1919 – Bloodline

This is a moment no one likes to contemplate let alone undertake, reviewing something from an artist and exceptional musician who has sadly just been untimely taken from music and the world. It also though gives fingers and thoughts a chance to pay homage especially when the subject of the piece is such a striking and rousing slice of creativity.

Bloodline is the new album from gothic/post punks 1919, a band formed at the tail of 1980 which proceeded to break the charts with a trio of singles, record one of the genre’s inspirational albums, and make appearances on the John Peel sessions twice before disbanding. Founding guitarist Mark Tighe

Mark Tighe RIP

began bringing the band back to life in 2014, its line-up sealed the following year with original drummer Mick Reed and bassist Karl Donner joining Tighe and vocalist Rio Goldhammer; the quartet subsequently releasing the ‘Madness Continues Sessions’ live album and in turn the self-released Death Note EP.

This past night of January 27^th, Mark passed away; a deep loss for family, band, and fans but equally for music generally. His playing was distinctive, like a single individual colour in a vast palette of hues, able to create haunting melodies and moments as evocative and captivating as the incisive grooves and hooks from him which so freely and uniquely gripped body and imagination. The evidence is no more powerful and true than on Bloodline. He was also a wholly loved man to whom music was his life’s fuel and a true gentleman for all those who knew and met him.

Bloodline is a thrilling way to remember and enjoy Mark’s craft and potent presence; an album which grips physically and imaginatively from its first breath, increasingly winding appetite and lust around its creative fingers track by track. The foursome quite simply cements themselves as still one of the essential post punk incitements with it, almost as if they had never been away as a presence yet pushing themselves into new fresh realms of creative drama and aural adventure.

The album’s title track is first up, chugging riffs swiftly turning into wiry tendrils as percussion teases. Once the brooding bassline enters, things become eagerly catchy with the song blossoming into a PiL meets Leitmotiv like lure with Rio’s tones showing a certain Lydon-esque tinge to them. Feet and hips cannot avoid being involved as sultry melodies weave their temptation and a repetitious Killing Joke scented nagging growls in its belly.

Drama seeps from the electronic coaxing bringing next up This Vanity into view, its raw industrially kissed smoulder continuing to hug the senses as the bass unveils a gorgeous lure. Alongside, Mark’s guitar spins a spiral of melodic suggestion as Mick’s rhythms instinctively roll, a Gene Loves Jezebel like breeze soon floating over the provocative landscape to seep into every emotive crevice as vocals plaintively croon. Quickly absorbing the senses, the track makes way for the outstanding, rhythmically tenacious canter of Inquest. There is no escaping thinking of Jaz Coleman and co as Karl and Mick unite their flirtatiously anthemic designs but as throughout Bloodline, 1919 soon breed their own distinct character of sound and imagination. Magnetic harmonies and intoxicating melodies proceed to vine the ridiculously virulent encounter drawing the listener further into its creative theatre where just as riveting treats lay like its successor Retrograde. Like a puppeteer, it has the body bouncing while its spicy maze of melody is a sunspot of temptation contagiously matched by the snarling bass and hungrily leaping beats; Rio the ringmaster to its rousingly provocative and exhilarating waltz.

Even darker depths are drilled by the bass next in Legacy, its gnarly breath echoed in the caliginous air of the song though it too has a rampant catchiness which tempers and suits its shadowy presence. Imagine Bauhaus in league with Play Dead and the song can be visualised but still only a glimpse of its invasively compelling adventure, success matched by that of the wholly different presence of Zeitgeist. Again the first of the just mentioned pair of references is a prime clue to its tenebrific air and almost vampiric temptation, Rio carrying a Pete Murphy air to some of his persistently highly enjoyable, ever moving delivery. Mark’s imagination spins another labyrinth of melody and haunted sound too, evolving textures as radiant as they are emotively darksome to seduce and ensnare.

Through the galvanic punk rock of Disassociation and the intrigue soaked flirtation of Waiting For God ears are thrilled and the album’s variety stretched with the latter revolving its charms in ears and imagination like a temptress whilst wearing Theatre of Hate/ The Danse Society sourced inspiration as another alluring spice to its own spellbinding and tenacious revelry. Both tracks whip up body and spirit with sublime yet forceful ease, being quickly and as boldly matched in results by the slightly calmer and heavier fascination of Trespass. Maybe the most pop lined song on the album it just as openly shares raw shadows whilst boisterously serenading the listener, and as those before, it only sparks emotional and physical participation.

Bloodline closes with Life Is.., its tribal incitement of rhythms alone enough to incite allegiance, bewitchingly assisted by the fuzzy glow of melodies and variety coated vocals. Something akin to a fusion of Calling All Astronauts and Inca Babies but not, the wonderfully niggling song saunters and swings with increasing infection; an aural epidemic from which there is no escape as it brings one very fine release to a tremendous conclusion.

You cannot evade sadness listening to Bloodline but neither the joy sparked by its simply stunning presence.

Bloodline is out now through Westworld Recordings.

Video Dir. Carl Arnfield / ChalkmanVideo.com

https://www.facebook.com/1919official/

Pete RingMaster 06/03/2017

Copyright RingMaster: MyFreeCopyright

Mayflower Madame – Observed in a Dream

When looking back at the end of the year, we suspect that April will be noted as one of the most fruitful months for stunning albums, with a great many of them striking debuts. To a list running into double figures we can add the outstanding first full-length from Norwegian band Mayflower Madame. The band’s sound is a captivating weave of post punk, shoegaze, and psych rock textures but given its own distinct character by the imagination of the Oslo quartet, and Observed in a Dream a release which commands attention with a presence slightly nostalgic but as fresh as the dew on a spring morning, and as radiant.

Formed in 2011, Mayflower Madame has already drawn potent attention and praise with the Into the Haze EP in 2013 and last year their single Lovesick. Comparisons to bands such as My Bloody Valentine, Bauhaus, Spacemen 3, and The Jesus & Mary Chain have readily been offered, and understandably with the band’s provocative dark and sensuous sound. Live they have earned a strong reputation too, sharing stages with the likes of Crystal Stilts, Night Beats, La Femme, Disappears, Crocodiles, and Moon Duo along the way and making successful appearances at Norway’s largest festivals, Oya and Norwegian Wood. Now released on their own Night Cult Records and Custom Made Music in North America, Observed in a Dream is ready to wake up the biggest and most attentive spotlights upon the band.

As soon as opener Confusion Hill envelops ears it is a success easy to imagine, and then be sure of as each track seduces imagination and appetite. The first song emerges from a haunted atmosphere with already slightly portentous shadows to its air. Its approaching tempest though is quickly turned into a strolling seduction upon arrival, psych and surf rock flavours shining, almost sighing, over the infectious darkly hued prowl of Petter Gudim Marberg’s bass and Ola Jørgen Kyrkjeeide’s crisp beats. The guitars of Rune Øverby and Trond Fagernes swiftly spin a bed of evocative colour and suggestiveness too as the latter’s also quickly impressing vocals lay emotively upon the strands of sound. It is easy to see where those Bauhaus and Jesus & Mary Chain references come from, though the bigger and bolder the song becomes it reminds more of Gene Loves Jezebel, echoes and resonance on voice and melodies a delicious shimmer.

An outstanding start is still eclipsed by its successor Lovesick, a song which plays second fiddle to no one. From its beguiling dark rock ‘n’ roll strum, the song canters along with a devilish swing led by another highly flavoursome throaty bassline and catchy riffery matched by flirtatious beats. Think The Birthday Party meets Helldorado and Tones on Tails as a clue to the track’s virulent alchemy; a song with as much fascinating drama as it has addictive infectiousness.  Its exceptional incitement is as good as matched by that of Self-Seer; another track rolling along on an enslaving rhythmic tenacity and ingenuity. It explores a mellower climate of sound yet still has an energy and sonic clang to physically stir the spirit. If looking for another hint, Echo and The Bunnymen would be a suggestion for the otherwise unique rock ‘n’ roll of the mouth-watering proposal.

A sixties instrumental twang adds to the seduction of Upside Down (The Death Loop), guitars a sultry lure with again a surf rock like tone to their imagination whilst within their searing elegance a cinematic drama infests rhythms and hooks. As much as there is variety to the sound within Observed In A Dream, so too the vocals craft similar diversity, here harmonies glowing with a hazy beauty around the matching delivery of Fagernes.

Latest single Weightless rumbles in next, carrying a far heavier tone and intent in its creative espionage and welcome trespass. A Play Dead/ Sisters Of Mercy like breath soaks the song, its heavy shadows and provocative textures as invasive as they are seductive. Personally, it is not the song we would choose to lead into the release of Observed in a Dream with other more irresistible options, yet the song in its brief moment is a thrilling and rousing protagonist only making the appetite for album and sound greedier.

The calmer landscape and presence of Into The Haze (Redux) hugs ears next, the song a gentle but again lively adventure into noir lit pastures with more cinematic lures whilst the album’s title track, which follows, from a similar template casts its own tantalising and riveting psyche embedding web of sound and emotion which at times is like The Shadows in collusion with House Of Love and Flesh For Lulu.

The album closes with the psychedelically atmospheric Forever//The End Of Everything, a track which equally expresses post punk discord and causticity within its pulsating and bewitching theatre of sound and emotion. It is a powerful end to a tremendous first introduction to most of us to Mayflower Madame. They and Observed In A Dream grab attention, grip tighter with every pleasure giving twist and turn, and emerge as a reason why Mayflower Madame is one of the most exciting bands to make their mark on 2016 so far.

Observed In A Dream is out now via Night Cult Records in Europe and Custom Made Music in North America as an Ltd Ed vinyl, CD, and Download. All options available @ http://mayflowermadame.bandcamp.com/

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Rousing waltzes and alluring confrontations: talking Calling All Astronauts with David Bury

British electro rockers Calling All Astronauts continued an inescapable trend of releasing some of the UK’s finest provocative and rousing encounters with their new album Anti-Social Network a short few weeks back. An uncaging of snarling and virulent rock ‘n’ roll with a political and emotional bite, the album showed the addictive prowess of CAA in getting bodies bouncing and thoughts exploring. Meaning for a long time to talk with the band, the outstanding album was the spark which made the time to act now. So with big thanks to band vocalist/writer/producer David Bury, we turned the spotlight on CAA and Anti-Social Network with plenty more insights in tow.

Hi David and thanks for sharing time with us.

Before we get into your new album, Anti-Social Network, can you tell us about the beginnings of Calling All Astronauts for those still new to the band? How did you all meet and what became the spark to the creation of the band?

J and I used to be in a band called US:UK together, J then went on to be in the pop-punk Caffeine. Caffeine had drawn to a standstill after numerous tours of the UK and US, we bumped into each other and just thought we’d like to have a jam for old time’s sake. One thing led to another and Calling All Astronauts was born. We originally had Andy the Caffeine drummer, but he went travelling, while he was away I decided to learn about programming drums and keys, and that’s how the sound we now have developed.

As you said all of you in the band now have experiences before and outside of Calling All Astronauts; how much has the band been shaped by those musical adventures either in where you want to go with it or in what not to get involved in again?

You learn a lot about the industry over the years; the good memories, the parties, the massive gigs are the ones you cherish, but the knowledge you gain about how the music business runs really shapes your attitude towards it.

We first caught on to the band through the single Winter Of Discontent in 2012, which was your second? This was already a lively and potent time for the band live, the playing with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers amongst your shows, and in making music as well as reactions to those early releases. What was the feeling in CAA back then and how has that differed over time, if at all?

The feeling than was actually pretty much the same as it is now, we always feel both flattered and humbled that anyone likes our music, we are just three guys recording in my lounge, yeah in modern terms that’s a studio, but it’s a lounge nonetheless; we’ve got Sky Sports on in the background, my cats walking through, and we are under the Heathrow flight path, so I regularly have to redo a vocal when a plane has been particularly low. 🙂  We do what we do; it’s a kind of love us or hate us, it’s your choice, we won’t take it personally if we are not to your tastes, but we’ll embrace you as a friend if you get what we do.

Since then singles, EPs, and an impressive debut album has come and gone; all leading to the recent release of second album Anti-Social Network. Following the band over those encounters, your music has clearly evolved and grown over time. From the inside how do you see and hear that change?

I think that is a direct reflection on my production skills. I’ve learnt so much in the last four years about how to actually make a record. We are a Rock And Roll band that works in the manner of a dance act; we pay a lot of attention to how our records sound sonically. We took a long time recording Anti-Social Network because we wanted to make an album that we’ll still be proud of as a piece of art in 25 years’ time.

Apart from personnel, how too as CAA changed mentally in regard to making music and how you deal with the music scene.

I don’t think we have actually changed much, we are all kind of set into the people we are. We do however have an increasing dislike of the mainstream music industry, and how it brainwashes kids into thinking things that are mediocre at best are amazing. If you swallow diamonds your turds with contain diamonds, but they will still be turds.

The band is seems defiantly DIY; your releases for example being uncaged on your own Supersonic Media. Has that always been the intention or just how things have worked out?

It seems that way, as yet, we’ve never sent any demos or any of our releases to any record labels. Actually I lie. I did give a copy of the first album to Brett the radio guru at Epitaph. I met him in LA and just wanted him to know how we sound rather than looking for a deal, so gave him a copy of the album, but that’s about it. We like having artistic control; yes we would be a lot bigger than we are if we were with a big indie or major, but at what artistic cost. I’m doubtful any of them would allow us to make an album as eclectic as Anti-Social Network; they want their artists to make an album of the same track 11 times, all the different variations around the same three chords.

Let us get right into Anti-Social Network now. Did you approach its writing and creation as you have previous releases or try something different in its making?

Yes pretty much, except we had Paul on board for this one. We tend to start with a drum track and built up from there, it’s quite like building a house, and as we all know, without solid foundations you may as well build your house out of straw.

You seem to have woven essences of many of your inspirations over the decades in its sound which was an extra tasty spice for us as I know we share similar favourite artists and songs from the seventies and eighties especially. Was this something you set out to do or just an organic arising from the writing?

Not really, we had a bunch of ideas, and as they grew organically into the songs they now are, we often referenced them using the names of the bands that they had a feel of. All the album sounds like us; I don’t think any of it could be called a pastiche. I think it’s maybe more a case of, band X made some amazing records, let’s see if we can make something that can stand up in its own right against what they did. It would have been the easiest thing in the world for us to make 11 tracks all sounding like Time To Fight Back or conversely Always Be True, but that’s really not what we are about. CAA to us is about making music we like, it’s not some master plan to sell millions of records; we’d rather be Clock DVA than Coldplay every day of the week.

Like many we generally call CAA an electro punk/rock band. As the new album shows, your sound is much richer and varied than that suggests. How would you describe it for newcomers?

It’s kind of like a ride on the world biggest Rock And Roll Rollercoaster. You never know whether it’s going to turn, or drop or go upside down until it’s upon you. Wow that sounds pretentious; ok, just imagine all your favourite left field rock bands since 1976, i.e. Killing Joke, Ministry, PIL, Bauhaus, New Order, Psychedelic Furs, and then getting them produced by Skrillex and Prodigy

Lyrically Anti-Social Network is as biting as ever, something easy to expect from your music, but equally there seems a thicker intimacy to some songs too. Can you give some background to the themes of songs and to the album in general?

I have been hoping somebody would ask this, this will be quite extensive but I’ve been longing to go through the album track by track, please feel free to edit this if you want.

1. Living The Dream

I grew up in a northern town, not a city, and in towns you see people on the local music scene who are the “big cheese”, they walk around like Billy Big Bollocks, they get a little bit of interest from local radio and think all they have to do is move to the big city and world will be the oyster. When the reality is something far different, when you make that leap to pursue your dreams, you have to be prepared for the reality that you are suddenly a shrimp in an ocean of sharks.

2. Empire

We are very active on social media, especially Twitter, where we have a lot of young followers, and I see their tweets about how in love they are and the next second they are broken hearted. It’s kind of sending the message that broken hearts are only temporary when you’re a teen and that you are going to fall in love many times during your life and that if one relationship doesn’t work out, move on to the next one.

3. Time To Fight Back

The world and society is pretty much on the brink of imploding; if the majority of us don’t stand up and say, “enough is enough” 1% of the world’s population has 99% of the wealth. There are children dying because they don’t have clean water, how can that be right in 2016?

4. Hands Up Who Wants To Die?

Is about youth crime and gang violence and how leaving the house with a weapon can lead to a whole heap of consequences due to one thoughtless move

5. Life As We Know It

This is about envy and how people wish they were somebody else, it’s clichéd but life is what you make of it. If you’re happy in your life, embrace the fact you are happy and celebrate it, if you are not happy, do something about it. Sitting on your ass complaining is never going to improve things, unless you grasp the metal and go for it.

6. The American Dream

It is not particularly about the US, but as the American Dream has always been held up as a goal for what people can achieve through hard work, I thought it was a good example for society as a whole, and how things have changed from the days that people left school with ambitions of professions or trades. They now want to be YouTubers or famous on Vine, they want fame from zero talent in a narcissistic shallow world.

7. God Is Dead

God is a metaphor for consumerism; you don’t get consumerism without the word consume and society has become all consumed with the latest product X until they have it, and once they have it, their thirst for the net product X is instantly greater than their joy at getting the latest thing they’ve craved for.

8. Always Be True

As I mentioned earlier we have a lot of young fans, this is a message to them not to bow to peer pressure. If you don’t like something or don’t want to do something never be afraid to say no, because one day, your day will come.

9. Look In Your Eye

This is about the cynical people at major labels who only see artists as product and really have no feelings about the long term futures of said artists as long as they have them signed to 360 deals, make a profit and keep themselves in a job

10. Black World

Is really saying, I don’t have all the answers, but if you listen to what I’m saying in my lyrics and think about them and join us in thinking that the world doesn’t have to be like this, together we can make the world a better place

11. Divisive

Is about how the media and governments manipulate the news to suit their own agendas. They tell us they are doing it for righteous reasons when it’s all about greed and power and that once you turn to violence it becomes both self-perpetuating and self-defeating; hence the chant of Greed Equals Power Equals War Equals Death repeating almost to infinitum at the end because wars go on and on and only increase the misery.

Do the same things predominantly rile up the lyrical muse or are you adding to the recipe of sparks as years and records pass?

The constant in my psyche is that I don’t like inequalities in society.  I’m not saying that people shouldn’t be rewarded for doing good work or being enterprising but I don’t think people should be forced to live in poverty. I just think people need to keep their eyes open and feel compassion for others, see both sides of every story; never judge people on their race colour creed, religion or lack of it, or their sexual orientation. Judge people on whether they are good people or not. While these things still exist in society, I will maintain my motivation as a lyricist.

Can you give us some insight into the recording of Anti-Social Network; any unexpected dramas and surprises?

There were no real disasters along the way, however it did take way longer than we hoped or expected it would. In all it took 2000 hours to record;, I think that’s maybe on a par with some of the 70’s prog rock bands, but you have to be truly happy with your records as you have to live with them forever once you release them.

For most artists it is fair to say that playing live is their favourite part of making music. When it comes to writing and recording something though, what is your favourite part or element?

It’s actually when people tell you that they have listened to your record and really got what you’re doing. It’s the greatest feeling in the world to know you are not the only people that think the way you do.

Is there any particular moment in Anti-Social Network which gives you an extra glow of satisfaction?

There are three parts I love; on the intro of Divisive where the combination of guitar drums and keys gives the impression of a weird pitch shift on the drop, it gets me every time. I also love the almost UK Garage drop on the middle 8 of Always Be True, and J’s guitars on Life As We Know that sound like Cellos. But we are very proud of all of it, I honestly believe there are no fillers on the album and that if we released all eleven tracks as singles, we could get radio play on all of them, I could however be delusional.

Tell us about the art work for the album which seems to sum up the air of the great release more and more every time you look at it.

It was amazing, we were trying to come up with ideas, and Paul had googled the word Anti-Social Network and up this came. It’s an actual sculpture by South African artist Maurice Mbiyaki. We contacted him and asked if we could use it on the cover, and he replied “he’d be honoured”; the rest is history. J

What is next in store for CAA fans and the band itself?

We are working on a new live set and will be out and about before too long. Time To Fight Back is set to be released as a single in June with David CAA VIP Remix and a specially recorded cover version.

Big thanks again David for chatting with us; anything you would like to add?

Not really other than a big thanks to you for being so supportive of our releases, we really do appreciate the kind words you have written about us.

And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.

Blimey, this is a massive question for me; I think I can nail it down to genres rather than actual acts, I’m very influenced by, Punk, Northern Soul, Goth, Metal, 80’s Hiphop, Synthpop, Industrial, EDM, 90s Indie, Post-Punk, Hardcore, Big Beat, Reggae, Ska, and DnB.

Check out our review of Anti-Social Network @ https://ringmasterreviewintroduces.wordpress.com/2016/03/11/calling-all-astronauts-anti-social-network/

http://www.callingallastronauts.com    https://www.facebook.com/CallingAllAstronauts/     https://twitter.com/CAA_Official

Pete RingMaster

The RingMaster Review 16/04/2016

Copyright RingMaster: MyFreeCopyright

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SPInnERS – Ghost

SPInnERS are no strangers to the Greek underground scene but probably, as for us, an unknown quantity and indeed name further afield. With a push and an introduction here and there, that might change in the near future especially as more and more catch on to the band’s new album, Ghost. The nine track proposition is a ripe tapestry of flavours; from punk to grunge, post punk to indie rock, and plenty more, it is all infused into a raw and compelling, uncompromising and fascinating trespass on ears and imagination.

The Athens based band actually started back in 2008, making a swift impact with only their third live show coming as support to Dinosaur Jr in their home city. A three year hiatus swiftly followed though, before they returned and released debut album Everybody needs a lie in 2011. A self-titled successor lured greater attention with its release two years later, leading to a mini Balkan tour across Greece, Serbia, and the Macedonian city of Skopje. Now with the recently released Ghost sparking broader attention, the trio of vocalist/guitarist Panos, drummer Chris, and bassist Tommy O who joined the band following the departure of Vad who played on the latest album, are poised to become an eagerly talked of name on a broader expanse of lips.

First track upon Ghost is Unspoken Words and fair to say that within seconds its twisted lure of hooks and spiky grooves has ears attentive as tenacious rhythms drop agitated yet anthemic bait around them. With the plaintive nature of the vocals and indeed the melodic acidity which veins the encounter on top, the track quickly grows into a heftily alluring slice of sonic and emotive discord. It is bracing, leaning on the side of concussive and virulently gripping stuff sparking the album to a great start.

The following Same keeps ears and emotions similarly enthused; its abrasive but inviting body again speared by a potent line in imposing beats around a grouchily magnetic bassline. The vocals of Panos emotively and harmonically match the tempestuous sounds around it, flavours which unite in a post hardcore meets noise infused punk rock exploration of the senses.

The album’s title track steps forward next, its dissonant bellow carrying a more heavy rock/ grunge essence to its character whilst colluding with post punk/noise rock imagination. In many ways there is a great feel of seventies bands like Artery and The Membranes to the track, magnetic essences which continue to emerge as the likes of My dreams are dead and Mental Detox crawl over the senses. The first, from a yawning scraping of guitar string, slips into captivating sonic smog of thorny aggravation littered with addictive hooks and an almost barbarously persuasive swing whilst the second colours its matching rapacity in sound and attitude with warmer flowing melodies and group vocal roars. It too, is a song that is more an aggressor than seducer but the latter is what it emerges as for ears with its web of spicy grooves, throatily coaxing basslines, and fiercely involving rhythms.

Ghost hits its pinnacle over the next pair of songs, starting with Sick of You. A blend of old school punk and garage/noise rock, the track is irresistible as it plunders the passions with jangling lures and searing hooks, not forgetting more impossible to resist rhythmic tempting. Its triumph is emulated in Additional Expectations, another seemingly inspired by the post punk imagination of a Joy Division or Clock DVA but, as its predecessor, also sharing the infectious prowess of bands like fellow Greeks, Three Way Plane.

(The Apparition) provides a haunting breeze of melancholic sound around a poem performed by Julian Glover next, a track wrong-footing the listener but enticing the imagination before Wish me Well brings the album to a potent close with its thick tapestry of numerous styles and flavours previously mentioned in its own fresh and pleasing narrative. Arguably the most involved and unpredictable track on Ghost, and all songs defy the satisfying of expectations, the Bauhaus-esque song leaves a lingering impression and rich enjoyment as well as a want to explore the album all over again.

SPInnERS are nudging on greater and increasing attention outside of their homeland; a success if not now they will surely earn at some point with offerings like Ghost.

For more info on SPInnERS and Ghost check out https://www.facebook.com/SPInnERS-athensgr-180374258675694 and  https://spinnersathens.bandcamp.com/

SPInnERS Ghost Tour Dates;

Friday 18/3 Salonica (ypogeio) GREECE

Saturday 19/3 Kumanovo (cafe agora) F.Y.R.O.M

Sunday 20/3 Kraljevo SERBIA

Tuesday 22/3 Smederevska Palanka (Balkan rock club) SERBIA

Wednesday 23/3 Niksic (nk club) MONTENEGRO

Thursday 24/3 Podgorica (Montenegro pub) MONTENEGRO

Friday 25/3 Kosovska Mitrovica (Soho)

Saturday 26/3 Krusevac (club zamajac) SERBIA

Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

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

Healthy Junkies – Box of Chaos

It was September 2013 when we last had Healthy Junkies igniting ears with a release; that being their impressive second album The Lost Refuge. One of our parting lines then was that the UK had “come of age and you only sense they will get better.” It was partly right as the London quartet has only gone from strength to strength on the live scene and now with third album Box of Chaos. Their coming of age back then though might have been a touch premature for the riveting and dynamic fourteen track punk ‘n’ roll stomp from the band firmly outshines its acclaimed predecessor.

Emerging from a meeting between founders, guitarist Phil Honey-Jones and Paris hailing vocalist Nina Courson at the venue Punk in Soho in 2009 and their creative bonding over mutual loves and influences, melodic punks Healthy Junkies took little time to start leaving their stamp on the UK punk and rock scene. Making their live debut at an all-day punk festival in Brighton in 2010, the band has become a rousing roar around the UK moving into Europe and one of London’s most exciting and prominent live attractions with their self-hosted monthly night at The Unicorn in Camden a regular treat. Debut album Sick Note awoke a broader attention on the band when released, a success forcibly backed up by The Lost Refuge. Throughout the time line-up changes have only seemed to refuel the band at various times too, the latest coming since the recording of Box of Chaos with bassist Ivan Baragone replacing the departed Dave Renegade alongside Courson, Honey Jones, and drummer Tony Alda.

Whilst The Lost Refuge was a rousing tempest in ears from the first roar, Box of Chaos takes its time to build and entice even greater greedier reactions. Certainly its first play and touch is a potent lure but each listen reveals greater depths and imagination at the heart of the release which only adds to its strength and drama. There is also seemingly richer old school punk and rock ‘n’ roll hues this time around, essences no doubt bred from inspirations to Honey-Jones and Courson such as Sonic Youth, Hole, Sex Pistols, Bauhaus, Siouxsie and the Banshees, Iggy and the Stooges, and David Bowie. One band which our thoughts most leaned to as a reference across the new album though is Penetration; a similarly evocative nature and tone to the great County Durham band spicing the band’s adventurous sound from the off with both Nice n Sleazy and its successor Never Want It Again. The opener emerges on a sonic shimmer with waiting riffs quickly stirring into predatory life as ears continue to be enveloped in that initial mist. Rhythms are soon just as pressing as Coulson’s magnetic voice seduces, her tones a smouldering caress within the rising fiery heat of the song. It is an increasingly virulent protagonist grabbing swift involvement of the listener, setting them up for more riotous stroll of Never Want It Again. It is a tenacious canter though superbly twisted with ska/like asides as rhythms and vocals flirtatiously swing with mischievous intent within the otherwise busy attitude loaded rock ‘n’ roll of the song.

Danny Trash keeps the potent start to the album in top gear, its catchy canter and haunted atmosphere soon enslaving hips and imagination respectively. As expected and already shown, Health Junkies produce choruses and anthemic moments which are inescapable; voice and body soon on board with a track which is a maze of evocative sounds, pungent emotion, and creatively boisterous exploits.

The following Hypocrite is the opposite but just as glorious, its punk rock fury offering one minute fifteen seconds of cantankerous rock ‘n’ roll with raw riffs and repetitious brawling spawned from delicious old school incitement before I Don’t Give a Damn springs with a similar aggressive heart into ears. It is soon casting another prowling proposal with addictive hooks and gripping rhythms; both swift slavery as the guitars weave a melodically provocative narrative for thoughts to get wound up in as successfully as the body is lost to the anthemic prowess of the encounter.

The more hard rock meets punk ‘n’ roll tempting of Je Suis Free is an inviting and again contagious defiance next whilst Watch Out has a blues rock lining to its infection loaded, roister fuelled smoulder. Both tracks lead the listener into energetic and galvanic ways before Rebellion, with presumably Honey-Jones standing toe to toe with Courson in duet, stirring up another urge to take a stand and lose inhibitions in voice and deed. The track is Healthy Junkies at their rock ‘n’ roll best, direct, lyrically potent, yet igniting the want to fling the body around.

The confrontational rock pop enticement of Just a Fool steps up next, it too quickly sparking total involvement before the outstanding creative theatre of Runaway Devil infests ears and psyche. There is no escaping a Siouxsie and the Banshees air to the song, keys running their melodic fingers over the senses as Courson’s ethereal tones enchant seductively around the darker touch of rhythms. In short time the track is soon a fiercely bubbling and intimidating tempting, reminding of fellow Londoners The Duel, but still with that early coaxing a rich lure.

There are numerous peaks in the landscape of the album, that one pinnacle almost matched by the dirtier rock ‘n’ roll of Hustle Street straight after and indeed the twin tempting of the melodically mesmeric Captive with its dub shimmer and the robust swagger of Don’t Give Up where scything beats, bass rumbling, and scuzzy riffery crowd around the ever alluring tones of Courson. Reggae seeded turns and again dub spiced inventiveness only increases its grip on ears and appetite, Ruts DC like imagination leaving satisfaction bulging.

Closing with D7, another spellbinding mix of evocative calms, atmospheric haunting, and vocal seducing in a case of antagonistically anthemic rebel-rousing, Box of Chaos is a thrilling blaze for the ears and manna for the spirit from a band looking at their most successful and surely acclaimed loaded year yet.

Box of Chaos is released February via STP Records.

http://www.healthyjunkies.co.uk   https://www.facebook.com/healthyjunkiesband/   https://twitter.com/HealthyJunkies

9/10

Pete RingMaster 01/02/2016

Copyright RingMaster: MyFreeCopyright

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This Burning Age – Desolation

It has taken a while to get here but now inciting ears and emotions, Desolation proves the wait was more than worth it. The new EP from British electro rockers This Burning Age is the third in a four EP cycle which began last year. The three track encounter is a rousing and forcibly provocative proposition proving that whatever has happened and evolved in the time between releases, the This Burning Age songwriting and sound has potently grown through it.

The EP’s songs feel physically and emotionally fiercer than ever but equally more inventively woven from the depth of sound and flavours which have always marked the band’s sound and releases. Originally a solo project for vocalist/songwriter/guitarist Friday, the Birmingham band emerged on the live scene as a full line-up after the release of debut album A Muzzle for the Masses. Wanting to take its heart and success to live venues, Friday enlisted guitarist/keyboardist Jon Farrington-Smith, bassist Davey Bennett, and drummer Christian Jerromes (since replaced by Jack Josypenko) to the band, with the years since seeing This Burning Age play with the likes of Fearless Vampire Killers, William Control, Heights, and Hundred Reasons amongst many.

   The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.

First song up on Desolation is Tatterdemalion, a quickly voracious and rousing proposal but one just as quickly slipping through an unpredictable and tempestuous landscape of intensity and creative resourcefulness. From its initial fuzzy flame of riffs, imposing rhythms stir the blood with just as potent scything grooves getting involved. The song hits a commanding stroll before relaxing into a prowling gait lit by a great steely twang of the bass. This ‘restful’ passage in turn welcomes the distinctive tones of Friday, his expression and emotion as open as ever as keys glow with simmering but bright temptation around him. Fiery expulsions of energy and heart then drive the soon to break chorus, its ferocity lingering to add richer hues to subsequent melodic and slightly restrained moments. For the main though, the track is a cauldron of inventive twists and turns, an array of styles colluding in a striking blaze which at times pokes thoughts of bands like Joy Division, in others of the likes of Pitchshifter and Smashing Pumpkins or Trent Reznor and Anti-Clone.

The outstanding start makes way for Drown In Silence, a song which leans more or certainly quicker to its industrial and electronic rock side as lively cascades of punchy rhythms and suggestive synths fall upon ears before dissipating for the emotive reflection of voice and atmospheric melodies. Calm before the storm, the track is a furnace of emotive energy and heart but again thick intense shafts which share time and the imagination with increasingly volatile and ferocious crescendos, all these keen essences uniting in an explosive and dynamic climax to another increasingly contagious persuasion.

As striking and irresistible as they are, the first two songs are slightly over shadowed by the closing Ab Aeterno (From Forever), a mesmeric introspective unveiling from Friday in voice and emotion. A crystalline twinkle of keys light a creeping mist of evocative melodies from the song’s first breath, the vocals emotionally raw as guitars and stirring beats add their weight to the unfolding intimate drama. Like a mix of Bauhaus and very early U2 embraced by the dark ethereal craft of Nine Inch Nails, the song glows with charm and shadows, eventually igniting in a searing fire of sound and suggestiveness.

It is a transfixing end to a breath-taking release from This Burning Age, the band’s finest hour without doubt though you get the feeling even now that we have seen nothing yet.

The Desolation EP is out now via 5th Day Records @ http://thisburningage.bigcartel.com/

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Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

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Band Of Holy Joy – The Land Of Holy Joy

This past year, two singles from Band Of Holy Joy have sparked expectations of something special from their new album The Land Of Holy Joy, simply because of their own enthralling quality. Fair to say the UK band’s new release not only lives up to hopes and assumptions but leaves them looking rather inadequate. The nine track adventure of urban folk and indie rock is a blaze of ear thrilling and imagination igniting tracks ripe with unpredictable invention and the social commentary and honesty we have come to expect from the London band. Admittedly over their three decades of undeniably helping shape the British indie scene, we have not had the pleasure of devouring all of their eighteen previous albums here but of the fair few we have, Band Of Holy Joy have definitely eclipsed all with their finest moment in The Land Of Holy Joy.

The album gets off to a stunning flyer with its title track, the opener an instantly bewitching enticing of off-kilter guitar melodies from James Stephen Finn. Their discord lined twang has ears alert, whilst a swift healthy appetite licks its lips almost as quickly after as an exotic seducing from Peter Smith’s keys, matched by the flirtation cast by the bass of Howard Jacques, dances with the imagination. Like Eastern sent cosmopolitan sunshine over harsh realities hinted at by the plainer, distinctive tone of vocalist Johny Brown, the track is sensational; a provocative soundtrack perfect for the crisis felt right now by thousands upon thousands of people and Europe.

The outstanding beginning continues with the band’s last single Isn’t That Just The Life. The song enthrals like a sixties kitchen sink drama with, still for these ears, a female centred alternative to The Smith’s This Charming Man. With wistful keys, flames of sax from Smith, and great dourly resourceful harmonies, the song is an expressive croon with a swinging canter to its shadowed wrapped but surprisingly warm body, and also irresistible.

Street bred melancholy lines the following All The Girls Are Wearing Desert Boots Of Pale And Subtle Shade. It is a track which from its initial potent and gentle embrace of sombre air and emotion lifts in energy through emotive brass textures and an increasingly rousing incitement thrown by the craft of drummer William Lewington. Maybe a slow burner compared to its predecessors, the track easily has ears and thoughts hooked before making way for the funky carnival-esque theatre of Men Who Display A Different Kind Of Pain. Keys drizzle temptation and festival like drama over the senses in league with a similarly thick and colourful enticing from the guitar, whilst Brown adds rich vocal and lyrical openness in his ever pleasing mix of raw crooning and spoken narrative. More inventive and compelling with every passing minute and certainly each listen, the song is revelry of sound and honest drama coated with eighties warmth.

Another album pinnacle arrives with the brilliant Violent Drunken Strangers. Its entrance sees skipping beats aligning with a moodily captivating bassline and sultry tendrils of guitar which just seep into the psyche as Brown again varies his delivery to fine and impacting effect. The post punk like stroll and tone of the track is delicious, as too the emerging eighties funk kissed guitar and a vocal union which just ignites the passions. There are essences of bands like Bauhaus in atmosphere, Josef K in guitar jangle, and Original Mirrors to its lively revelry, and along with the title track, the song steals the show though great times simply continue as first the reflective melodic caress of Discredited Art Form cups ears and thoughts and straight after, A Good Close Friend offers its own elegant seduction and tenacious sixties fired enterprise up for eager attention. Both songs provide thoroughly enjoyable proposals whilst stirring thoughts, the second eclipsing the first but only by a spicy whiff of keys and one lively step.

A Place Called Home is another track which smoulders in ears and thoughts rather than quickly stirs them but with superb harmonies between Brown and a female vocalist, and a brass breeze which as the song has a shade of The Walker Brothers to it, lingering persuasion is the ultimate and successful result.

Closing with I’m Crass Harry, a bluesy look at a character which never gives up the fight despite enduring a constant tide of adversity, the album ends with a mighty finale. Merging spices found in the likes of reggae, punk, jazz, and other absorbing flavours into its musical tapestry around that tale of defiance, the song is Band Of Holy Joy at their best, what creatively they are and have always been about and another slice of proof as to why we say The Land Of Holy Joy is their greatest moment yet.

The Land Of Holy Joy is out now digitally and on CD via Stereogram Recordings and the Band Of Holy Joy Bandcamp.

Pete RingMaster 22/09/2015

Copyright RingMaster: MyFreeCopyright

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