Boomin – Now That’s What I Call…Boomin

Tagged as “Simply the greatest live party band on the planet!” UK pop rockers Boomin prove why they can be considered so with new album Now That’s What I Call…Boomin. The band’s renowned fun and mischief surges through its title alone but equally it is a name which sums up the release as a whole.  Containing sixteen tracks pulling from 35 artists, it is the ultimate collection of covers squeezed and moulded into medleys, mash ups and simply straight renditions all recreated and twisted in the unique Boomin way. With many songs we instinctively did not like in their original form there was no real expectation of being enthused about the release but in the hands of the little tinkers we simply felt nothing less than rich enjoyment at their and the album’s antics.

Consisting of guitarist/ vocalist Adam Langmead, bassist/vocalist Rory O’Grady, and drummer/vocalist Edd Langmead, Wigan hailing Boomin emerged in 2006. Since then the band has won numerous band competitions, shared stages with the likes of The Script, Scouting For Girls, McFly, Ultrabeat, Basshunter, and Ndubs among many more, and seen their debut album, Original Junkie reach reached No 22 in the iTunes Rock Chart and No.121 in the Album Charts. It was a potent introduction to the band’s pop infused rock and the instinctive fun which now floods Now That’s What I Call…Boomin.

Opener Thuglife sees a medley of tracks from Beyoncé, Christine Aguilera, Dr Dre, and Coolio in the grasp of Boomin, the track setting the tone, character, and revelry of things to come. Each portion flows into the next, the trio rather than re-inventing songs fingering them with their own devilry to stamp their own imprint on them.

Because of that inherent dislike of certain songs, some tracks certainly got under the skin more than others but all left a smile on the face especially tracks like Smells Like Billie Jean, a glorious mash up of the Nirvana and Michael Jackson classics. There is a vein of unpredictability to the song even with their extremely well-known sources which teases, as good as grins at the listener as song and band romps.

Other moments joining it on the front line of captivation include an impertinent take on Pulp’s Common PPL, a rousing stomp with Sum 42’s Fat Lip, and a bluesy hard rock lilted roar with Come Together from The Beatles. Alongside, the shameless fusion of Björk’s It’s Oh So Quiet and Sinatra’s New York, New York is pure incitement for vocal chords and energetic revelry from band and listener alike, but as suggested the whole album gives plenty for body, imagination, and energy to dive into, the irrepressible King Of The Swingers testament to that.

We will leave you to discover the rest of the album and your particular favourite moments to run riot with and you will more than once whether drunk or sober.

So Boomin the ultimate party band? Well Now That’s What I Call…Boomin offers little to deter such a statement, in fact nothing at all.

Now That’s What I Call…Boomin is available now @ https://boominmerch.bigcartel.com/

https://www.boominband.co.uk/   https://www.facebook.com/boominband/

Pete RingMaster 27/07/2018

Copyright RingMaster: MyFreeCopyright

The Kut – Valley of Thorns

The Kut by Canz Rickman

There is no doubt that the recent release of new single Mind Games stirred up a fresh hunger in an already in place appetite for the eagerly anticipated debut album from The Kut, in us and a great many others. Truth is we had already been hooked on the band’s contagious punk grumble ’n’ roll through their previous EPs but the new track’s fresh adventure and imagination brought fresh intrigue and pleasure to devour. It ensured that Valley of Thorns was leapt upon with rude eagerness and the fuse to further pleasure lit.

The album brings live favourites, some of which already known from those previous encounters, and brand new creative provocations; a union providing one rousing and increasingly impressive, dare we say essential slab of rock ‘n’ roll. Within its striking body it roars and seduces, attacks and coaxes, all the time infesting and manipulating ears, body, and imagination in a way which reminds of punk rock in its seventies prime but is all modern fire and attitude.

The Kut is the alter-ego of multi-instrumentalist Princess Maha and live a sonically ferocious trio completed by the moodily infectious basslines of Stella Vie and the swinging beats of Diana Bartmann. With their reputation growing by the year since emerging in 2010, The Kut has exploded upon venues across the UK and Europe and earned rich praise playing festivals such as Download, Camden Rocks, Nice N Sleazy, Rebellion, Hard Rock Hell, Glastonbudget, and Strummercamp. Support and acclaim has been rife across the media, radio and written press alike, and last year saw the band become a finalist in the Rock category of the UK Songwriting Contest 2017 as well as being a current Semi-Finalist of the International Songwriting Competition. It has been a busy and successful time which the release of Valley of Thorns can not only escalate but nurture The Kut as a household name.

Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.

The album’s stirring start continues with the rebellious rock ‘n’ roll of Hollywood Rock N Roll, a virulent slice of anthemic temptation which had us bouncing and roaring in no time with its Babes In Toyland/ Spinnerette-esque stomp. The latter of the two is a band which often frequents thoughts across the album, its snarls and instinctive catchiness reminding of the band even in a sound which is pretty much distinct to The Kut.

The following No Trace swings in like a predatory temptress, grooves writhing around ears with an almost salacious touch as dark hues of bass growl and beats firmly strike. It is a scuzzy affair, the songs body a muggy grunge trespass contrasted by Princess Maha’s harmonic vocal caresses which offer their one lining of danger. It too has a haunted sigh to its croon which just enslaved attention before I Want You Maniac grips ears with initially a gorgeous low slung hook and subsequently its infection loaded swing. A tinge of L7 lines its tenacious enterprise, a whiff of Hole its encroaching shadows; the song a volatile sonically visceral encroachment just impossible to have too much of.

The blossoming diversity within The Kut’s sound is superbly shown in next up Love In The Rush Hour, the song a collusion of harmonic kisses and predacious intent. It strolls with the inherent swing which effortlessly springs from the band’s invention but aligned to a caustic glaze of guitar amid fuzz twisted riffs; an entangling of contrasts which is as compelling as Princess Maha’s vocal temptation who at times can be described as being like the UK Brody Dalle.

I Am Vain is dirty rock ‘n’ roll with attitude flowing from every pore but as naturally infectious as anything within the album; its punchy nature spawning its own unique hooks and skilled enterprise while the mellower climate of Alekhine’s Gun breeds a prowling volatility which erupts in sonic flames and vocal abrasions; its irritations and discontent erupting and spewing rancor before simmering down back into the song’s relative calm. Though neither track quite match the heights of those before them each leaves ears and appetite greedy for more whilst revealing new shades in The Kut’s adventure.

A calmer air is brought by X-Ray Eyes too though unsurprisingly it has an inbred growl which fuels bold rhythms and its suggestive character plus an increasingly addictive catchiness which has song and the body bouncing as the first contemplates and the second submits to its moody enslavement. Its success though is soon eclipsed by that of Bad Man. A multi-flavoured rock ‘n’ roll virulence, the track is like a boiling cauldron spiced by the punk juices of Bikini Kill, the dark rock ‘n’ roll of  Jess and the Ancients Ones, and the infectious agility of Sleater-Kinney; it all brewing up into another individual Kut intoxication.

The album is completed by Mario, a raw pop ‘n’ rock encounter as beguiling as it is aggressive. Throughout the album another band which at times comes to mind is seventies outfit The Photos through the pop hues open within The Kut’s sound. Here alone there are coincidental echoes in its infectious traits which only add to the fun.

Being already hooked by their earlier releases, we were always likely to head into Valley of Thorns with a favourable disposition but swiftly it outshone anticipation heights, the new songs alone suggesting The Kut is ready to grab attention from the biggest names in attitude soaked rock ‘n roll.

Valley of Thorns is released via Cargo Records / Criminal Records on 13th April in the UK and Europe and May 18th in the US.

Forthcoming Tour Dates

TBA April Album Launch Party, London

26.05 Strummercamp Festival, Oldham

27.05 Nice n Sleazy Festival, Morcambe

02.06 Camden Rocks Festival, London – 2pm The Monarch

30.06 Rat InFESTation 2, Facebar, Reading

06.07 Amplified Festival, Gloucestershire

07.07 The Cotswold Inn, Cheltenham

14.07 Wemstock Festival, Wem

22.07 Tramlines Fringe, The Royal Standard, Sheffield

2/3/4/5 August: Rebellion Festival, Blackpool

http://thekut.co.uk    http://facebook.com/thekut   http://twitter.com/thekutgirlsrock   http://instagram.com/thekutofficial

Pete RingMaster 04/04/2018

Paradigm – Realize EP

Paradigm Promo Shot _RingMasterReview

Offering four tracks which either hit the ground running with ears and imagination or simply blossom into just as potent propositions over subsequent listens, it is fair to say that the Realize EP is one attention commanding debut. The first EP from London trio Paradigm, it is a striking introduction to a UK rock band already stirring up strong words of acclaim.

With its initial seeds sown when vocalist/guitarist Alex Blake met drummer Angel D at school where they exchanged a Nirvana album and instantly became best friends, Paradigm truly stepped forward with a line-up completed by bassist/pianist Giulio Granchelli. Honing their sound whilst earning swift and potent reputation for their live presence, the band eventually hit the studio where producers John Cornfield (Muse, Oasis, Robert Plant, New Model Army, Supergrass) and Paul Corkett (The Cure, Bjork, Placebo, Nick Cave), after recording the EP with the band, announced that “This is one of the most fresh and exciting modern rock bands we‘ve produced!”

Realize opens with the instantly impressing Desire, a track which has the listener’s physical and emotional involvement on broad with little time or effort. Riffs and rhythms create a united coaxing further enhanced by spicy grooves and the quickly compelling and throaty bassline cast by Granchelli. As melodies add sultry temptation, the dark tones of Blake steal their big portion of attention, his presence already being described as Nick Cave-esque, and understandably so listening to the opener.  It is an enthralling persuasion catching further alight with its rousing chorus and volatile emotive energy. Every twist brings a new spice to enjoy, keys pulsating with an enterprise as resourceful and magnetic as the drama fuelled hooks and collusion of vocals cast across the band.

Paradigm Cover Artwork _RingMasterReviewThe stunning start is closely matched by Your Darker Side. It is a less intensive affair but just as rich in melodic tempting and creative imagination. Many bands have been offered up as an attempt to describe Paradigm’s individual sound; Muse, 30 Seconds to Mars, U2 among them but we suspect everyone will find out their own unique comparisons, as here the song reminds these ears of The Fatima Mansions and Teardrop Explodes as much as anyone else, a Julian Cope air also seemingly lacing Blake’s again impressing tones and delivery. The thrilling and highly infectious song itself proceeds to build crescendos of energy and intensity, each erupting seamlessly into anthemic roars and gentler hugs of expressive sound.

To reveal another shade to their songwriting and sound, the sombre yet fiery Strangers has a Walker Brothers air to it at times, going on to unveil a grungier presence leading up to and for its tempestuous chorus. Pete Wylie also comes to mind across the song, but as suggested each will hear their own references such the thickness and depth of the Paradigm sound and invention. Fusing various strains of rock, past and present, the song fascinates as much as its catchy qualities seduce, and though it does not leap on the passion as swiftly as its predecessors, Strangers has them just as greedily hooked in time

The same with closing track The Miracle. Its theatre of sound and emotion sees the poetic hues of a piano aligning with almost orchestral like drama, an imaginative blend needing longer to explore and get into but emerging as another easy to embrace proposal if admittedly not quite to the same strength as the previous three on personal tastes. Nevertheless the band only impresses individually and as a single thick flirtation of the senses.

Paradigm have announced their presence in big, bold, and at times breath-taking style with Realize so expect to hear much more from and of this potential bulging band.

The Realize EP is released April 8th through Sumind Records across all stores.

http://www.paradigmofficial.com/    https://www.facebook.com/Paradigmcomprock    https://twitter.com/paradigmrealize

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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

Kiwi – State of Alert EP

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As fascinating as it is tantalising, the debut EP from Kiwi is a mesmeric adventure which flirts with the imagination whilst seducing ears. State Of Alert is an enthralling embrace on the senses, a collection of songs which are as elegant as they are quirkily colourful, and a proposition which swiftly reveals why Kiwi has become a keenly praised prospect.

Kiwi, better known to her parents as Mariachiara Terragin, is an Italian born musician/vocalist who with her riveting haunting tones has drawn comparisons to the likes of Björk, Kate Bush, Saint Saviour, and Annie Lennox. Already making potent impressions with her live shows, it was the collaboration with multi-instrumentalist producer Maxime Raguideau-Obadia which has been the spark to a new wash of attention and the creation of State of Alert. With guitarist Sean Worral and drummer Andrea Rapisarda alongside Kiwi and Raguideau-Obadia, the band has unveiled a startling debut which marks a new refreshing presence in alternative pop.

The transfixing affair is opened by Dolls House, piano keys coaxing ears initially before the instantly potent voice of Kiwi adds its seduction, enhanced by glorious harmonies soon after. With a darker bass tone emerging from keys too, there is an engrossing shadow to the radiance of the song, one given richer hue by the strong whisper of melancholic strings. It is a powerfully evocative proposition, vocals filling its air with an array of melodic colour whilst electronic twists from keys flirt just as warmly.

It is an excellent start which is followed by the sultry Fearless with its climate of melodic flames over a gentle yet action packed vocal weave. The electronic beats and percussive elements apart, their punchiness an imposing distraction, the song proceeds to dance tenderly and vivaciously over ears, expelling washes of energy for its chorus which in turn incites a fiery vocal croon from Kiwi. Though the song does not match its predecessor it still provides a captivating glide of synth pop to increase appetite for the release which the title track feeds to greater potency. The third song is a smouldering haunting and seducing, a climactic twang of guitar veining another sublime and picturesque narrative of vocals and melodies.

Make Me Happy is a jazzy temptress of an encounter, vocal flirtation aligned to a bordering on sinister hug of sound with strings and melodies wrapped in tension and drama throughout whilst a noir seeded shadow lies temptingly over the whole swirl of intrigue and radiant beauty. It is a delicious tapestry of emotion and imagination, a further example as to why Kiwi has brewed up a very healthy buzz around her.

The EP closes with Crystal Clear, a song which vocally kisses like a mix of Bjork and fellow Italian songstress Francesca Corradini formerly of The Cellophane Flowers. It is a masterfully magnetic end to a thrilling introduction to an artist with the potential to set the pop world alight. State of Alert is a breath-taking adventure of sound and invention, and vocally one of the most striking and exciting encounters to come our way this year.

The State of Alert EP is available September 2014.

http://www.kiwiofficial.com

8.5/10

RingMaster 15/09/2014

Copyright RingMaster: MyFreeCopyright

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Horse Party – Cover Your Eyes

Horse Party by Kate Wood

Horse Party by Kate Wood

Their previous singles teased and seduced but now UK indie band Horse Party go straight for the heart with their debut album Cover Your Eyes. Its eight varied and shapely tracks provide a raw and flavoursome adventure which simply captures the imagination with no respite whilst simultaneously asserting the Bury St Edmunds trio as one of the brightest emergences in recent times.

The birth of the band goes back to a drunken night in a church where drummer/vocalist Shannon Hope and guitarist/vocalist Seymour Quigley badgered guitarist/ vocalist Ellie Langley through ‘abusive messages’ to join up with them. Fuelled by a mutual passion for the likes of Bjork, Fugazi, Cat Power and terrible films, Horse Party came in existence and soon pulled in strong acclaim with debut track Clarion Call, a free release which took the band to the attention of BBC Suffolk Introducing whilst sparking numerous support slot offers including one with Dingus Khan. A second single and a live EP called Scarlet & Blue followed to increase the weight of their emergence whilst last year saw the trio playing over fifty shows which including sharing stages with bands such as Tunng, Pinkunoizu, Shonen Knife, Heartless Bastards, Ghostpoet, The Nightingales, and Vuvuvultures, perform a live broadcast via BBC Introducing from the new John Peel Centre for Creative Arts, and release their third single through new label Integrity. It was certainly a fruitful and busy year for the band, one set to continue in this with already the album release and a tour currently being undertaken proving a striking success.

The album opens with Back To Mono, a track which instantly jabs at the ears with fuzz lined guitar strokes with a more than  Horse-Party-CD-case-web-versionBeatle-esque tempting to their dramatic coaxing. The jagged tease is soon aligned to an equally compelling melodic exploration and feisty rhythms whilst Ellie’s vocals cast a stirring lure over the lot. It is not an explosive track but one which is unrelenting in its repetitive incitement and insatiable in its want to charge up the imagination. The firm almost imposing beats continue to drive on the track, never relinquishing their potent bait even in the more open and blustery chorus. The song is merciless with its enticements, band vocals a glorious web to lay their narrative and the sonic designs veining the song irresistible colour, but it is that blinkered core of the song which steals the biggest rapture.

Clarion Call makes a less striking entrance but with its minimalistic guitar bait equally draws a keen tempting which flourishes further with the addition of the distinct vocal of Ellie and against lively beats. Before they bring their rich hues there is a feel of Young Marble Giants to the song which then develops into a broader deeper catch of sixties garage rock and chilled indie persuasion. The further it extends its body the stronger and fuller the track evolves, guitars again painting evocative textures which the vocals and chilled harmonies wrap themselves around. Already the album has attention and appetite seduced which Scarlet & Blue reinforces with its smouldering caress and sultry air. Though it is a simmering melody crafted temptation there is fire in the belly of the temptress, incendiary raw clashes of percussion and riff providing imposing crescendos within the graceful and mesmeric immersion of the senses. Live the track is masterful but now having heard in from a studio breeding, it shouts with the emotive beauty and innovative invention of Horse Party.

The following Inbetween with a skittish percussive invitation brings a Fleetwood Mac elegance and flight to its equally vivacious energy. It is a tremendous mix, soaring melodies and mellow vocals tempering but egging on a racy energy and brisk rhythmic provocation. It is another infectious and inciting pleasure easily matched and surpassed by What Do You Need. From a great first impression when released at the tail of last year, the single has grown in weight and potency over time for us and sitting within the album seems in its element as it boldly opens with drama and intensive seducing which outrivals even the first track. A restrained strum is punctuated with deliciously heavily weighted drum thumps, their dynamic pokes spearing the maze of melodic intrigue spiralling across the canvas of the song. Their forceful intent is tempered once the vocals unveil their expression within the weave of the song, though within that restraint they wait to pounce again, which they do with a slow but certain relish as the song stretches and explores its boiling textures and imaginative corners. The busy chorus brings thoughts of Alanis Morissette but only to flavour another original and frisky encounter from the band.

The next up Six returns to a sweltering climate, its thick heat and evocative atmosphere enveloping ears and thoughts with emotive tenderness whilst guitars and bass carve absorbing shadows. Passion flows as animatedly as the sonic sculpting which fires up the jazzy expulsions of the song whilst that sixties feel permeates yet again with a garage rock blaze to the sweltering air lying invitingly over the enthralling creative landscape.

     Let The Man Die catches expectations by surprise not only, as the songs, with its immensely tasty sounds and invention but also by Quigley taking the lead, his tones a potent variation to the album. The song is pure rock pop, the most accessible track for newcomers proving that the strings to their creative bow are as wide as they are diverse. The track is unafraid to add a little post punk beauty especially in its climax either, just to tease and reassure that intrigue is never too far away from the heart of the songwriting.

Closing with the acoustic To Know You Less, a very decent gentle caress to end the show, Cover Your Eyes is pure aural majesty. Singles alone have suggested that Horse Party is a very special proposition but together with their new companions they declare the band as one of the UK’s most exciting and original prospects. Remember it is still early days for the band too so horizons look very rosy for them and us.

Cover Your Eyes is available digitally now via Integrity Records with a gatefold CD version with 16-page booklet released on Monday 12th May 2014.

http://www.horsepartyparty.co.uk

9/10

RingMaster 23/04/2014

Copyright RingMaster: MyFreeCopyright

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The Mouth Of Ghosts – You Will Go Again From Me EP

TMOG

    After the stunning and impressive entrance of UK band The Mouth Of Ghosts through their 2012 debut EP When The Sun Sets it cannot be denied that many like us found a tingle forming at news of the band unveiling their follow-up release. The London quintet is one of those encounters where once bitten their seduction is irresistible, their atmospheric blend of shoegaze, trip-hop, and alternative rock veined by emotive textures and evocative hues, enveloping and infectious. The You Will Go Again From Me EP confirms The Mouth Of Ghosts as one of Britain’s most exciting emerging bands and though the new release does not have a When The Sun Sets on it, the first EP’s title track and one of the most glorious songs of past years, it pushes and expands the striking and imaginative presence of the band to greater heights.

    The Mouth of Ghosts was formed in 2011 by guitarist Simon Langford and bassist Marco Italia, the name taken from a Dillinger Escape Plan song. The pair soon found and recruited vocalist Alla Seydalieva as their distinctive sound began to emerge and evolve. Completed over time by drummer Phil Page and Valerie Deniz on synth and additional vocals, the band ignited a definite hunger for their sound through the When The Sun Sets EP. The release of its title track as a single in October of 2012 also brought eager attention, finding support from the likes of Tom Robinson and numerous radio shows, and the song selected as one of the top songs of that year on BBC Introducing. You Will Go Again From Me is sure to emulate its predecessor with its mesmeric and invigorating contents and also steer the band into an even more intensive spotlight, one deserving of such an inventively expressive and intrusively immersive encounter.

     The gentle opening caress of Winter Song instantly brings a chill to the spine, both from the emotive vocal and guitar beauty 1510406_751512044861607_502384343_nwhich strokes the ear and from emotions being taken back to the first seductive climate the band offered two years ago. They have a touch in sound and the sirenesque tones of Seydalieva which instantly sparks emotions; exploring and taking them on resourceful magnetic journeys as evidence by the first song upon You Will Go Again From Me. The track slowly works its way under the skin, keys joining the initial premise to open up its skies whilst beats and pulses court the brewing temptation of guitar and electronic enticement. Reaching its full height with Seydalieva showing the range and depth of her delivery, the track burns heatedly before ebbing and flowing with a more smouldering intent and embrace. The song reveals along its emotional landscape a greater maturity and adventure to the songwriting and sound, whilst across the whole release a stronger diversity than arguably offered by the band’s debut shows its suasion.

    From the enthralling start the release strolls up another level with the outstanding Wrong, a magical flight through a celestial melodic soundscape with noir kissed edges and sinister shadows. There is also a scalding and rapacious edge to the guitars as the track reaches the height of numerous crescendos, the stimulus enflaming thoughts and pleasures as richly and dramatically as the otherwise angelic gait of the stunning endeavour. It is a masterful slice of sonic alchemy exploring a bolder and darker invention in imagination and craft from The Mouth of Ghosts.

   Right on Time takes the listener on yet another new and alluring soar through an engulfing ambience, provocative harmonies, and heart sparking vocals, all within a web of sonic contortion from Langford. There is a swing and swell to the tide of the emotion and melodic enterprise which plays like Bjork meets Portishead, a sexually enlightened swagger which only fuels another dose of ardour towards the band and their songs. Once again a dark mystique lends it’s tempting to the engrossing dance and drama increasing the weight and depth of the whole experience.

    The closing You Will Go is a melancholic whisper across the senses, brought with a morose gait within an almost funereal temperament and atmosphere. Unlike the other three songs it is a slowly burning suasion though still making a forcible impact from its first touch. As musically poetic as it is lyrically and vocally, the song is an intensive and empowering treat which emerges as a further weighty declaration of a highly promising band, one which is reaching its first pinnacle whilst setting new plateaus to ascend to.

     The You Will Go Again From Me EP is a scintillating and enrapturing proposition from a band which is increasing its position as one of the most innovative and expressive bands in British music. The Mouth Of Ghosts and their new exploration is one sunrise and sunset all should treat themselves to.

http://www.themouthofghosts.com/

http://mouthofghosts.bandcamp.com/

9/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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Spiritwo – Primitive Twinship EP

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Adventure, experimentation, and straight forward daring are always aspects of songwriting and performance which grab attention even if not always as successfully as intended. Spiritwo is one such band with these attributes in abundance within their debut EP Primitive Twinship, a release which not only steals a healthy focus in its direction but breeds an equally potent appetite for its creativity and the quartet itself. The release is a hectic venture of imagination and audacious enterprise, one which does raise a few questions but ultimately makes a compelling and promise soaked persuasion.

Spiritwo is the brainchild of visual artist Yael Claire Shahmoon who brought it to life in in the clubs of Tel Aviv. Described by Time Out as ‘The Queen of Tel Aviv Underground’, Shahmoon and band relocated to London where their experimental sounds seeded with Middle Eastern influences, electro, doom, and theatre were soon casting an eager following. Their reputation for powerful and riveting stage performances, which have included sharing stages alongside the likes of Martin Rev (Suicide), UK Decay, Punishment of Luxury, Savages, Knifeworld, and Naive New Beaters, has only garnered more acclaimed responses and attentiveness which it is easy to expect Primitive Twinship to push on with its creative ‘bedlam’.

Opening track Soul Mate lays down a tantalising eighties electro lure which leads right into the muscular yet inviting body of the song. Solid beats are soon joined by a great dark weighty bass tempting from Michael Otim Okot and the rock coaxing flames of Charlie Cawood’s guitar. It is immediate bait which takes little time in holding the listener tightly in its persuasive grip especially when the vocals of Shahmoon add their expressive and emotive strength. The weave of grooves within the track, every instrument seemingly providing their own distinct but uniting offering, forges an infectious magnetism to the song but every aspect is a temptation which is hard to deny from the inventive songwriting through to the little dramatic touches vocally and musically. Across its impressive presence the song enchants and snarls, seduces and bruises whilst perpetually awakening thoughts and emotions to a rather exciting debut and band.

Sometimes steps up next and with a chilled atmosphere the seed for its emergence, the song takes mere seconds to take the song’s adventure into a new unique place from its predecessor. Shahmoon spreads her velvety tones across the brewing ambience, the keys and her delivery sculpting a drama which teases and menacingly smooches with the imagination. Erupting with a fiery passion in her voice the track evolves and entwines around the senses and passions like a sonic grasping snake. The track is dark vaudeville at its finest, Shahmoon expelling a range of vocal endeavour which is spiteful and often stretching the theatre appeal of the smouldering fire but thoroughly compelling, like the sounds from start to finish. Comparisons to Bjork have been placed around the band and it is easy to see why as the song pushes eagerly down on the senses, and with elements which loosely could be described and Cardiacs meets Helldorado with a spice of Jess & The Ancients One, it is impossible not to be wrapped up and enjoying the striking experience.

The EP is completed by Dive Down and again emotions and thoughts are taken on a ride of intrigue and unpredictability which leads only to full pleasure. Another electro coaxing opens things up before the beckoning beats of drummer Matt Riley summon any straggling reactions with their firm touch aligned to the again pulsating bass call. Growling breaths and sultry calls merge seamlessly in the music whilst vocally Shahmoon commands attention, her Eastern instinctiveness a delicious spicing to her diverse delivery and entrapment. Combining electro pop with heavy rock and that dramatic wantonness, the track is fuel for the passions.

Debatably there is maybe a little too much going on in songs which will not lie easily with some but if the experimentation of a Mike Patton and Bjork, the passionate adventure of a Mojo Fury or Japanese Fighting Fish, and the dark drama of a Stolen Babies or The Dresden Dolls finds a well-nourished place in your tastes than Spiritwo and their Primitive Twinship EP is a must.

https://www.facebook.com/spirittwo

9/10

RingMaster 17/11/2013

Copyright RingMaster: MyFreeCopyright

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Check out the new Spiritwo video @ SPIRITWO ‘SOUL MATE’