Falls – Cream EP

falls-promo_RingMasterReview

As its fifth month swung and revelled in the noisy, raucous, and ridiculously addictive strains of eclectic rockers Falls, so the final throes of 2016 have been ignited in the best possible way with the Welsh band’s new EP. Cream is the creatively salacious sister to the earlier acclaimed One Hundred Percent Strong EP, itself a proposition as inimitably rousing and twisted as its breath-taking successor now proves to be.

Emerging in 2013, Falls had a great many of us intrigued and hooked by following year with their debut EP Dirtbox. Self-tagging their sound as gash pop/fuck rock, it romped and enticed ears and psyche into the Flintshire quartet’s devilish bedlam of imagination and sound. Its success and the band’s swiftly growing reputation was cemented and accelerated by a live presence which saw a constant wave of new fans won and stages shared with the likes of God Damn, Blacklisters, Press To MECO, and Black Peaks around tours with others such as Allusondrugs and Shikari Sound System. As their two track single Mastiff in 2015 saw a new essence of control and imagination blossom in the band’s sound so One Hundred Percent Strong took things to another level with its bold maturity and skilled quick fire twist and turns. Cream is more of the same but at times showing an even keener touch in anthemic aggression and headstrong invention.

As its predecessors, the heart of the new EP is an unruly party clad in the insatiable hunger of a myriad of styles and flavours. Maybe best described as Asylums meets Hawk Eyes under the psychotic guidance of Jane’s Addiction, it grips ears and hips straight away as opener Berries! prowls with surly riffs and firmly kissing beats. With a touch of groove metal to its heavy harmony basted rock ‘n’ roll, the track flirts and rumbles, soon embracing the warm vocal tones of guitarists Martin Gallagher and Philip Kelsall alongside those of bassist Ben Griffiths as it erupts and calms across its virulent canter. Driven by the heftily persuasive swings of drummer Steff Jones, it quickly recruits body and appetite, rewarding them with mischievous dips into stoner and glam pop temptation.

cream-artwork_RingMasterReviewThe irresistible start to the EP is only accentuated by Daytime N U, a sweet talking romancing of the senses with warm vocals entangling a funk infested groan of bass amid energy dictating beats. Once into its fiery stride with the guitars casting spicy flames around the mellow charm of the vocals and the metronomic infection of the rhythms, the song shows itself a master of body and spirit. System Of A Down is often used as a reference to Falls, maybe not so much in its sound but the unrelenting hunger and craft at turning on the spot through a kaleidoscope of textures and twists; the second track reveals exactly why.

The punk roar of Live Delicious is next, leaping at ears with brawling energy and vocal irritability. Underlining it as ever is a funk bred contagion, reserved right now but just waiting to grab those eager hips as riffs growl and grooves sear. As carnivorous as it is inescapably infectious, the track vociferously snarls and incessantly bounces like a pissed off raptor yet still finds room for a chorus which breeds only addiction.

Cream closes with the epidemic of pleasure that is Liberator. At times as grouchy as its predecessor and as dynamically catchy as anything offered yet by the band, the track bounds through ears with the instinctive aggressive pop of Baddies aligned to the sinewy weight and attitude of Reuben, Pulled Apart By Horses like melodic flames licking their collusion as the funk psychosis of a Halfling’s Leaf plays. The result as ever is something distinct and unique to Falls providing an exhilarating end to another attention stoking triumph from one of the UK’s most exciting bands.

The Cream EP is out now via Naughty Strawberry through http://fallsband.co.uk/

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

Pete RingMaster 06/12/2016
Copyright RingMaster: MyFreeCopyright

Lower Automation – Maps

lowerautomation_2016_RingMasterReview

You have seen those scenes in movies where people are strapped in front of a screen and bombarded with rapid brainwashing images; finally succumbing to the kaleidoscope of ravenous suggestiveness. Listening to Maps, the debut EP from US experimental punks Lower Automation, is like a sonic version of that; a proposition gripping the psyche with its quick fire and voracious onslaught of mathcore and noise rock trespasses. The difference is that Maps is a welcome infestation of ears and imagination which with every listen becomes more and more tenaciously seductive.

Hailing from Chicago, the seeds of Lower Automation begin with experimental/post-rock band Counterfeit I and Derek Allen who came from the band to form the new “kinetic frenzy” posing as Lower Automation  that is about to invade the rock scene. His former project found potent success which, from Maps alone, it is easy to suggest the threesome of Brian Sutton, Matt Walen, and Derek has the potential to eclipse.

lower_automation_maps_cover_RingMasterReviewRecorded with Sanford Parker (Pelican, Wovenhand), Maps instantly entangles the senses and a quickly eager appetite in the discord fuelled enterprise and sonic dissonance of opener Ring. It is a striking web of imagination which flirts and picks at ears with unpredictable and incessantly hungry dynamics; a creative dilemma for the senses  which plays like the mutated offspring of a liaison between At The Drive In, Devo, Wire, and The Dillinger Escape Plan. Fair to say though that the song quickly breeds its own unique character and devilment as frenetic bursts align with, and become tempered by, ‘mellower’ flirtatious passages as song and band reveals new sides to their rebellious adventure. It is when the creative ‘psychosis’ breaks loose though that lustful passions are especially sparked and further the track’s attempts to steal the whole show.

The excellent start though is more than matched by the band’s new single Decorated; the song swiftly showing itself another invasive tapestry of rhythmic agitation and raw sonic virulence. There is a much catchier almost pop element to the song too, the likes of Baddies and We Are The Physics coming to mind at times, though again as it warps into distorted spatial atmospherics Lower Automation show the fullness of their imagination and an invention which is all their own.

Break Room Curators offers a more noise rock sculpted venture; its body and features slightly more fluid in their infectious flow than certainly the first song but still casts a dark and sinister, not forgetting infectiously flowing, tirade of off-kilter and intrusive discordance in voice and melodic toxicity amidst scything rhythms. The track does lack a certain spark that its predecessors irresistibly carries but it still leaves enjoyment high and ears eager to devour more, which the following caustic maelstrom of The Cartographer feeds impressively. The track is a maze of sonic paradoxes and melodic toxins with an emotive angst to match as it rummages through the psyche, blisters on the senses, and fascinates the imagination.

Closing with the initially hellacious exploits of Scissor Lapses, the EP offers a final glimpse into the creative craft and aberrant imagination of Lower Automation. The song proceeds to explore a cacophonous and demandingly addictive landscape of sweeping hooks and inviting grooves within an ever evolving exploration of rabid sound and unpredictability; finally leaving on a senses invading sonic clamour.

It is a fine end to a thrilling debut from Lower Automation; a release which has certain familiar and welcome traits but is a whole new psychotic frenzy of invention ready to infect an as yet unsuspecting rock world.

Maps is released April 1st @ https://lowerautomation.bandcamp.com

Upcoming US Tour Dates:

3/5 – Skeletunes Lounge | Fort Wayne, IN

3/12 – The Oasis | Grayslake, IL

4/8 – The Refuge | Pana, IL

4/10 – Bremen Cafe | Milwaukee, WI

4/13 – The Rockery | Wyandotte, MI

4/14 – Buzzbin | Canton, OH

4/15 – Spacebar | Columbus, OH

4/16 – Crofoot | Pontiac, MI

https://www.facebook.com/lowerautomation
Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

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

Chick Quest – Vs. Galore

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Their sound is self-tagged as spaghetti western post-punk and their name, as that of their debut album, is pure B-movie manna for the imagination. Chick Quest is a band from Austria who in already a wealth of exceptional releases in 2015, may have just stolen the whole show to date with Vs. Galore. Every essence of it from song title to sultry blazes of brass provides cinematic adventures equipped with rhythms to command feet and sonic temptations to get lustful over. It is a puppeteer for body and soul, an unpredictable and slightly deranged dance of sound and invention providing one of the most intoxicating and exciting debut incitements heard in recent years.

Vienna hailing Chick Quest, began in 2014 with two friends who decided to form a band to play feistily danceable songs based on Spaghetti Western chord progressions and called Lee Van Cleef. With fresh songs under their belt the pair pulled in a bassist and trumpet player, renamed the whole adventure Chick Quest and set about recording their first album. And here we are with the outcome and quite simply it is one of, if not the, best things in indie rock and dark pop you are going to hear this year.

Consisting of vocalist/guitarist/keyboardist Ryan White, drummer Iris Rauh, bassist Magdalena Kraev with the additional talent of trumpeter Christian Sonderegger, Chick Quest instantly get down to startling seduction with album opener Somebody Call a Doctor. A swipe of sultry guitar ignites ears and imagination right away, rubbing away with teasing effect before being joined by punchy beats and a swiftly following more caustic sonic wind. Vocals offer a punk nature to the constantly evolving song whilst the lure of the trumpet and understated melodies within the infectious stomp, have s smouldering western tang seeded in Ennio Morricone compositions. There is also a deranged element to the encounter which simply adds further bait for the appetite to hungrily devour, the whole thing playing like a Swell Maps meets Helldorado revelry.

10306227_1564340900473132_6071600067425424794_n     The following Girl on Fire is even quicker in stealing attention and the passions, the gnarly grouchiness of the bass which brings the song in, alone enslaving ears and emotions. It also has a swagger to its Gang Of Four like lure which aligns with a seductive caress of guitar which appears not long into the magnetic song. The crisp beats of Rauh take their fair share of the brewing lust too, whilst the trumpet…well that just oozes sonic seduction. Once the vocals come in, the whole blend has a feel of The Clash to it, White’s voice alone having a Strummer-esque quality. Basically tangy rock ‘n’ roll with that cinematic quality mentioned in word and musical enterprise, the track is the first pinnacle of the album, but not the last.

Vengeance is Fun bounces in next, an agitated slab of post punk pop with a feel of Baddies and Futureheads to its energetic psychosis of sound. Addictiveness was made for songs like this, its raw rock ‘n’ roll merging with virulently warped pop punk for yet another stonecast favourite and triumph. The flames of brass only adds another twist in the character and psyche of the encounter, an unpredictability which is as potent as the sounds it toys with and again potent fuel for the wonderful exploits of Sounds Like Bruce! which follows. A warmer but no less compelling bass welcome starts the song off with surf bred melodies entwining their dark lure around it with equally virulent temptation. The instrumental sends the imagination into overload, scenes of hot sandy shores with sex and sinister danger across their expanses brewing in thoughts, the song the sizzling soundtrack to untold mischief and espionage.

As exceptional as it is, the track is soon a passing memory as I’m Tired of Pretty Girls prowls into view with attitude and creative devilment in tow. Rauh pounds out an almost predatory shuffle of beats, luring in the listener with tribal incitement before Kraev’s bass unveils its own climatic and dramatic enticement alongside similarly throaty and colourful strokes of guitar. There is a psychotic edge to the song and that is before White opens up the agitated narrative with an equally twisted and unsettling delivery. Fuzzy, dirty, and irresistible, the song virtually stalks the senses with its discord kissed rant for yet another important moment in the health of the album and modern music.

Through the mellower sway of Schatzi and the militant stomp of Explain Yourself to a Bat, band and album has body leaping and pleasure elevated all over again. The first, sung in German, is a more even tempered spot of rock pop with an air of Yello meets Violent Femmes to it under an intensely simmering sun of trumpet enterprise whilst its successor strides purposefully through ears on a single minded stamp of thumping beats. Around this thick spine a dark bass shuffle ebbs and flows with tantalising menace whilst the guitars unveil a vivacious jangle. Both leave the listener short of breath and hungry for more, as does the humid tempting of Fashion Fascist. The heat of the trumpet is an early hot kiss on the senses but it is the again a snarling bass tone which especially sets things off in the passions, its raucous contagion courted by resonating beats for an inescapable persuasion. Whether the rest of the song lives up to the tremendous start is debatable but with that rhythmic baiting never relinquishing its hold as vocals and guitars create a tempestuous weave of arousing incitement, it all occasionally coloured by the sizzling trumpet, the song is raucous punk ‘n’ roll to put the world on hold for.

Surf rock resourcefulness and sixties garage rock collide with modern psych pop for a fiery adventure in Monkey No Dance For No One next, another instrumental stretching limbs and thoughts with its unrelenting rhythmic nagging and exotic melodies. Far too short and pure musical alchemy, the track is one you have to play twice before moving on and falling into the scuzzy arms of the also tremendous You Have a Future in Television. With old school punk breeding and unhinged energy, let alone nature, the song manages to be nostalgic and new whilst providing yet another shade to the presence and invention of the album.

Vs. Galore is brought to an end by Go Back to ze Dezert, an instrumental escapade through drifting ambiences and steamy surroundings with romance and adventure in its voice and melodic theatre in its brass and guitar crafted embrace. It is a thrilling end to a sensational release, an introduction to Chick Quest which has instantly installed a deep rooted affair with emotions. Of course individual tastes in each of us will decide if Vs. Galore goes down as the album of the year come December but it will be there in the handful of most enjoyable treats given the chance.

Vs. Galore is available now via most online stores and at https://chickquest.bandcamp.com/album/vs-galore

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

RingMaster 22/04/2015

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://www.reputationradio.net

 

Abandcalledboy – George Best In Show / Paul Simon’s Daily Routine

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You know when you are on to a winner when you realise your feet have already joined in the devilry before thoughts and emotions have caught on. In such cases there is an instinctive lure which digs into the primal essence of what incites personal tastes and musical passions, and so it is with the new single from Belfast noise/indie rock band Abandcalledboy. The two track bewitchment simply took over the body, then the imagination and emotions. It did not ask for permission or make an initial request but just stole its booty whilst providing a seriously compelling and contagious introduction to its creators.

Though our first meeting with them, Abandcalledboy has been making a stir in the Irish music scene for a while, spreading it around the UK at times. 2014 saw the release of their self-titled debut EP which earned the band keen attention across the Irish music press whilst the self-produced video for the song Cliff Richard captured strong interest and praise from Therapy? guitarist/vocalist Andy Cairns. Shows with the likes of Rolo Tomassi, And So I Watch You From Afar, and The Futureheads amongst many has only reinforced the emergence and growing stature of the band but now it is the turn of their new single to nudge a new and broader awareness and appetite for their sounds, and it is fair to say that already George Best In Show / Paul Simon’s Daily Routine has made one new conquest.

Abandcalledboy - George Best - Paul Simon - ABCB 2015 Promo 2The single is the first release from Abandcalledboy as a quartet and shows a shift in direction of sound from the foursome of Ryan Burrowes, Adam Smith, Mark Finnegan, and newest member Chris Ryan. George Best In Show is the first to step forward and in the matter of two breaths has ears and appetite enslaved with its almost voracious rhythmic shuffle. The swinging beats border on salacious and are irresistibly inviting as the surrounding tempting of guitar brings a B-52s like teasing to its melodic mischief. It is not the only thing worming away under the skin and into the psyche though, a sonic bluster erodes the senses with its caustic noise whilst a dark menacing bass tone simply adds to the addictive tempest. It sounds like it is a threatening start but it is the complete opposite, in fact it is a gloriously captivating stirring up of air and listener which levels out into a more stable though still agitated landscape once warm vocals join the affair. The song continues to impress and inescapably seduce, slowly raising its intensity and sonic causticity again towards a blistering finale. There seems to be hints of bands like XTC, Baddies, and Swound! in the song but spices in something predominantly unique.

Second track Paul Simon’s Daily Routine is a more emotionally and physically settled proposition, though again its rhythmic side comes with a volatile nature, especially in the drums. The raw radiance of keys and guitars is a flirtatious dance bridging the dark hues of bass and the agitated beats of Ryan to the harmonic caresses of the vocals and acidic melodies. Fuzzy and mesmeric, noisy and transfixing, the song explores a different kind of chaotic adventure compared to its openly twisted companion, a more temperate brew bristling with sonic enterprise within an imagination lit climate.

Abandcalledboy might have escaped attention from a great many of us until now but that slow awakening will surely change for everyone else with the unveiling of George Best In Show / Paul Simon’s Daily Routine. It thrusts the band onto the widest noise rock map with forceful energy and invention whilst suggesting there is even greater, template shaping things to come. We cannot wait!

George Best In Show / Paul Simon’s Daily Routine is available now as a name your price download at http://abandcalledboymusic.bandcamp.com

https://www.facebook.com/abandcalledboy

RingMaster 21/04/2015

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://www.reputationradio.net

Asylums – Wet Dream Fanzine EP

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What do you get if you take a pinch of Supergrass, add it to an ounce of We Are The Physics, and then spice the mixture with a further splattering of Manic Street Preachers, Devo, and We Are Scientists? Well there is a good chance it will be something like the irresistible sound of and debut release from UK psyche poppers Asylums. There have been some startling entrances and introductions over the past months alone, but it is hard to remember many getting ears and emotions as excitable as the Wet Dream Fanzine EP manages in its three short, sharp slices of angular pop rock. The release is pure contagion but with a deranged invention and devilish imagination which reminds of a few and stands thoroughly unique in its character and temptation.

Asylums hails from Southend and have already picked at rapidly growing attention through their home made videos for the tracks making up the new EP; though having the songs bound together in one addictive package seems to make them grow in greater in persuasion and flirtation again. Live too the quartet of Luke Branch, Jazz Miell, Henry Tyler, and Michael Webster have been stirring up a buzz, a tour with The Vaselines and their own headlining enterprises luring in more and more appetites from fans and media alike. Now the Wet Dream Fanzine EP steps forward, with its title track released on the same day for the band’s new single, and there is a certainty that it is poised to shake up the UK indie rock scene for the better.

That new single opens up the release, Wet Dream Fanzine instantly laying down sonic smog of guitar enterprise which with pungent rhythms, has feet and thoughts immediately engaged and enthralled. The swing of the vocal delivery matches the warm stride and swagger of the song, everything a bouncy dance of mischievous persuasion with melodies and vocal harmonies soaked in creative devilment. There is no escaping the infectiousness of the encounter or its insatiable torrent of quirky and highly flavoursome hooks, it all unrelenting for the whole of the two and a half 10868149_320437288151046_8986672175115969600_nminutes the track takes to leap all over and inflame the passions.

There is no let-up in the devilry and quality either as the punk infused tenacity and urgency of The Death of Television takes over. An initial sonic spearing is the trigger to rebellious percussion and beats aligning to vocals just as sharply edged in their delivery. The song is soon a masterful stomp of creative agitation courted by a rhythmic and riff clad proposal which leaps around like bare feet on hot coals; the type of brilliance which made Baddies so essential when around. There is also an old school punk DIY feel to the EP and songs individually, which simply energises the second song and listener during its brief but addictive stomp.

The release closes with I’ve Seen Your Face In A Music Magazine. The third song combines the spicy grooving which lit up the first song with the more caustic attitude of the last track, merging it into a melodic and discord spiced wine of sound and invention. As the other songs, attitude exudes from every pore and note of the outstanding incitement, guitars toying with the imagination as rhythms jab with their own refined tempo on the senses and pop punk sparked vocals croon and roar with perpetual captivation.

It may be only one release but it is easy to suggest Asylums is the next big thing not only in but for British rock ‘n’ roll. The last time we were this excited was when…well privacy prevents details.

The Wet Dream Fanzine EP and single are available from February 23rd via the band’s own Cool Thing Records.

http://www.asylumsband.com/ / https://www.facebook.com/asylumsuk

RingMaster 23/02/2015

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

 

 

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

 

Bobgoblin – Sinistar

Bob Goblin

Music can be so frustrating at times especially when you cannot understand how a band with a song as dynamically addictive as Sinistar can escape attention for so long. Such is the case with US power pop/new wave band Bobgoblin. Formed in 1994, it has taken two decades for us to catch up and on to what their fans have known for so long, that this is one rigorously infectious and exciting band.

Of course one song does not paint a history but a swift backward search confirms the suggestion of the band’s brand new single, though now the band is on a new and even more exhilarating plateau. Formed as mentioned over twenty years ago by vocalist/keyboardist Hop Litzwire and drummer Rob Avsharian, who met whilst at University of North Texas, Bobgoblin was soon in full swing with its initial line-up completed by bassist Hech MaHech and guitarist Lech Vogner, before they were replaced by Tony Jannotta who took on both roles. Line-up additions and departures followed but the trio remained the stable heart of the band as their live stature grew and releases like Jet and The 12 Point Master Plan increasingly impressed and recruited fans. Also creating another project called AOJ (or Adventures of Jet in reference to the group’s first independent release) which took up a fair chunk of the time between their start and now, the trio has kept the years and ears busy, though yet to make that break through beyond their homeland it might be fair to say.

The band’s sound is seeded in the likes of punk, post-punk, and new wave, but equally has an adventure which embraces everything from 70s glam-rock, prog rock, orchestral music, and anything which catches the band’s imagination, as proven by their AOJ releases and their return as Bobgoblin and acclaimed album Love Lost For Blood Lust. Leaping back to the now and new single Sinistar, Bobgoblin are ready to nudge the broadest spotlight on their sound yet, an aim which if the track seduces the rest like us, cannot fail.

From the first strains of the bulging bassline, Sinistar has ears and attention licking lips; even more rigorously as riffs and vocals add their vivacious energies to the proposal. Hooks and grooves bound up as the song progresses, each adding their dose of infectiousness and irresistible pop toxicity. The best way to describe the song is early XTC meets We Are The Physics, though at any time there is additional flirtation which can spark a hint of bands like Devo, Baddies, Department S, Oingo Boingo, Tonight… Do not mistake this as assuming the song is predictable though, as it romps with a freshness and adventure which sets it firmly in its own spotlight.

The bass of Jannotta especially seduces; it’s grizzled throaty tones a delicious lure within the contagious revelry romping around it. Just as magnetic though are the devilish keys and flavoursome vocals of Litzwire whilst Avsharian simply slaps the skins of the drums and senses into eager submission.

Accompanying the track is Robotron, a similarly catchy and energetic slice of pop devilment which embeds an early Squeeze like mischief in its vibrant body of energy and inescapably infectious sound.

If like us Bobgoblin is only now infecting ears and the passions then just remember better late than never as you lose your lust to Sinistar.

Sinistar is available now @ http://www.bobgoblin.com/music

RingMaster 03/02/2015

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