there was a seriously pricked intrigue in the prospect of being introduced to two artists with a healthy buzz around them, Sebastian Bartz and Dave.I.D. It proved to be an adventure which threw assumptions and expectations to the floor and set about stirring up blood, energies, and emotions.

The night opened with the post punk voracity of Sebastian Bartz. As became the norm for the night, the quartet of musicians arrived as good as unannounced, as every song on the night from all bands (our only niggle), and swiftly unleashed a sonic tonic for the senses with immediate effect. Song after song was sculpted around a seriously potent rhythmic frame, with the drummer especially stealing attention in a couple of the tracks, including the closing treat from the band. To this guitar and keys added their often raw and always impressively toxic melodies as Sebastian prowled and sized up each song and audience member with a belligerent but endearing androgynous theatre. Fresh to the presence of the man, it is fair to say that he and the band impressed unreservedly, every second of sound and twist of lyrical spite accompanied with addictive antagonism and contagious craft. Equally there was a power and attitude expelled which often pushed tracks to their rawest limits, and caused ears to wilt under the sonic force offered though they only remained hungry for more, especially with tracks like She’s Gone which was amongst so many standing out, but the only one with a title known. Not letting a broken guitar string deter the onslaught of post punk imagination and intimidating devilry from songs and band, Sebastian Bartz powerfully proved why he has the reputation of being one of the really exciting propositions of the London live scene.

It is clear that the majority of the audience was there for one particular thing, to see Cauldronated, which left Dave I.D. who closed the night, staring at only a handful of certainly keen and attentive bodies. It was a shame as the solo musician captivated with his heavily atmospheric and soulful sounds. His hands were often a frantic movement spinning a web of musical invention with his varied equipment whilst his creative nature was a twitch of vocal angst and expression. There is a dark emotion to his industrial seeded music and sobering lyrics which challenges and transfixes simultaneously. Also there is an underlying anger which skilfully colours his music and on the night seemingly erupted with a flying drum stick, though if in frustration at the lack of bodies before him it was possibly understandable, his compelling set deserved, as his emotive sounds, more.

Splitting the two was Cauldronated with a performance which blew away man and night alike. As mentioned the newest project of Dave Barbarossa, the band took merely the initial tempting of 10891845_1567448743468059_6897666929198738212_nopener iBossa to bind attention and imagination, never relinquishing it until the last beat and note of the demanded encore. On stage the band is driven by Dave’s still strikingly potent and inspirational rhythmic craft; in fact ‘still’ does him an injustice as much heard on the night left marks surpassing a lot of his legendary history in invention and sheer agility. In front of him stood the vocal, lyrical, and occasionally rhythmic drama that is Italian extrasolar poetess Eva Menon. The lady has a presence which forcibly lures attention yet is as organic and natural as it comes, well until she unleashes her lyrical tirade which just enthrals and sparks in ears and imagination. Eva has a stage scowl, a leering confrontation which is not forced but part of the whole impacting incitement that is Cauldronated yet also an underlying mischief which could not stop breaking out through smiles on the night, especially to the birthday wishes flung her way.

As said opening with the exceptional iBossa, which as all their songs sounds even more powerful and infectious live, there was the feeling that if they could straight away uncage a fan favourite there was bigger treats to come, and so it proved. Songs like Buy This Thing and In This World left bodies and emotions enslaved, Dave’s ridiculously creative and addictive beats turning feet and limbs into his own personal puppets whilst Eva has thoughts bound with her scythes and lashings of vocal and lyrical confrontation. Of course around this, binding their ingenious strikes are the adventurously melodic and creative sounds of David Harman, absent on stage but lighting up every song with imagination and worldly temptation through his recorded enterprise.

The band’s incredibly rousing set flew by in a blink, but every minute was a standout muscular and tenaciously seductive flirtation. The band’s bio call their sound punky, drum-centric techno, surely after such a stunning performance, it should be merely tagged as alchemy. As mentioned it seemed like the whole night was there for Cauldronated, the likes of Andy Dukey from London based band Top Buzzer and Johnny Summer, the head of the Reputation Radio Station, adding their enthusiastic moves to a seriously invigorated and healthy crowd.

Dave Barbarossa is no stranger to helping create and driving forward some important moments in the history of the British music scene, and he with Eva and David Harman could just be poised to do it again. Certainly with the equally stand-out performances of Sebastian Bartz and Dave.I.D backing them up, Cauldronated has given London an early pinnacle in its live scene for 2015.

http://www.cauldronated.net/

http://www.dave-i-d.com/

https://www.facebook.com/sebastianbartzmusic

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today