KEN mode – Success

photo Brenna Faris

photo Brenna Faris

Predictability has never had a presence in the sounds and imagination of Canadian noise wreckers KEN mode, though that in itself is something to be expected. Their caustic and furious brews of post-rock, hardcore, metal, and noise, to mention just some of their flavours employed, have ignited ears and imaginations with a tempestuous almost petulant creativity ensuring the band’s propositions are some of the most persistently and highly anticipated treats. The Winnipeg trio’s new album Success is no exception but this time it has taken a detour which definitely takes assumptions by surprise.

The band has gone back to explore the sounds and invention which were fermenting and fuelling the late 80s/early 90s when KEN mode began to sow its own sonic explorations. The album’s press release lists the album as paying homage to “both their Canadian Prairie roots, and a time when they first started to care about making music; the burgeoning grunge; and Touch Go/Dischord scenes of, with bands like Nirvana, Big Black, Cop Shoot Cop, The Cows, Circus Lupus, and Drive Like Jehu warping their teenage minds.” Listening to Success though you can go back further and find the seeds in predominantly post and noise punk with the album persistently sounding like a primal version of Gang of 4 on steroids. It is the band as raw and aggressive as ever, probably even more so at times, and still lyrically stirring up thoughts and emotional involvement, but it shows a new character and new compelling designs from the band which might not quite work for all but here is being greedily devoured.

KMSuccessCover_Reputation Radio/RingMaster Review     Recorded with Steve Albini (Nirvana, the Jesus Lizard, PJ Harvey) and recorded as a fully live and analog session, KEN mode’s sixth album opens with Blessed, a track which from its initial sonic whistle turns into a heavy bestial prowl. Simultaneously a swagger emerges in the grizzly tones of Scott Hamilton’s bass as magnetic jabbing lines the beats of drummer Shane Matthewson. Intimidating restraint replaces their predacious aggression at this point, the vocals of guitarist Jesse Matthewson crawling syllable by syllable with open ire over the addiction igniting web now in place. The song’s volatile instincts soon return to take rein though, almost insidious discord and hostility invading whilst binding excited senses in inventive and mischievous rancor.

The outstanding start kicks up another notch with These Tight Jeans, a song which roars and excites like an illicit union of Nirvana, Black Flag, and Pretty Girls Make Graves. Of course that is a mere hint to something unique to KEN mode, the track a rumbling, grumbling contagion of wiry hooks, spicy grooves, and rhythmic badgering. As ever the song is driven by fury loaded vocals but this time assisted by the excellent punk lures of guest Jill Clapham who just adds richer colour to the slimline unbridled furnace on the senses.

The Owl… follows the brilliance of its predecessor with its own gripping dark beauty. A sinister noir lit intrigue escapes the growling bass groove, its drama escorted by the similarly potent landing of drum sticks as vocals dangle their raw tone and narrative over the imagination. An air of Bauhaus wraps the absorbing lure and agitated swing of the song as guitars and bass spring an inescapable menace of a flirtation which only gets darker and more imposing as the emotive intimacy of cello from Natanielle Felicitas returns after first gracing the opener. The solemn gentle passage hugging her enterprise is soon a brawl of noise and intensity again before regaining control in a mesmeric finale which leaves ears and emotions in lustful bliss

The grungy turmoil of I Just Liked Fire explodes next, it too a rebellious blaze for ears and appetite to get lustful over as twisted discord and carnal noise collude to abrase and infest the senses whilst its successor Management Control, with greater restraint crowds ears with a thick resonating bassline and a tangy vining of guitar endeavour. The beats of Shane once again provide disorientating yet anthemic bait aligned to the predatory and contagious groans of bass but sonically the song is more involved and less instant with its catchy hooks and grooves. This is not to say the track is any less virulent than the previous songs, just a more intensive exploration with layers of waiting rewards.

There is a feel of Psychic TV to the following A Passive Disaster as its carnivorous basslines and caustic bellow gets right under the skin and into the psyche whilst Failing At Fun Since 1981 straight after, is punk belligerence at its blisteringly sonic and primitively rhythmic best. Both songs are a jungle of menace and bracing invention, individual noise riots to thrill and linger though they get outshone a touch by A Catalog Of Small Disappointments and in turn closing song Dead Actors. The first of the final pair is an uncompromising persuasion, its stalking rhythms and vocal angst entwined in the rabid theatre of guitar and lyrics. The track enslaves body and emptions with ease, threatening and seducing with every snarl and raw fingering of the senses before its successor takes over with a psychotic and darkly elegant Gang of 4 meets Wire like meander of sound and distress lined emotional reflection. The song is spellbinding, a long term journey taking itself and the listener on a traumatic and turbulently fascinating adventure.

It is hard to say yet if Success is KEN mode’s finest hour such its big enough departure to previous encounters reveals something openly and strikingly different but the seriously thrilling encounter is definitely a contender.

Success is available via Season Of Mist now @ http://shop.season-of-mist.com/predefined-search?id_list=102, http://kenmode.bigcartel.com/, or https://kenmode.bandcamp.com/album/success

http://www.ken-mode.com/

Upcoming KEN mode dates with Fight Amp

June 16, 2015 – Toronto, ON @ The Shop (Parts & Labour) w/The Great Sabatini

June 17, 2015 – Montreal, QC @ Turbo Haus w/The Great Sabatini

June 18, 2015 – Brooklyn, NY @ St. Vitus w/Pyrrhon, Couch Slut

June 19, 2015 – Philadelphia, PA @ Kung Fu Necktie

June 20, 2015 – Columbus, OH @ Ace of Cups w/Lo-Pan

June 21, 2015 – Chicago, IL @ The Burlington w/GOBO’S CVIT

June 26, 2015 – Winnipeg, MB @ The Goodwill w/Pop Crimes, Teethmarks *no Fight Amp

RingMaster 16/06/2015

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

Kobadelta – Open Visions

Photo by Daniel Robson

Photo by Daniel Robson

Blending the rousing elements of their second EP and the mesmeric seducing of their last, UK psyche rockers Kobadelta unleash their finest moment yet in the hauntingly irresistible shape of Open Visions. The EP provides a feast for ears and imagination to contemplate and devour in their individual ways, its clutch of songs almost hex like in their immersion and seduction of both. Within its arcane charm the band also reveals a greater maturity and inventive lust in songwriting and sonic explorations, Open Visions the simply irresistible dark side of the band’s creativity and the listener’s psyche.

Newcastle bred and formed in 2010, Kobadelta did not take long to arouse a potent following and local clamour for their sonic swelter of a sound and matching live presence. 2013 Debut EP Ritual (Time Flies) lit more than a few fires in ears and thoughts, which the following year its successors Hidden Door and Remain Distracted, took to stronger and broader levels with their compelling sounds. It is fair to say that 2014 was a big year for the band in general. The release of the two EPs surrounded by further successes with Kobadelta being invited to perform a live session for BBC Introducing, headlining the Tanners stage at Evolution Emerging Festival in Newcastle, and playing events like Stockton Weekender alongside artists such as Peter Hook, Public Enemy, and the Happy Mondays as well as the Split Festival with the likes of The Cribs, Maximo Park, and Dizzee Rascal. Support slots for bands such as Temples, Allusondrugs, We Were Promised Jetpacks, Demob Happy, Splashh, The Temperance Movement, The Weeks, Lola Colt, and The Voyeurs, amongst many more has only increased their reputation and stature too. Now it is the turn of the Open Visions EP to push the Kobadelta cause and as we say, it is irresistible.

a0352850419_10   Even The Odds (They Mean You No Harm) is the first track on the release and immediately brings a raw and fiery proposition to bear on ears and thoughts. Guitars and rhythms make a formidable invitation which is easily accepted, even more so when an underlying melodic lure is given clarity as the initial tempest relaxes and the expressive tones of Dom Noble come in. There is still a muggy air to the song, and a siren-esque shadowing to the track which with the exotic enterprise arising from the guitar of Alex Malliris and the keys of Jordan Robson, entices like The Doors meets The Birthday Party. The song continues to immerse and swallow the senses with its sultry almost erosive beauty, increasing its glamour as it heads towards the moment it slips seamlessly into the following Blame It All On Me.

The second track is simple bewitchment from its first caress, smouldering melodies flirting with ears whilst being stalked by the throaty bassline of Jon Marley. The ticking percussive framing and rhythmic probing of drummer Chris Malliris adds intimidation to the dark premise of the song but it is the flowing melodic seducing of the keys and more unsettling designs cast by the guitars which shape the compelling drama emotively coloured by the distinct tones of Noble. There is a touch of Bauhaus to the post punk essences swimming within the psyche rock contagion whilst the gothic rock shading again springs hints of Nick Cave and co.

A fresh shimmer flows across Maskirovka next, keys and guitars a floating haze of sonic suggestiveness whilst bass and drums create a more formidable incitement which erupts with greater intensity around the climatic crescendos posing as choruses. There is something occult like in the dark rock toxicity oozing from the walls of the song and imagination of the band, an essence breeding encroaching shadows which infest and linger in ears and psyche.

The infectiousness kicks up another level with Watch What You’re Doing, its open caress of guitar the seeds for another compelling bassline and crisply landed beats to work their addictiveness as vocals and keys bring a haunting colour. Once into its magnetic stroll, the song shows itself to be as much pop rock as it is dark rock ‘n’ roll, its catchiness as captivatingly accessible as its soaring sonic enterprise is celestially provocative and darkly fascinating.

Ithaca ventures into an even heavier soundscape but swiftly tempers some of its daunting air with an echoing effect on the ever alluring vocals and backing harmonies, whilst guitars and keys sway and smother the rhythmic spine of the song with the dance of a sonic temptress. The song is pure mesmerism but with an underlying danger which seems to incite richer flames and piercing textures to emerge in the invention of Alex Malliris and Robson.

Final track Black Pyramid, like the first, accosts ears with a slightly caustic and hazy roar of sound but is soon casting an invasive exotic atmosphere through guitars and keys. Eruptions of energy and intensity only add to the sweltering air and impact of the song, whilst melodically and vocally, there is again no escaping a reference to the Jim Morrison’s led band.

If like us you fell in love with Kobadelta’s last EPs, then lust is the outcome with Open Visions, the pinnacle of the band’s sound and invention to date. If new to the transfixing world of the band, then a wealth of dark sultry treats await.

Open Visions is released on May 1st and available via http://kobadelta.bandcamp.com/album/open-visions-ep

Upcoming Kobadelta shows, including EP launch…

Friday 1st May – Think Tank? Newcastle (‘Open Visions’ EP Launch)

Saturday 30th May – ‘Sonic Union #2′ at The Sun Inn, Stockton (with TOY)

Saturday 11th July – Corbridge Festival 2015 (Acoustic Stage)

Friday 24th July – ‘Double Denim Live’ at Verve Bar, Leeds

https://www.facebook.com/Kobadelta

RingMaster 27/04/2015

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

Rosenthal – Heart EP

ce58086f-0850-4d55-b7e7-6b6f41cb466c

Managing to sound invitingly nostalgic and refreshingly new, the Heart EP is a captivating full introduction to Rosenthal, a Danish band already drawing a healthy buzz around themselves. Consisting of five tracks which can be described as being bred from a merger of new wave, dream pop, and shoegaze with a psychedelic colouring, the band’s debut EP is an intriguing and increasingly enjoyable embrace for ears and imagination.

Rosenthal is the brainchild and project of Copenhagen-based songwriter and producer Jeppe Kiel Revsbech. Last year saw the release of two singles, both Lashes and Afraid of Stairs sparking keen attention and enthused reactions to the band’s presence and sound. Now fresh off their successful first UK tour, the band is set to reinforce and push forward again their emerging presence in a wider arena with the Magnus Vad produced Heart EP, and with Ask Kjærgaard (guitars) and Kasper Nyhus Janssen (drums) alongside Jeppe Kiel Revsbech (guitar, keyboards, vocals), Rosenthal is continuing 2015 in fine style.

The EP’s title track starts things off and sets an early pinnacle for the encounter. The resonating yet earthy bass tone which opens the track is alone an instant irresistible persuasion. It has the same dark flavouring which gave depth and potent shadows to the early sounds of The Cure and equally Joy Division. In no time guitars add their minimalistic but expressive colour too whilst the floating vocals of Kiel Revsbech glance over ears like Green Gartside of Scritti Politti. The emerging melodic elegance of the song is a radiant hue, uniting with the mellow and sizeably infectious air of the song to incite an eager appetite in response. It is a fabulous start to the release, mesmeric yet holding a slight agitation which only adds to its compelling presence.

The following April Eyes has a lighter and airier breath to its bouncy energy and presence. From the off melodies are caressing ears whilst the bass toning again carries a dark shade to its otherwise less heavy tempting, both courted by an imagination and unpredictability throughout which sees the song easily slip from its energetic stroll into a reflective calm. This peaceful passage though is soon at the centre of a brewing emotive and sonic tempest, a brooding climate which never erupts but certainly brings an edge and drama to its landscape.

The acoustic charm of the brief instrumental An End to the Trial comes next, the stringed caresses of guitars an evocative spark for the imagination before Void wistfully seeps into ears and thoughts, again guitar expression the leading colour. Its folkish, provocative simplicity makes the perfect canvas for the similarly reserved yet vibrant vocals. It is a simmering sunset of sound and emotion but as darker hues add their tints it evolves into a tempestuous atmosphere of dark alternative pop. From a potent start it grows into a bewitching proposal for ears and thoughts, spicy hooks and tangy melodies expelling mouth-watering noir bred temptation. The song is an enjoyable slow burner but grows even more thrilling in its latter climatic stages.

The closing A Dream is like the first song, one seeded in the post punk and dark pop of previous days whilst casting its own fresh character of sound. Resourcefully bred from a New Order/Bauhaus seeding, dark wave shadows ignite the passions instantly whilst the emerging Billy Momo like folk charm and Cocteau Twins like ethereal melodies, simply absorb and accentuate the whole unique adventure. Keys also add suggestiveness to the mix, an OMD spicing working within their poetic ambience. It is a tremendous song and end to the EP, Heart bookended by its best two tracks but with plenty to eagerly embrace in between.

As the final song slowly drifts away it leaves ears and thoughts keen to immerse once again in the Rosenthal sound. Heart is not exactly going to bowl you over with listen one but it lingers, luring the listener back time and time again, a rich success in any one’s book.

The Heart EP is available now via Afterimages via most digital stores.

https://www.facebook.com/rosenthalsite

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

Dope Body – Lifer

10353435_10152585010024791_9214962179343543231_o

In covering Natural History, the previous album from US noise sculptors Dope Body, we boldly declared the band as ‘without doubt one of the most exciting bands in music right now’. Returning with its successor Lifer, the Baltimore quartet has done nothing to change or dispel that declaration. The release is a glorious and voracious maelstrom of invention as now expected from the band, but also one with another open twist in the evolution of Dope Body’s sound. Certainly Lifer is the band’s most rock ‘n’ roll release to date, raw and attractively abrasive, but within tracks and sounds are as dramatically eclectic as ever.

Formed in 2008 for originally just a one off show, Dope Body soon saw and found their sound stirring up the local scene and its passions. Early releases via HOSS Records drew potent attention but it was Natural History, released as the new album through Drag City, which widely announced the band as one of the more original and creatively warped fresh breaths in modern music. Between albums the band has feverishly toured and played shows before seeing the latter part of last year out taking time focussing on other endeavours, bassist John Jones on his solo project Nerftoss and guitarist Zachary Utz and drummer David Jacober with their two piece band Holy Ghost Party, whilst vocalist Andrew Laumann turned to his visual arts side and exhibited work at the Galerie Jeanrochdard in Paris, the Pre Teen Gallery in Mexico City, and Signal in Brooklyn. This year though soon saw the foursome back together in the studio and with producer Travis Harrison creating what is another stirring encounter from them.

The album opens with Intro, an instrumental with carnival-esque vivacity and mischief to the gripping rhythmic juggling of Jacober and scuzz bred tenacity of guitar. It is a great raucous start to the album, instantly unveiling some of the varied rock ‘n’ roll seeded essences to be explored across the release. The piece subsequently slips seamlessly into Repo Man and its opening slow caress and shadowed crawl. Right away the distinct tones of Laumann entice and flirt with ears before raging to match the increased intensity and aggression of the music. It is a captivating track which has as much an air of Nirvana to it as it does The Stooges. In hindsight it is a steady opener to the album in many ways, a raw encounter which as the album, holds a real live feel to its touch and breath, but proves to be just a taster of greater things to come.

That stronger potency grips ears and imagination right away with Hired Gun. From a deliciously acidic web of sonic revelry, the song strides out with a garage punk energy and causticity, though it is still prone to the great scythes of sound liferwhich opened up the encounter. Taunting senses with a devilish swagger and punkish rabidity, the track is a transfixing slice of noise rock, but as expected from the band only part of the story as seductive surf rock sultriness and rhythmic tantalising emerges before a fiery finale. From this song the album really takes unpredictable and diverse shape, the following Echo sauntering through ears with a smouldering blues climate aligned to garage punk turbulence. Like Tom Petty plays The Cramps, the song is an enthralling croon with tendencies to expel caustic ferocity as it makes another step up towards the album’s highest peaks.

They come in the next clutch of songs, starting with AOL. A brawling slab of blazing hard and punk rock incitement, whispers of The Clash and Melvins hinting away, the track comes loaded with lingering grooves and biting hooks for a relatively brief but scintillating roar. It sets ears and emotions up perfectly for the even richer triumph of Rare Air. A song which kind of bridges this and the last album, it emerges from a metronomic coaxing lined with a ridiculously infectious sonic tempting. Instantly there is a post punk emprise to the song, bass and guitars flirting with a mix of Joy Division, Tones On Tails, and John Foxx led Ultravox breeding. It is a gripping adventure with Laumann as vocally enterprising as the tapestry of sounds and textures around him. The pinnacle of the album, the song alone reasserts Dope Body as the imaginative masters of sonic and noise alchemy.

Straight away confirming that point, the dark seductive Day by Day steps forward next. With a heavily shadowed bass resonance spotted by sonic elegance making the first gentle touch, the track forcibly intrigues and entices senses and imagination, increasing its lure and potency as it gathers pace to craft a Bauhaus like tension and presence. That increase in energy also brings a funky gait and appetite to the song, which in turn leads to squalling clouds of scuzz lined ferocity and garage rock devilry. With a pinch of psychobilly and a dab of old school rock ‘n’ roll too, the song takes the listener through scenery of explosive invention and bold creative mischief, all persistently cored by the irresistible throaty bassline which kicked it all off.

Toy strides purposefully across ears next to return the album to another boiling garage punk/grunge soiled stomp, engaging ears in a dusty rampage of Rocket From The Crypt meets Damn Vandals like irreverence. As everywhere though, references only give a slight idea of something uniquely Dope Body, the band forging new templates and imagination smothering ingenuity at every turn, proof of course immediately coming forward through the pair of Nu Sensation and I’d Say to You . The first of the two is another multi-flavoured rocker, seemingly embracing every corner and era of rock ‘n’ roll to give birth to an uncompromising and inescapably addictive rock devilry, whilst its successor is a torrent of repetitive hooks and lingering grooves as catchy as the common cold and sneakily lingering.

The album is closed by the striking Even In the End, a song opening on another skilfully conjured rhythmic contagion before spreading its melodic and atmospheric tendrils into a progressive terrain of bracing sonic invention and immersive dark shadows. Within that landscape though, guitars and beats unleash imaginative and lively agitation whilst vocals range from slow drawls to raging emotion. It is an absorbing exploration bringing the outstanding release to a mighty close.

Lifer is not a step forward in quality for Dope Body but a side step from Natural History into similarly impressive and individual waters. The excitement brought by a Dope Body encounter continues and the band grows in stature once more.

Lifer is available via Drag City now.

https://www.facebook.com/pages/DOPE-BODY/310914069790

RingMaster 23/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Secret Sight – Day.Night.Life

10649073_700735913333974_2082795953082435285_o

Seemingly bred from the heyday of the genres it embraces with its spellbinding sound and presence, Italian band Secret Sight has brought 2014 one of its unexpected and compelling triumphs in the dramatic lure of Day.Night.Life. Brewing up a starkly haunting and rigorously riveting blend of post punk and gothic rock, band and album is one of those finds which you hope for but rarely get over the course of a year, an encounter which connects with primal instincts and personal passion with a recognisable sound explored and twisted into a new distinct adventure. There is plenty to intrigue and ignites ears of those without a post punk/gothic bent to their preferences though, incendiary melodies and rhythmic tenacity as prevalent as the core sound driving the release. It is a tremendous proposition and one to put the band in a firmly attentive spotlight.

Emerging from the ‘ashes’ of the members previous band which released a self-produced EP and played several gigs around Italy, Secret Sight was formed earlier this year and took little time to start working on their first release and debut Day.Night.Life. Consisting of vocalist Matt Schipsi, guitarist Cristiano Poli, bassist Lucio Cristino, and drummer Enrico Bartolini, the Ancona quartet linked up with Paolo Rossi to record the album at Studio Waves in Pesaro. Released on Red Cat Records it is fair to say that as young as Secret Sight is as a band, there is an experience and maturity which shines from obviously the member’s previous endeavours within what is a quite striking introduction to the band.

The release opens with Conquest and instantly has ears and appetite tight in its grasp as the bass of Cristino sets a dark and flavoursome coaxing in motion from within a subdued sonic squall around thumping rhythms from Bartolini. It is a4203391273_2an irresistible lure reminiscent of Leitmotiv and Joy Division, especially once the drama of the guitars and throaty tones of Schipsi join the infectious aural narrative. With a voice somewhere between Ian Curtis and Nick Cave, the frontman is a captivating shadow to the feisty but dark beauty coating the virulent energy and hook littered grooves of the song. It is a tremendous start to the album, and early pinnacle swiftly matched by Earth Overflows. With new wave seeded melodies flirting with the cold steely glare of bass amidst the song’s chilled atmosphere, it is a captivating and eagerly striding encounter. Every element of band and song casts a contagious hex without defusing the haunting resonance and cavernous emotion of the mouth-watering proposition. It many ways the track is like Interpol meets Bauhaus or maybe more so Tones on Tail, a web of scintillating sonic grooves and virulent rhythms entwined with a cold post punk voracity.

The pair of Under This Truth and Life keeps the exceptional charge and majesty of the album going, the first another melodic flirtation with a She Wants Revenge like vivacity and catchiness but exploring a heavier and imposing landscape than its predecessors. Again it is hard to ignore the pleasing Joy Division whispers but also there is a Play Dead and Public Image Ltd spicery, though it should be reinforced that despite the references Secret Sight weaves a sound which is familiar yet openly fresh and uniquely gripping. The second of the two takes a slower gait to its entrance, punchy rhythms from Bartolini leading the imagination into the waiting web of bass and guitar temptation. Though beats make a forceful energetic stride, sonically the track is a more reserved wash but no less inciting in the intriguing melodic and caustic designs of Poli and the pungent ensnaring lures spawned by Cristino.

The bassist again springs the first seduction of Indelible, an enticing swiftly enhanced and fuelled by the grooves and hooks spicing up the exceptional track. Schipsi stands powerfully over the brewing contagion of the song with his raw and starkly emotive tones but it is the bass bait and acidic strands of guitar ingenuity which sets the biggest fire. As in all the songs there is a cinematic drama which is as equally persuasive and engrossing, the following Need an instant example at this point, its noir cloaked almost sinister breath and intrigue a delicious spark for ears, feet, and imagination.

The album is completed by the similarly visually suggestive Long Line and the slightly Sister of Mercy-esque If You Turn, both songs resourcefully provocative and elegantly structured within their roaming lyrical and sonic shadows. The first has a sultry twang to its climatic presence and voice whilst the closing song ebbs and flows with intensity and energy as its masterful soundscape explores the corners and depths of dark emotions and melodic intimacy. It is arguably the most involved and exploratory track on the album and just as irresistible and explosive as those before it.

Day.Night.Life is a must for all post punk/gothic rock fans, and for us a definite favourite of 2014. There is little more to say than just go treat yourselves.

Day.Night.Life is available now from Red Cat Records @ http://www.amazon.co.uk/Day-Night-Life-Secret-Sight/dp/B00NODLP1I/ref=sr_1_1?ie=UTF8&qid=1412691294&sr=8-1&keywords=Day.Night.Life+Secret+Sight

https://www.facebook.com/secretsight

RingMaster 07/10/2104

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Jubilee Courts – Go From the Blue Light into the Moonlight

10269103_797097640323528_7201858554050600347_o

As shoegaze seems to be pushing its boundaries in sound and intensity, UK band Jubilee Courts add their own striking and tantalising slice of sonic climate with the Go From the Blue Light into the Moonlight EP. Holding five tracks which are as sultry as they are invasively seductive, the release brings a delicious merger of eighties post punk and psychedelically fuelled shoegaze with an incendiary and modern sonic rapacity. It makes for a proposition which carries a potently inciting familiarity but equally a uniquely fresh and provocative enticement.

Hailing from Northampton, Jubilee Courts was formed in 2011 by vocalist/guitarist Josh Falconer, guitarist Matt Bradstreet, and bassist/vocalist Harry Boyde. Soon building up a potent reputation with their live presence around their hometown and surrounding areas, the current line-up was completed with the addition of drummer Frank Robertson-Marriott. Drawing on inspirations from the likes of My Bloody Valentine, The Jesus and Mary Chain, Bauhaus, and Joy Division musically, T S Elliott and Delmore Schwartz lyrically, the band laid down a wider stretching lure with the Stalkers Records released single Room with a View at the end of 2013. Mixed by Temples frontman James Bagshaw, the track pushed the band into a fuller spotlight which Go From the Blue Light into the Moonlight is sure to intensify. The band’s first EP is a thick and hazy adventure in breath and sound yet one which infuses at times a minimalistic intimacy and seductive romance to its ambient and melodic explorations, turning the imagination on its head whilst nagging with a monotone and humdrum persistence. Each song is an interpretation of life, an emotional and mental flirtation from which thoughts and senses find healthy inspiration.

City Flow brings the release to life, its initial sonic wind an attention taking intro from which a lone guitar begins teasing thoughts. Its melodic lead is swiftly accompanied by the dark shadows of the bass and the discord kissed vocals of Jubilee-Courts1-450x450Falconer. It is a raw and haunted enticement which instantly brings thoughts of The Jesus and Mary Chain and early Cure as the song wraps its evocative texture and sonic suggestion around the senses. Eventually the air and turbulence of the scenery increases, guitars creating a tension soaked flaming across bolder and broader rhythmic rumblings. It is a glorious start matched by the cacophonous beauty of Something Different. The again discord fuelled tempest which brings the song into view enslaves attention and appetite but soon makes way for a melody closely related to that within its predecessor, its niggling beckoning rich and irresistible. It too is only a moment in the journey of the track, a surf rock like stream of warmth and sonic acidity immersing ears in a sultry blaze. The instrumental is pure mesmerism, an inescapable soundscape through which the compelling dark bass lure of Boyde coldly tempers an escalating aural sunspot.

The startling entrance of the album is just as impressively continued by Outside Your House, its opening bait a heavy footed and slightly fuzzy bass prowl which is soon aligned to a percussive stomp and a ridiculously addictive guitar hook. A disorientating dance breaks out within the rhythms soon after, not for the first or last time Jubilee Courts binding a melodic elegance and smoothness with a seemingly disorganised and agitated but skilfully crafted contrast of ideation. There is always a rich essence of My Bloody Valentine to songs but here hints of bands like Birdland and Wire similarly add their suggestive whispers. The track continues to lay tender yet imposing melodic and sonic tendrils around the ears as the bass finds its darkest side yet to spark another wave of hunger for the EP which is matched to a lesser but still rich degree by Under the Sand Again. The song is the cloudiest of all on the release, its smoky air and turbulent weave of sonic trespass an insatiable pressure. Throughout though melodic veining shines pleadingly from within the thick atmosphere whilst vocally Falconer resonates and smoulders with his great unpolished tones. It is a heady mix but eventually clarity does free itself as the song builds to a fiery climax. The song is also one which misses that final spark which brings other tracks to bear so addictively on the passions.

The release saves its best proposal till the end, in the riveting and scintillating shape of Sunday Shift. A surf bred line of sonic irresistibility entwines itself around ears and imagination from its first breath, taking the initial lead as suggestive rhythms and a second strand of melodic toxicity rapidly add their spice. There is also fullness to the still minimalistic intent of the track which bounds across the senses but this time with every aspect finding its own clear voice in the entrancing weave. Providing an enthralling and nostalgic post punk temptation in its chilled hooks and rhythms as well as vocally, the track unveils an aural alchemy which even with its rich eighties flavouring and inspiration is innovative and virulently addictive.

To describe the music of Jubilee Courts thoughts of My Bloody Valentine and The Jesus and Mary Chain, as well as Joy Division are unavoidable but to that essences of The Horrors, Wire, Crispy Ambulance, and Artery come into the mix. The band has though forged a sound and release in Go From the Blue Light into the Moonlight which stands alone in presence as it gives an impressive and thrilling twist to shoegaze.

The Go From the Blue Light into the Moonlight EP is available now.

http://jubileecourts.com/

9/10

RingMaster 04/08/22014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Tim Paris – Dancers

TP

Dancers is the ideal title for the debut album from London based Parisian Tim Paris, each of its tracks whether an open flirtation or a more chilled proposition, a vibrant adventurous waltz. Better known as one half of It’s a Fine Line with Ivan Smagghe, Paris has sculpted songs which pull the imagination into unpredictable and vivacious soundscapes. Each one is distinct and stands alone in the tapestry of the release but have a symbiotic union which provides one refreshingly inventive landscape for senses and emotions to bask in. Dancers ebbs and flows in success across its body it is fair to say but only to waiver within a constant magnetic seduction which never relinquishes its strength.

As renowned for his remix invention which has seen him reinterpreting invention from the likes of The XX, Femi Kuti, Battant, Au Revoire Simone, Ewan Pearson, and Tiga, the DJ, producer, and musician now unleashes his own electronic alchemy through the album, merging the purest essences of synth pop, new wave, post punk, electronica, disco, house, and much more for transfixing and evocative aural climates. Dancers provides insights into richly flavoursome cinematic scenes but also ones which have an intimacy which goes beyond voyeurism to draw the listener emotionally into the imaginative investigations. Featuring a wealth of guests, the album is also a collaborative affair embraced by the creative ingenuity of Paris.

Opening track Golden Ratio strides boldly in on punchy beats and an electro tinkling which reminds instantly of Love Cats by The Cure Tim Paris - Dancersthough it takes little time to show its own distinct tease to the coaxing. The song then infuses intriguing melodic lures which do not nestle easily within the established pulse of the song but only accentuates the awakening potency. Featuring Georg Levin of Wahoo, the song opens up warm arms of melody bred enticement and smooth vocal expression which are themselves veined by intriguing twists of enterprise and electronic investigation. The post punk strict rhythmic heartbeat steers the journey allowing thoughts to take in the radiant sights and absorbing atmosphere. It is an adventure which midway takes a breath to return with an even more masterful hold on the appetite, a case of absence making the heart grow fonder.

The enticing start is matched by Rain which sees the guest appearance of Coco Solid of the Parallel Dance Ensemble. The song drips slightly chilled riffs down upon the ear whilst a rhythmic shuffle hurries across the senses. It is another alluring start given extra drama by the skirting dark throated bass, the combination building a striking premise which is enriched further by the cyber kissed vocal narrative. The repetitive spine of the track bewitches constantly; the stark core holding Joy Division/Bauhaus like predation around which the elegant and mesmeric call of the song spreads and croons.

The metallic breath of Outback, Stones & Vinyl soaks the ears next, the initial caress of the song courting a John Foxx essence which never leaves the infectious persuasion. As the track explores its seductive canvas, building and colouring the imagination with inspiring textures, the instrumental toys with the senses further, stretching its provocative enveloping with an additional Bill Nelson like invention. Like standing on a heaven lit cliff top whilst warm winds and sights wrap rivetingly around the senses, the song puts the listener in a hypnotic almost meditative emotional trance.

The following Minireich which features Sex Judas and Rupert Cross and Disco Ellipse both create a transfixing dancefloor bred temptation, though the pair tantalise and shimmer in their enticement rather than leap upon the eagerness of feet. The first has a definite Yello feel to its mischievous invention, vocally and in the devilish temptation offered whilst its successor is a cybernetic tango, flashing sonics and dazzling electronics spraying their bait around before the emotive weave of distressed melodies and restrained bedlam make their play successfully for the passions. Those nor the next up Unsung Deaf Hero fire up the same intensity of hunger and thrills as the opening songs but all captivate and refuse to release the album’s hold, the third of the trio a smothering wash of thick ambiences and funk spawned vocals casting a dark dance of inciting suggestiveness and mystery.

Dancers is back to dominating senses and mind with the outstanding drama of The Grip. With Ben Shemie, Paris lays a noir bred sinister atmosphere within which guitar and rhythms stalk the imagination, the encounter a soundtrack which could easily grace any caped crusader or futuristic darkly shadowed enigma. All the tracks allow the mind to run riot with their aural paint but this more than most conjures up stories and emotions to intoxicatingly bask in.

You’ll Never Know also creates a tenebrous encounter to immerse within, it’s again noir crafted riddle an imposing and incendiary fuse for an adventurous mind to run with whilst ears welcome the varied vocal hues and electronic weaves. It is a blend which is just as alluring in the slightly lighter Extreme Nails, its celestial stroll within a heavy but slow rhythmic frame a beacon for the listener to explore in their own design. Shadows as across most tracks are never far away with their tempering relish though they have to take more of a backseat within the fruity exploits of Heaven Parking which again sees Sex Judas involved. There is a subdued but visible lunacy to the song which brings thoughts of the eighties Martin Atkins band Brian Brain. It is a thrilling revelry which steps aside for the equally delicious Backseat Reflexion to close the album. The song sees Forrest joining Paris in a last irresistible seduction, electronics and melodies aligning within a shadow built emotional seduction.

It is a masterful end to a similarly consummate release, Dancers offering a collection of emotive and provocative vignettes which absorb thoughts and passions like a sponge for exhilarating experiences and adventures. Apart from the length of a few tracks stretching their staying power to clutch at straws in an attempt to temper the enthusiasm, Tim Paris has provided his finest hour with his own solo release, the first of many we hope and suspect.

Dancers is available on 2 x 12″ vinyl, CD, and download right now via My Favorite Robot Records.

http://www.facebook.com/djtimparis

9/10

RingMaster 12/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com