Cellista – Transfigurations

photo by Temira Decay (Yellow Bubbles Photography)

This September sees American cellist, performance artist and the artistic director of the interdisciplinary performing arts group Juxtapositions, Cellista begin a series of live dates in support of her recently released album-book, Transfigurations. They are moments in time sure to fascinate and provoke as classical music, theatre, improvisation and visual art entwine with tapestries and intimations of sound and genres and align with the compelling body of Transfigurations.

The release itself is a politically-charged invitation to thought and imagination with a layer of closer intimacy. From its first breath Transfigurations evoked attention and contemplation as Rupture I opens things up with an aural echo of defiance and oppression. It is a potent introduction to the heart of the album leading to the pure captivation that is Confessions. Featuring the magnetic tones of Rykarda Parasol across the equally transfixing cello led musing of Cellista, the track slowly but firmly strolled through ears, plucked strings a brooding radiance and melodies a captivating sigh alongside verbal intimacy.

Rupture II brings the current US ‘frontman’ with a typical declaration before Look Homeward, Angel steps forward to entice and reward. Cello caresses swiftly and easily seduce and inflame the senses even before the lyrical and vocal rhyming of hip hop artist DEM ONE (a.k.a. Demone Carter) evoke further eager attention. As the track continues to absorb and infest, soprano vocalist Melissa Wimbish accentuates its inherent beauty, it all arm in arm with the simply irresistible lures of Cellista’s strings.

The provocative series of Ruptures continue to separate and mark upon each track, the darkly shadowed and increasingly intense third welcoming the contrasting but no less powerful and consuming piece of narrative that is You Can’t Go Home Again. An electronic shimmer surrounds and accentuates the absorbing storytelling, the track increasingly darker and imposing by the minute and indeed enthralling.

A dystopian air clouds Repetitions, its breath intense and composition unpredictable ensuring fascination embraced every note and creative trespass while the three part movement of When the War Began left a similar maybe even more dramatic imprint on the senses and imagination with its rousing cacophony of tenebrific incitement cast with a craft and invention often as delicate as it is imposing; keys and cello led intimation a wonderfully forceful evocation.

Tzeva Adom brings the album to a close; the sirens of its early-warning radar system the prelude to a radiant and defiant beauty as strings and keys again weave a pungent tapestry of emotion and sound. It is a haunting and arresting conclusion to an album which bewitched from start to finish whilst provoking increasingly darker and tempestuous shadows and emotions.

Words can certainly hint but with Transfigurations only experiencing is the true way to understand its magnificence.

Transfigurations is available now @ https://cellista.bandcamp.com/album/transfigurations-2

Upcoming Live Dates (tickets at the door or reserve online via Facebook):

Sept 20 Seattle, WA – Wayward Music Series (with The Zero Collective, noisepoetnobody)

Sept 22 Portland, OR – a steep & thorny way to heaven (with Operafication, The Zero Collective)

Sept 24 Los Angeles, CA – Coaxial (Noise Soirée) (with The Zero Collective, Crank Sturgeon, Anna Homler)

Sept 27 Denver, CO – Mercury Cafe (with Sean Renner)

Oct. 06 Sacramento, CA – NorCal Noise (Part of Norcal Noisefest)

Oct. 18 Los Angeles, CA – Art Share (with Sean Renner)

Oct. 25 Oakland, CA – Temescal Arts Center (with Mia Pixley)

https://www.facebook.com/cellista.music   https://twitter.com/xcellistax   http://www.cellista.net

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Some Kind of Illness – Awakening

In a time where each day and every twist within it brings some form of tension or reflection of humanity’s quest for self destruction, we need a place to escape, to embrace a calming beauty within the chaos. One such place is the new album from UK duo Some Kind of Illness. The mesmeric Awakening is an oasis in the turbulence, a realm of elegant ambiences and warm melodies and though shadows and melancholy equally line the flight of the release they are all part of the evocation guiding ears and thoughts to an experience reflecting the album’s title.

Hailing from Farnworth, Some Kind of Illness is the creation of brothers Mark and Paul Hinks. The project emerged around 2014 bringing an alternative/indie guitar sound which swiftly drew positive attention especially with the release of the pair’s self-titled debut album in 2015 By then the band had become a busy proposition on the surrounding live scene and played numerous iconic venues across Manchester and Liverpool spreading out across the UK as well as shared stages with the likes of Tom Hingley and The Jackals and going into the following year, The Primitives. 2016 also saw the again highly praised release of second full-length Souls as well as the unveiling of Nick Connors’ film Northern Lights for which they wrote the soundtrack.

With Awakening, the pair has explored the qualities and depths of a retro Roland D-50 synthesizer and an 808 Drum machine around their weaving of guitar suggestion. The album also moves within a lighter climate of emotion in comparison to its predecessors, again its title echoed across tracks which are unafraid to hug shadows and darker feelings but explore the beauty in all. It opens with the instrumental caress of its title track, keys and guitars wrapping each other’s grace in a slowly revolving flume of temptation. Its hypnotic beauty is followed by the equally calm climate of Neon Glass though immediately beats are a lively lure. There is a great eighties post punk/new wave feel to the track, bands such as Human League in its first guise and Eyeless in Gaza coming to mind as the song seduces the imagination.

No More Waiting embraces similar hues within its gentle hug of ears; its ethereal atmosphere warmly clinging to the vocal declaration before the pop kiss of Violet Dream floats over the senses like the morning mist on an autumn day. The song features the enchanting tones of Hara Su, an engaging spice on the beguiling melodies of guitar and keys which tease ears. There is a hint of discord to the track too, a whiff of unsettlement which sparks thoughts as potently as the reflective prowess of word and tone.

The captivation continues through the Slowdive-esque Memories In A Window and the instrumental whispering of Ledana, both tracks an individual province of melodic suggestiveness and emotional intimation which lure ears and thoughts away from a moment of reality. They in turn are followed and matched in temptation by Cyclone which welcomes the innocence graced tones of Daisy Davies as it immerses the senses.

The dark touches of the real world continue to be eluded with the celestial flight of Icarus, its lofty beguiling atmosphere lined with darker omens as keys and vocals float across the rich captivation while with its own off world spatial hints, Snowflakes gently falls around the poetic portrait cast by Virginia Martelozzo. Each is a bewitchment which almost haunts the senses before the shoegaze shadows of Crystal Light bring the release to a lucent close. Melodies sparkle off of its energetic slumber, vocals similarly a vibrant lure into the track’s radiant depths.

It is a fine end to an album which simply grows more beguiling and impressive listen by listen. We all need an escape from the surrounding tempest, the compelling echoes and layers of Awakening just might be yours.

Awakening is available now @ https://somekindofillness1.bandcamp.com/album/awakening-lp

https://www.facebook.com/SomeKindofIllness/    https://twitter.com/skoiband

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Chasing Sanity – Anathema

Chasing Sanity is the new solo project from Erik Martin, formerly of Erik Dismembered and one half of Skin Drone; a new creative adventure born from the ashes of the first of those two when Martin decided to “start over and rebrand” himself and his music having felt “uninspired to write anything under the Erik D moniker”. In many ways, Chasing Sanity is closer in style to his work with Otto Kinzel as Skin Drone but as swiftly revealed within debut album Anathema, creating its own unique and fascinating world of imagination and sound.

Though you might primarily tag Anathema as Avant Industrial Metal, it is equally a kaleidoscope of atmospheric and cinematic textures drawn from the darkest corners and depths of the imagination. Every track is a challenge and canvas for the imagination to conjure upon and a place where intimate horrors collude with broader nightmares. Themed by “anxious depression and anger” bred in Martin’s own experienced emotional turmoil, the album opens with You Fiend. Primarily an instrumental release, the first track features the vocal prowess of Nate Exx Gradowski from Isolated Antagonist, AutomatoN, and Quo. Straight away the raw snarl of guitar stalks the senses, inserting their toxic magnetism as Gradowski adds his multi-textured presence within a similarly diverse lure of synths. Every second of the song leads to a fresh turn and unpredictable twist, Gradowski’s switches between harsh and clean vocals matched very second of the way by invasive yet captivating sound.

In many ways, the opener is a straight forward proposal to embrace compared to its successors where the imagination is as active as ears.  Cursed is next up, gliding in on the infectious throb of bass as an increasing web of sound and noise insert their suggestive glimpses into the track’s brewing landscape. Drama fuels every second, metal nurtured riffs and trespasses gripping bait but persistently interrupted by haunting atmospherics and sombre shadows to catch ears and thoughts off guard time and time again. As with all pieces, interpretation will be unique to the individual but unavoidable as the track provokes and inspires before Depths Of Euphoria immerses ears in its own disarming quiet suggestiveness. Even more cinematic than its predecessor, the song is like a flight through night clad scenery with sinister shadows and dark traps waiting to spring.

The industrial intimidation of Haunted Walls quickly has thoughts and emotions involved next; danger and innocence entangling within its guitar veined gothic body. It is a dark place though with the invasive intent of a Hostel found cell, every step within its fascination wrought with tension and ill-intent before Dismembered Thoughts brings some light to the release with its infectious waltz. Yet it too is a tenebrous dance with treachery and menacing asides, keeping ears and thoughts again wary and busy throughout its passage through to the steely net of sonic intimation cast by Orange Bottle. A blend of textures and styles unite for its metal nurtured shuffle, the track prowling the senses as it commandingly ignites physical and mental involvement.

Pills, Pain And An Autopsy creates its own travelogue through the dark tunnels and layers of psyche and suggestion where caliginous beauty and thought infesting angst breed their own unique connection. The track continues to grow and blossom, never escaping its haunting shadows but nurturing a myriad of melodic hues and evocative textures within its atmospheric immersion.

The final pair of tracks upon the EP sees Martin linking up with firstly Rockwater Pictures for Red Death and its percussive and inhuman infestation of the psyche and lastly with Chris Bollinger of Kill Point Protocol and Varicella in Salem, 1666. The final track only needs Vincent Price’s distinctive growl to be the complete cinematic nightmare, one offering extreme and industrial metal surges seemingly glimpsed through a damaged canvas slashed by the claws of the horned one. As the album, it needs numerous plays to settle on a final interpretation, if you ever can, with thick enjoyment flowing through every attempt.

There is no doubt that Anathema is a challenge, one only venturing within its dark realms will reveal whether you  will embrace or flee from it,  but as is the theme with Erik Martin’s work, it is a testing which leaves you mentally and physically alive and indeed welcomingly exhausted. Chasing Sanity pretty much sums up the sound and experience of Anathema, something we all do in varying ways through life.

Anathema is out now across most stores and @ https://chasingsanity.bandcamp.com/

https://www.facebook.com/chasingsanityband

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Soundscapism Inc. – Desolate Angels

Cover artwork and booklet design by João Filipe, based on photos by Ü-Berlin Photography.

Desolate Angels is the eagerly awaited sophomore release from Soundscapism Inc., a highly anticipated successor to a debut which made a potent and well-received impact on the European post rock scene. The new offering is sure to emulate, indeed surpass the success of its predecessor with its even more accomplished, imaginative, and warmly haunting adventure.

Soundscapism Inc. is the solo project of Berlin based musician Bruno A., the founder of Portuguese/ Finnish bred band Vertigo Steps. When that band went on an unspecified ‘hiatus’, Bruno began bringing his own creative exploration to light with the release of the self-titled Soundscapism Inc. EP late 2015 quickly enticing ears and praise with its cinematic ambience, post rock climates, and acoustic beauty. It was more of an album with its nine captivating tracks and the base for the even more creatively expressive and magnetic Desolate Angels. The new evolution and craft in the project’s tapestry of sound and character was hinted at by a couple of tracks released from it towards the end of year but now in its full glory, it is a compelling proposal expanding well beyond their promise.

Swiftly as immersive and cinematically suggestive as the first release, Desolate Angels immediately caresses ears with Evening Lights. A guitar melody wraps its tender arms around ears first, additional lures warmly and firmly whispering before the track settles into an even mellower atmospheric landscape. Guest vocals from Flávio Silva subsequently emerge to add their captivating croon as Bruno’s guitar and keys weave a portrait of poetic post rock and ambient beauty. It is melancholy with a tempering charm and alluring tinges of harsher rock ‘n’ roll and quite bewitching.

The potent tones of Silva also feature on the following Supernovas At Fever Pitch, the song from another reserved opening firmly blossoming in sound and texture before his appearance, thoughtful melodies and an elegantly solemn yet again enticing air greeting him. From its initial simmer, an increasingly infectious energy and enterprise brews with a touch of Maybeshewill to it, this awakening bringing thicker wiry grooves and richer but restrained intensity to further ignite the track’s evocative heart. As the first track, it lures the imagination with ease, almost preys on it before The Mourning After pt II coaxes the listener into its relatively brief emotionally rousing instrumental waltz, subsequently leaving on a wash of melodic reflection.

Zwischenspiel I similarly draw ears into a melody persuasive romancing of thoughts and senses, its intimate seduction the echo of broader but also solitary pastures; an emotional closeness also found within the album’s title track where innocence feels shadowed by darker lurking trespasses. Touching the outskirts of ten minutes in length, Desolate Angels provides a flight of contrasting drama; dark and light toying with the imagination as Bruno conjures a soundscape of raw and equally radiant sound and suggestion which tempts like a fusion of  Sigur Rós and 65daysofstatic at times, his vocals an euphonious caress.

Through the inescapably infectious and constantly shifting stroll of Man In The Glass and the calm crystalline smoulder of Zwischenspiel II the individual presence and sound of Soundscapism Inc. is cemented, any hint offered by references to others like God Is An Astronaut for the second of this pair, just clues to something fresh and provocative.

The appetite pleasing voice of Silva makes its final appearance within next up February North, his voice a great mix of grainy and melodious temptation wrapped in the acoustic ethereal grace of Bruno’s touch and craft, essences just as refined and persuasive in the evocation spun by next up Quintessence around a narrative of vocal samples.

The album simply continues to bewitch and entice, firstly through the livelier exploits of Low-Fi Man, Hi-Tech World, the song a melody woven aural film with its rhythmic tenacity like the flickering roll of cinematic stills combining for a mesmeric visual incitement. Its striking presence is followed by the instrumental grace of Zwischenspiel III, it also a piece again with emotive shadows, and a short reprise of the title track before the increasingly beguiling Sleep Arrives Under Your Wings adds a surf rock glisten to its celestial beauty and resonance. The track is manna for ears and imagination, quickly followed by emotions and makes a magnificent close to the release though the evocative kiss of bonus track Above Us Only Sky provides the actual final moments of the album’s digital version.

There is plenty to take in aurally and emotionally within the hour of Desolate Angels, more than arguably can be assessed and appreciated in one go though perseverance in that vein only brings thick rewards. Each track works just as potently alone or in small clusters too so whichever way you approach it real pleasure and fulfilment is the result. Bruno and Soundscapism Inc. have stepped upon a new plateau with Desolate Angels with easy to suspect even bigger inventive and striking ventures to come from him.

Desolate Angels is available through Ethereal Sound Works now @ https://soundscapisminc.bandcamp.com/

https://www.facebook.com/soundscapisminc

Pete RingMaster 05/03/2017

Copyright RingMaster: MyFreeCopyright

The Lazlo Device – Looking Glass

It is fair to say that UK quartet The Lazlo Device, have laid down an inescapably immersive adventure with new single Looking Glass to offer a fascinating invitation and teaser to their upcoming debut album. A majestic serenade of sultry melodies and elegant charm bound in an evocative ambience, the song glides through ears and into the imagination. It is in a way aurally erotic such its suggestiveness yet equally has a rousing prowess of energy and subtle crescendos to seduce the body’s instincts and leave a quickly keen appetite lustfully greedy by its close.

The band is a quartet from London which formed towards the rear of 2010. Drawing on inspirations from the likes of Mogwai, Wild Beasts, Grizzly Bear, Stateless, Four Tet, The Beta Band, and Elbow, the foursome of bassist/vocalist Dan Murdoch, guitarists/keyboardists Mark Litobarski and Ross Saunders, and drummer Leo Fenn soon began earning a growing reputation for “their unique blend of delicate soundscapes, thumping riffs and epic climaxes.” It is a quality openly evident in their latest single, it impressively building upon the invention and success which fuelled the band’s 2014 released trio of EPs, Unlucky 13, Gunslinger, and Lazlodia (Tokyo High St EP).

Taken from impending full-length Duelism, the swiftly seductive Looking Glass first caresses ears with a sombre yet welcoming bass. Within a few breaths more keys and guitar strings within floating harmonies lay poetic fingers upon the senses and imagination, they orchestrated by the engaging vocal charm of Murdoch. The song’s atmosphere is warm whilst its scenery is a mellow yet flirtatious festivity involving jazzy textures and evocative melodies amongst many more spices which simply romances ears.

There is an underlying catchiness to the proposition too, one lurking in the magnetic rhythms and the swing of the vocals. It is an infectiousness which builds to controlled but anthemic expulsions that only reinforce the track’s grip on the listener before allowing them to fall back into the seductive arms of the Muse scented encounter. A smooch on the senses, Looking Glass is further enhanced by the irresistible flames of guest and alto saxophonist Dennis McDonagh, they another hue to a lingering treat which by its end has incited the beginning of impatience for the album ahead.

There is/was a Japanese band called Tokyo Chaos City which created a similar alchemy of emotion flooded ambiences around fiercely provocative textures and sonic experiences, they the only real references we can offer to the uniqueness of The Lazlo Device sound. Expectations are that Duelism will follow-up and push on the beauty and invention of Looking Glass whilst The Lazlo Device will go on to be a potent part of the rock landscape at home and most likely further afield.

Looking Glass is out now @ https://thelazlodevice.bandcamp.com/ with Duelism to be released 11^th March with its launch show on March 12^th at the Camden Barfly.

https://www.facebook.com/thelazlodevice  http://www.thelazlodevice.com   https://twitter.com/THELAZLODEVICE

Pete RingMaster 17/02/2016

Copyright RingMaster: MyFreeCopyright

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

Kitchie Kitchie Ki Me O – Are You Land or Water

Are You Land or Water is like a colouring book for the imagination; the template is there in its inspiration and themes but each track within the new album from Norwegian band Kitchie Kitchie Ki Me O, is as much an adventure to self conjure as an atmospheric and evocative landscape to explore. The six track incitement immerses the senses then grows in thoughts; each of its proposals a unique art rock seducing awash with warmly invasive ambiences and when united a release which has body and emotions enraptured.

Part of Are You Land or Water was inspired by the Barbarossa Cave in the Kyffhäuser region of Germany and behind it the myth of Frederick Barbarossa – former German monarch and Roman Emperor of the twelfth century – who is said to slumber within these caverns in a palace beneath the Kyffhäuser hills where his beard grows in circles around the table at which he rests. He is said to be waiting until either he can reign once more over a unified Germany or till the end of the world; whichever arrives first. Its beauty made a potent impact upon the band’s main creative force, Alexander Kloster-Jensen (Alex K), his visit coinciding with the fermentation period of ideas for the album to come. Talking about its theme, Alex said of the album “Are You Land or Water is about tension, and describes the states of passive and active. You cannot be the two at the same time, but the two states are equally important.” They are dynamics which play skilfully throughout the release, and again essences which simply spark ears and imagination into creative responses.

The album opens with Barbarossa (Fire Birth) and its swift compulsive lure of rhythms. Metronomic beats and a heavy dark bassline instantly enslave attention and an ever ready appetite for brooding post punk, steely eyed temptation. In the shadows slithers of sound and percussive skittishness also play, their often tribal flirtation bringing a scent of eighties bands like King Trigger to mind before the rapacious sonic trespass of guitars electrifies the compelling jungle of sound with their intimidating breath. The track is irresistible; its instrumental canvas inescapably gripping and raw sonic air scintillating.

The following Saleph (The Voyage) pulls the listener into a magnetic electronic stroll with melodic guitar ripples and the seductive tempering of rhythms. Once more electro imagination brews a host of provocative spots of noise across the track’s suggestive sea, each adding more colour and intrigue for the imagination to play with. As with its predecessor and songs to come, there is a great repetitive coaxing working on the psyche, a polite nagging that holds an already greedier appetite fast as rhythms dance and guitars cast their sail in the besetting sonic flight.

Going Forth By Day is the first to offer a vocal texture and narrative to the release, the track another with eighties hues which engage like a blend of The The and David Byrne. Instantly infectious with a great cast of shadows to its atmosphere and broody rhythms, the frequently evolving song is instinctively mesmeric with its celestial harmonies within a sultry climate. It provides a persistent sparking of thoughts with its fresh reflective excursion before Are You Land Or Water (The Deluge) invites feet and hips into its funk ‘n’ roll shuffle with again resonating beats and stirring dynamics colluding with vibrant yet melancholy laced emotion and lively enterprise.

Another inspired by those aforementioned caves and legend, Kyffhäuser (The Path) is a psych rock infused instrumental with again that grounding of sublime repetition and mythical drama; all low key but potent in their capture of ears and adventure forging thoughts. The track tantalises from first to last breath, its slightly predacious bassline within an intoxicating warm sonic mystery making for another masterful collusion of contrasts to become deeply involved in and linger in contemplation with.

The album is completed by the expansive spatial delving of Europa (First Light), the track like a celestial dawning and examination within a subdued yet tempestuous ethereal flight drawing the listener towards an introspective single hearted croon. The vastness of the contrasts and extremes is fascinating, their bewitching and surprising merger a darkly tranquil and hugely stimulating proposition.

Are You Land or Water is one of those encounters providing new adventure with every listen; it’s often minimalistic landscapes as powerful and persuasive as its involved atmospheres and poetic ambiences. Kitchie Kitchie Ki Me O has provided the year with an early treat, now we suggest you do the same for your imagination and ears.

Are You Land or Water is out now via House of Mythology @ http://houseofmythology.com/releases/view/kkkmo-are-you-land-or-water

https://www.facebook.com/Kitchie-Kitchie-Ki-Me-O-185337610403  http://www.kitchiekitchiekimeo.com/

Pete RingMaster 25/01/2016

Copyright RingMaster: MyFreeCopyright

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

Soundscapism Inc. – Self Titled EP

As for so many, a definite loss was felt when Portuguese / Finnish project Vertigo Steps went on a ‘hiatus’ with no indication of whether it would ever return. This was band which never quite hit the spotlights it deserved but was no stranger to acclaim across a trio of albums alone taking the listener on impressive progressive/ambient nurtured melodic metal adventures. It seemed like the band founder, Berlin based Portuguese musician Bruno A., needed to take time out to regroup and reflect, but whatever the reason for the band being put on ‘hold’, the wait for new immersive adventure is now at an end as the musician returns with his new solo project Soundscapism Inc. and a fascinating self-titled debut EP.

In many ways, the project is a natural progression to Vertigo Steps, the music within the EP seeded in the mellower atmospheric moments of that band. The new seven track encounter is an evolution of that swiftly honing its own individual character though, revealing new exploration in songwriting and sound through bolder and even more suggestive and intimately instrumental landscapes. Similarly an even more potent cinematic air emerges across the rich emotively hued and electronically/acoustically honed proposals making up the release too. Being the creation of Bruno A. unsurprisingly there is a definite Vertigo Steps breath to the music seducing ears but employed in a proposition revealing thicker uniqueness of its own.

     The EP opens with The Breath Of Life And All Things The Sky Looked Upon, a song instantly cradling ears in the gentle smile of keys and as quickly the intriguing coaxing of guitar. Straight away an emotional suggestiveness washes over the imagination, the dreamy air of the song blessed with celestial harmonies and angelic keys as a dark stringed romance adds to its spatial. It is a merger of shadows and warmth which suggests a personal reflection being shared, and in the imagination sparks thoughts and feelings of a lone soul beneath an expansive heaven reaching sky.

It is a mesmeric start continued by The Quiet Grand and its more earth bound atmosphere around perpetually evolving scenery of spicy blues rock flames, shoegaze calm, and post rock ambience, to slim down the creative countryside on offer. With transfixing ingredients such as the ebow, mellotron, and celesta amongst more expected instrumentation the release is a tapestry of sound and temptation; a weave sublimely blossomed in the second track and again in its successor Tomorrow´s Yesterdays. There is an introspective feel to the melancholic charm and elegant embrace of the song, keys and acoustic prowess alone like a knowing nod at the kind of emotions and thoughts inspired by lonely surroundings and experiences all have felt in some form or other.

Sommerregen is next, its initial firm rhythms the lead to a refreshing emotional stroll through a summers caress; like a jaunt through warm rain and subsequent sultry rays of sun as thoughts contemplate the beauty of it all. The craft and imagination of Bruno A. again lays like a knowledgeable hand on ears and appetite, his invention building a lazy rewarding day into a festival of energy and enticement blessed, amongst many things, by a brooding bassline and Pretenders-esque melodic enterprise.

The darker shadows and ethereal flight of Planetary Dirt is equally as bewitching, its mix of melodic radiance and more portentous hues a skilful persuasion woven through an array of flavoursome elements. The vocal sample for personal tastes does not quite work but in its brief appearance makes no impact on the glory of the piece. Another masterful element of song and all tracks is how none are cluttered or over busy, yet Bruno A. involves strikingly intricate and tenacious resourcefulness in all, the emotion and poetry of the sounds doing the story telling rather than the technical craft others might over indulge in.

With the flirtatious beauty and comforting radiant wash of Eucaliptus Song (Lullabye For Summer´s End) and the blues scented and sentiment fuelled Alone In Every Crowd, the EP comes to a captivating and enthralling close. Again the pair offers a kaleidoscope of sound and creative hints which provides the imagination with a new tale to conjure with every listen but equally an emotional tempting that instantly bares the honest heart of the song.

With guest contributions from violinist Sharalalanda Laya and double-bassist Aki Heikinheimo, Bruno A. has returned as inventive as ever. Soundscapism Inc. is not a substitute for Vertigo Steps but a brand new protagonist for ears and emotions to contemplate and deeply immerse within. Certainly fans of his previous proposal will be thrilled by the new EP but so too all fans of ambience built, cinematically coloured, and emotionally cultured rock music.

The Soundscapism Inc. EP is out now @

http://www.facebook.com/soundscapisminc   https://soundscapisminc.bandcamp.com/releases

Pete RingMaster 09/12/2015

Copyright RingMaster: MyFreeCopyright

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