Happy Diving – Electric Soul Unity

HappyDiving_RingMasterReview

Managing to scorch the senses while seducing them into matching submission, the new album from San Francisco born Happy Diving is a swamp of thick fuzz and melodic romancing; neither aspect dominant yet both overwhelming and across twelve sweltering songs, instinctively magnetic.

Formed in 2013, Happy Diving has gone through various member and location changes while breeding a rich reputation for their fiery and sonically blistering live presence. It is a quality and strength of sound now found within Electric Soul Unity, a raw and intrusive proposition which just as potently entices with emotion and evocatively smouldering melodies. The likes of Dinosaur Jr., Drive Like Jehu, and Swervedriver are offered by the press release as an indication to what lies within the album; suggestions easy to endorse though similarly someone like My Bloody Valentine infested by Birdland or Hot Snakes suits too.

It opens up with Bigger World and an incendiary wail of guitar and sonic forcefulness as inviting as it is abrasive. Throbbing bass and repetitious riffs soon join the initial squall of sound; shaping and driving the song in its expanding adventure before the warmer tone of vocals become engaged in the persuasion too. It is a wholly magnetic affair as increasingly infectious as it is bracing and without a moment to contemplate matched by Don’t Be Afraid of Love. Raw sonic trespass and melodic enterprise collude as the track engulfs ears, its rhythmic coaxing equally as catchy and rousing as the band shares all elements with individual clarity while combining every texture masterfully.

art_RingMasterReviewDrifting away, the song makes way for lead song Holy Ground, a raw and emotionally inflamed proposal searing the senses as vocals and hooks tempt the imagination and an already keen appetite for the intrusive Happy Diving sound. With anthemic rhythms whipping up further enjoyment, the song steps aside for the album’s punk fuelled title track and in turn the melodic charm of Head Spell. Both tracks hit the spot, the first with its Nirvana-esque seeded essences and its successor through gentle melodies and warm vocals in a calm reflection though its climate is volatile and erupts to fine effect throughout.

Through the fervid sonic enticing of the Pixies toned Fantasy and the sweltering smog of Shed Light, band and release simply increase their hold on a now greedy appetite, each springing a net of melodic contagion as powerful as the sonic wash around them. Their thrilling invasion is emulated again by the poppier and highly stimulating assault of Lost My Way and indeed the swinging causticity of The Call, It Thunders. There are times across the album where a similarity between songs is apparent, the second of the two an example yet throughout it whips out a hook or twist which gives individual character to its presence.

More open diversity emerges in the latter stages of Electric Soul Unity; the calm reflective beauty of Pain Country and its suggestive melodies an irresistible seduction holding court even when the song ignites while Unknown Feeling is a beguiling vocal and melody shaped serenade to drift away with.

Final track River Will Flow ensures the album leaves on a tempest of sonic agitation and temptation, but of course with its own weave of rich melodic and harmonic enticing. All three songs provide a fine end to an album which grows and impresses more with every outing. They say noise annoys, not in this case.

Electric Soul Unity is released August 26th via Topshelf Records @ http://www.topshelfrecords.com/products/573831-happy-diving-electric-soul-unity and available now @ https://happydiving.bandcamp.com/

https://www.facebook.com/happydivingca/   https://twitter.com/happydiving

Pete RingMaster 25/08/2016

Copyright RingMaster: MyFreeCopyright

HANKKS – Love Shy

Hankks pic 1_RingMasterReview

Offering another flavoursome romp to the summer’s soundtrack, British alternative indie rockers HANKKS release new single Love Shy. With the raw clang of a melodic Birdland and a flame of infectious pop n’ roll lying somewhere between Asylums and The Libertines, the track quickly establishes its own character of sound and temptation to alone reveal why the buzz brewing up around the Birmingham quartet.

Formed in the April of 2015, with a name apparently chosen through an admiration of actor Tom Hanks, the band quickly earned a potent reputation for their live presence around their home city. Consisting of Ben James, Jacob Evitts, and brothers James and Harry Davison, the foursome released their well-received debut EP, Wilson, this past March. Backing it up with another surge of live shows, acclaim and radio support courted both shows and release, with stronger recognition of the band’s magnetic sound openly rising; success sure to blossom again with the release of Love Shy.

Taken from their first EP, the single has ears tingling with an initial flame of guitar jangle quickly courted by jabbing beats. As its body swiftly expands, harmonic calls surround the excellent dual vocal attack, their tempting matched in persuasion and adventure by the web of melodic enterprise escaping the guitars and the moodier bassline prowling the contagious stomp.

There is an eighties meets nineties indie pop scenting to the track but equally a fiery and excellently unpolished anarchic edge boiled in modern invention. Together, with the open craft and imagination of the band, it makes for a rebellious feel good slice of pop ‘n’ roll which simply rouses ears and spirit alike.

Love Shy is accompanied by an excellent video @ https://www.youtube.com/watch?v=h21X4kfwfhA

https://www.facebook.com/HANKKSM8/   https://twitter.com/hankksm8

Pete Ringmaster 08/07/2016

Copyright RingMaster: MyFreeCopyright

Luna Rosa – This One (High On The Groove)

Luna Rosa pic_RingMasterReview

When a song and band has you fervently singing along midway into the first listen it is a safe bet you are on to something special and so it is with Luna Rosa and their new single This One (High On The Groove). Taken from their self-titled six-track debut EP, an encounter now unerringly in our sights, their latest single makes an almost laid backed entrance but before you know it has burst into a virulent infection and seduced body and imagination.

Hailing from Corby in the UK, the quartet of vocalist/guitarist Rory McDade, guitarist Darren Myles, bassist Kieran Maguire, and drummer Cole O’Neill quickly hit their stride live and in sound, drawing suggestions of bands like Primal Scream, Kasabian, and Arctic Monkeys their way. As shown by This One (High On The Groove) though, Luna Rosa has nurtured a character and spicing to their sound which already escapes the crowd with the potential of bigger and bolder things within.

The single strikes ears with a feisty flame of guitar initially, it the spark to a lure of garage rock riffs and exotic electronics which in turn is kindling to a sultry stroll with psych and nineties alternative rock colouring. It is easy to hear why those above references are used, but for these ears the song ventures into something akin to Stone Roses meets Birdland with a touch of House of Love to its melodic jangle too.

As mentioned, the first moments or so saw the song first time around simply settling in our ears, though it certainly raised a healthy appetite for its lively presence and imagination. It was at the point where the song relaxes further and McDade finds a spicy twang to his voice that we realised we were inescapably hooked. That spark opened up attention to the hungry prowl of the bass and the swinging beats of O’Neill, they aligning with the jangle and fuzz of guitars which had already found success with their bait.

Continuing to incite hips to swing and the imagination to dance with its evolving decade crossing escapade, This One (High On The Groove) is a song which has the listener like a puppet on the end of its creative string. Some bands just inspire a belief they are made for greatness and if they can back up this gem, Luna Rosa is one refreshing example.

This One (High On The Groove) is released 3rd June.

Up Coming Live Shows:

14th May – Notting Hill Arts Club, London

20th May – Charles Bradlaugh, Northampton

21st May – Scary Canary, Stourbridge

27th May – Lamplighter, Northampton

28th May – Café Indiependent, Scunthorpe

https://www.facebook.com/Lunarosapinkmoon   https://twitter.com/lunarosax   https://www.instagram.com/lunarosapinkmoon/

Pete RingMaster 10/04/2016

Copyright RingMaster: MyFreeCopyright

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

deardarkhead – Strange Weather

DDH_RingMasterReview

Rousingly fascinating is probably the best way to describe Strange Weather, the new EP from New Jersey trio deardarkhead, that and gloriously suggestive. Across six tracks as cinematic as they are emotionally intimate upon the imagination, band and release immerses the listener in its and their own sculpted exploits. The release is an anthem to the conjuring of bold imaginative adventures and a tapestry of creative virulence for ears to bask in.

The beginnings of deardarkhead go way back to 1988 since when the band has released five recordings on their own Fertile Crescent Records label with a retrospective of their early work additionally released in 2012 by Captured Tracks. Their distinctive fusion of post punk, indie rock, shoe gaze, and dream pop has been greedily devoured by an increasing many whilst their live presence has seen the band play with the likes of Supergrass, The Psychedelic Furs, Everclear and The Lilys amongst numerous other. Despite numerous compilation appearances, and that 2011 retrospective  Oceanside: 1991-1993 since last album Unlock the Valves of Feeling was released in 1998, you might say that deardarkhead have been a ‘forgotten’ treat by many; if so that is set to inescapably change with the release of Strange Weather.

Always luring inquiring interest with each release, the band has probably ignited the strongest intrigue with the new EP as it is their first without long time singer/bassist Michael Amper who left the band in 2009. His departure only seemed to ignite a hunger to explore their instrumental side as remaining members, guitarist Kevin Harrington and drummer Robert Weiss proceeded to move in that direction and perform instrumental shows after linking up with bassist Kevin McCauley the following year. The suggestion is that the band is looking for the right vocalist to bring in but on the evidence of Strange Weather, and its empowering potency, you wonder if it will be any loss not finding the right man.

art_RingMasterReviewFrom its first track Strange Weather has ears and emotions enthralled, the imagination just as swiftly ignited as Falling Upward emerges from chilling winds within a dank atmosphere. It is pulled from the wasteland by a nagging guitar, its sonic lure soon colluding with the resonating bait of the bass and crispy textured beats. With them comes a tenacious catchy resourcefulness which infectiously lines the post punk hook and bass groove which subsequently entwine and enslave ears. All the tracks to the EP spark ideas and mental imagery, ones sure to differ person to person, but a cold war like landscape is ours adventure for the opener no doubt helped by having recently watched Deutschland 83. There feels a cinematic kinship between the band’s sound and those visuals with every leap into the sonic tapestry of the song pushing the story along.

With a touch of Leitmotiv to it, the track is a riveting start, leaving ears and pleasure lively and ready to embrace the warmer jangle of Sunshine Through The Rain which follows. There is a calmer air altogether to the song, a melodic radiance which wears the scent of eighties indie pop yet contrasts it with a steely proposal from bass and hypnotic beats. Again captivation is a given to its My Bloody Valentine aired persuasion though it is soon outshone by the thrills and dramas of both Juxta Mare and March Hares. The first of the pair unveils a sultry atmosphere around a delicious melodic hook and bassline which would not feel out of play of a sixties/seventies TV spy thriller. Its lean but thick lure is the spring for an evocative weave of sonic enterprise and suggestive melodies, all courted by the dark shadows of bass and the persistently jabbing swings of Weiss.

As outstanding as it is, it too gets eclipsed by its successor, March Hares stealing the whole show. From the pulsating rhythms of Weiss to the snarling tone of McCauley’s bass, the track has ears and an already lustful appetite enslaved. Their irresistible bait is then entangled in bewitching tendrils of sonic imagination from Harrington; the song subsequently swinging along in the web of their united craft and invention to entice body and spirit further. In full stride, the track has a great feel of The Monochrome Set to it, indeed Harrington’s stringed adventure carries a touch of the English band’s guitarist Lester Square to it as a House of Love shimmer and Birdland like rowdiness add to the slavery.

Ice Age immerses the listener into chillier post punk climes next; its nippy atmosphere and almost bleak ambience tempered by the sonic elegance seeping from the guitar within the anthemic tenacity of the drums. Again it is fair to say that the song lures physical and emotional involvement with ease before Thinking Back explores a maze of reflective melodies and evocative grooves within another addictive rhythmic frame. There is an essence of Echo & The Bunnymen and Bauhaus to the track as post punk and gothic lit shadows and depths spread through sound and thoughts.

The track is an imposingly mesmeric end to a spellbinding release. Strange Weather will have you breathless, excited, reflective, and going on a myriad of imagination bred adventures with its suggestive incitement. We are no experts on deardarkhead and their releases to date but the EP has to be up there as possibly their greatest moment yet.

The Strange Weather EP is released March 25th via Saint Marie Records on Ltd Edition vinyl (100 Black / 150 White with Red Blue and Black splatter) and as a download @ http://saintmarierecords.limitedrun.com/products/567260-deardarkhead-strange-weather and http://saintmarierecords.bandcamp.com/album/strange-weather

http://www.deardarkhead.com/   https://www.facebook.com/darkheads   http://twitter.com/deardarkhead

Pete RingMaster 23/03/2016

Copyright RingMaster: MyFreeCopyright

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

Tibican – Love’s Lost Art EP

cover_RingMaster Review

There is a fire burning at the heart of the Tibican sound, a raw energy and creative intensity which whilst apparent in previous releases has been turned up within the band’s latest EP Love’s Lost Art. Though the new release is our introduction to the London based quartet, hindsighted investigation shows that Tibican has been casting a captivating proposal from their fusion of alternative rock and shoegaze with Brit pop properties for a while but as suggested it has found a new fiery plateau within their latest proposition.

Consisting of guitarist/vocalist Domenico Scialo, guitarist Peter Saunby, bassist Cathal Wharton, and drummer/vocalist Marc Saunders, Tibican has certainly sparked attention and support with a clutch of EPs, including in 2014, Things Come Apart and It Runs Deep. Their sounds have been played across radio stations in the UK, US, and Europe, a success easy to expect continuing as Love’s Lost Art tempts more and more ears.

The new EP opens with Things We Know and a rhythmic invitation hard to refuse. That firm bait is soon joined by lingering throbs of bass before twin vocals and wandering melodies offer their potent persuasions to the enticement too. Immediately inspirations of bands like My Bloody Valentine and House Of Love make a suggestion in thoughts though they are soon evolving as fierce flames of guitar erupt as the track continues to grow and blossom into a heated slice of reserved but dramatic rock ‘n’ roll. Equally bluesy in tone as Scialo and Saunby show their guitar craft, the track makes for a rich and engaging start.

Slightly mellower in intensity, the following Torch Song similarly engages ears in mere moments as floating harmonies and sonic suggestiveness sparks the imagination as potently as the emerging caustic jangle of guitar sears the air. Like warm yet volatile sonic sunshine unafraid to embrace harsher shadows, the song becomes an increasing seduction which just grows in stature and persuasion with every listen.

Difference Clouds steps up next, quickly revealing a Brit pop/indie rock swagger which hints at the likes of Inspiral Carpets and Birdland as it twists and turns with again fiery temperament and creative volatility within another vocal seducing. As the track proves on its own, Tibican have a sound which inventively merges varied flavours to create maybe something not yet wholly unique but certainly personal to their own imagination.

Closing with the smouldering beauty of Am I Wasting Your Time, arguably the least original song on the EP but without doubt a seriously compelling proposal easy to devour and often, Love’s Lost Art is a lingering temptation which easily lures attention back time and time again. In some ways Tibican are still working towards their own sound and such the enjoyment found in Love’s Lost Art that only suggests good things lay in wait for them and us.

The Love’s Lost Art EP is available now @ https://tibican.bandcamp.com/album/loves-lost-art-ep

https://www.facebook.com/tibican/   https://twitter.com/Tibican_UK

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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

Harlots – Chinese Carpet Factory

harlots_RingMaster Review

Creating infectious alternative rock ‘n’ roll with a healthy power pop tenacity and rigour to it, UK quartet Harlots release their debut album to end the year with a potent nudge on national recognition. Eleven tracks of virulent pop rock, Chinese Carpet Factory is a boisterous romp littered with flowing melodies, persuasive harmonies, and hooks with an instinctive vice like grip. Add bold rhythms alongside rousing choruses and Harlots have provided one rather enjoyable proposition.

The London based foursome recorded Chinese Carpet Factory with producer Rory Attwell (Palma Violets/Vaccines) on a boat on the bands of the Thames, and straight away it laps ears with feisty persuasion through opener Wicked Tongue. Building from a scene setting sample, the song is soon sauntering along with lively rhythms and just as eager vocals as guitars crash and scythe with spicy enterprise. The bass too is a pulsating slice of bait, it all uniting with accomplished and catchy effect. The song pretty much sets the tone of the album; the individual characters of songs all bred from this kind of rousing combination or certainly carrying a rich vein of it through their varied bodies.

Gotta Get By is quick evidence, the second track swinging in with its own hue of infectious zeal and inventive vibrancy. Part shoegaze, part power pop, and all flavoursome temptation, it bounces along whipping up eager involvement in feet and hips, and even though the song is a slither at less than two minutes in length, it shows that Harlots can be as effective on the dance-floor as in more intimate unions with listeners.

If The Ramones were The Beach Boys, House of Love became Birdland; they just might sound like Harlots on the seductive Seen A Girl whilst the outstanding Every Little Thing merges that with a further touch of indie/Brit pop imagination. The track is an addiction in the making, from vocals to melodies, rhythms to riveting hooks, revelry of pop ‘n’ roll to get greedy over.

Through Work Work Work and Up Away, the album reveals even more variety, the first a web of virulence seeded in sixties Beatles whilst its successor is an alluring croon of acoustic guitar and reflective voice with a chorus as enslaving as any within the bolder, bigger boned offerings within Chinese Carpet Factory. Both songs leave ears smiling and pleasure high before Rush jumps in, off the back of the album’s twenty two second title track, to cast a My Bloody Valentine/Verve like incitement which just seems to get more persuasive with every listen.

There are some tracks within Chinese Carpet Factory which really leap out, Every Little Thing and Gotta Get By a couple and next up You Got Me soon there by their side. Laying a jangle of guitar as its first touch, rolling out anthemic rhythms almost as swiftly, the track bounds around and bounces off ears with voracious revelry, its sixties/eighties pop breath entwined with modern indie ingenuity quite irresistible.

The album finishes with firstly the rawer aired and just as gripping drama of The Colour & The Noise, shoegaze, pop, and noise rock blurring their boundaries in another big highlight, and finally Days Are Done. The Beatle-esque balladry of the final song ensures the album comes to an engaging end, its embrace not as pungent as elsewhere within Chinese Carpet Factory but still a potent end to a fine release.

Chinese Carpet Factory is a great introduction to Harlots, a release easy to spend plenty of time with for perpetual enjoyment. This is a band still growing and evolving their sound you sense too, so real potential of big times ahead we suggest.

Chinese Carpet Factory is out on NOV 28th.

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

Pete RingMaster 27/11/2015

Copyright RingMaster: MyFreeCopyright

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

My Cruel Goro – Self Titled EP

My Cruel Goro_RingMaster Review

Since its emergence a couple of weeks or so back, the debut EP from My Cruel Goro and its sound, has lured comparisons to bands as varied as The Clash, The Stranglers, and The Jam to the likes of Ash, Arctic Monkeys, The Fratellis, The Hives, the Libertines, Dinosaur Jr., and Weezer. For us the self-titled release brings a weave of Asylums meets Birdland meets New Bomb Turks to the table. That diversity across all references though is because primarily it is hard to pin down the My Cruel Goro sound; it seems bred from varied decades and through a vat of inspirations but with no particularly defined evidence to support any claim, everything just teasing whispers in something quite original.

cover_RingMaster Review     Hailing from Italy, My Cruel Goro is a currently Reykjavík in Iceland based trio which formed in 2014. Vocalist/guitarist Andrea Maraschi and bassist Andrea Marcellini had already been making music together for the previous nine or so years, meeting through a mutual friend, before My Cruel Goro rose from the ashes of their previous project, its demise according to Marcellini because “We couldn’t find reliable musicians to form a proper group with a stable line-up.” Then they met and linked up with drummer Tommaso Adanti, from whence My Cruel Goro stepped forward with now their new EP an introduction to broader awaiting appetites for their raw and virulent rock ‘n’ roll.

It opens with Clash and an instant blaze of enticing riffs and probing beats. A single breath of a ‘pause’ brings the throbbing tones of the bass in before the band strolls and swaggers with indie revelry, thick guitar incitement, and mischievous electronic enterprise. The song is a tapestry of fuzzy hues and blustery flavours colluding in a punk ‘n’ roll roar which is as creatively unpredictable and agitated as it is contagiously rousing.

Next up is Crapford, a song quickly endearing itself to ears and appetite with a wonderful opening melodic hook which is as Buzzcocks like as you can get without a touch of stealing. With tangy bass bait and crisp beats alongside, it is a gripping start which only gets stronger as warmer flowing vocals and pop punk hues add to the texture and richness of the song. As its predecessor, if without the final raucous spark, the track is an addictive anthem to get fully involved in before Glue Buzz takes over with its new wave meets garage rock devilry. A perpetual bounce with seventies punk attitude and tone, as well as a horde of spiky hooks, infectious swings, and a noise rock centre which simply transfixes as it meanders and evolves towards its scuzzy atmospheric climax, the song is a glorious end to a striking and thoroughly enjoyable stomp.

It is of course early days but if their first EP is the sign of things to come, My Cruel Goro could be making a hefty impact on rock ‘n’ roll ahead.

The My Cruel Goro EP is out now via Rebel Waltz Records as a free download at the My Cruel Goro Bandcamp.

https://www.facebook.com/mycruelgoro

Pete RingMaster 05/10/2105

Copyright RingMaster: MyFreeCopyright

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