Kudzu – Defeated

With a sound as eclectic and unpredictable as it is ravenously catchy, US synth pop duo Kudzu have just released their new album, Defeated. It is an infestation of infectious hooks, flirtatious synths, and rousing escapades but to tag it merely as synth pop is an injustice to its diversity, the album a stirring web of post punk, electro punk, industrial and more across its seriously magnetic body.

Springfield based Kudzu consists of Seth Goodwin (vocals, synth, and drum programming) and Mark Gillenwaters (vocals and guitar). Inspirations to the project include the likes of Tears For Fears, The Cure, Spectrum, Guided by Voices, Sympathy Nervous, and This Heat but as suggested, their sound has a much broader tapestry which is as bred in the seventies/eighties synth landscape as the creative now. It makes for a proposition which is as familiar as it is boldly fresh and one massive treat of a listen.

It opens with the punk assault of Some Cops, a track bursting from its electronic shimmer with zeal and urgency soaked in creative dissonance. At the same time it is a virulently catchy incitement, its fuzzy fumes leaving the senses as woozy as the bone shuddering beats. Like Calling All Astronauts meets Artery at its core, the song equally embraces psych rock winds in its contagious turbulence to provide Defeated with one ear grabbing start.

Straight away the variety of the album is at play as the following and quite superb No Backbone breaks the dividing peace with electro pulses straight out of the early Mute Records catalogue. Instantly thoughts of bands like The Normal arise but are soon pushed to the background as guitar spun melodies and harmonic vocals tease and caress respectively.  The hook Gillenwaters casts with his strings is simply delicious, a psyche enslaving lure soon backed by the darker pulsation of keys and the snapping resonance of rhythms; kind of like a fusion of B-Movie, The Cure, and Modern English yet unique from start to finish.

The album’s title track brings a scuzzier breath to ears; its post punk irritability echoed in the John Lydon textured vocals but again there is a repetitious coaxing teasing and tempting at the centre of the fuzz ball which necessitates only submission to its infectious demands. As its predecessor, it brings another hue to Defeated as does next up Burn Yourself, though its electro punk surge is akin to the opener. With the increasingly magnetic vocals almost gliding over the tides of noise springing from synths and guitar, it was so easy to be swept up in the raw yet skilfully nurtured arms of the track as thoughts colluded with its lyrical insight. Defeated is described as “a reaction to mounting disappointments and frustrations with increasingly frustrating and disappointing realities” and with intimacy and a worldly observation its often dissonant words hit the spot whilst almost arguing with the rousing catchiness of their vehicles.

The mesmeric Balking the Grave is next, the song a riveting post/gothic punk shadow bound serenade which almost seeps under the skin with its slow drawl and bordering concussive clang while Sleep in Disguise is a boisterous slice of synth pop/new wave with the scent of bands like Mr.Kitty, OMD, and early Human League to its bright if slightly caustic breeze.  Both tracks border the irresistible yet still get slightly outshine by One Purpose with its flirtatious Blancmange like melodies and climate.

One definite peak in the lofty heights of Defeated is followed by the ear grabbing proposal of When You Were Mine. The song is almost like a weave of the best traits of its predecessors, a tenacious pop song with attitude and seduction in its raw charms which manages to grumble and serenade in the same breath before leaving to allow B.I.Y.E. to bring things to a transfixing close. With its cold scenery and instinctive bounce, the song merges the alluring traits of a Joy Division and Modern Eon in its industrially edged and melodically draped canter. It is a fine end to an album which we are finding hard to shake off as new propositions to look at build up. That is never a bad aspect to have and as Defeated is so enjoyable we are certainly not complaining.

Defeated is out now via Push & Pull Records; available @ https://kudzukudzukudzu.bandcamp.com/

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Pete RingMaster 09/03/2018

Copyright RingMaster: MyFreeCopyright

Nasher – 432-1: Open The Vein

Taking the listener in a melodic hug whilst opening windows and spotlights upon lives, intimate and more politically social, the new album from Nasher is nothing less than captivation. 432-1: Open The Vein shares memories and reflections like the sun provides warmth and clarity through songs as compelling in their writing as in the melodies and harmonies bringing them to life. It is blessed with truly bewitching and memorable moments within a body which from start to finish has ears hungry for more as the imagination weaves away.

Nasher is Brian Nash, the guitarist for Frankie Goes to Hollywood. Before his part in their success, he had already linked up with drummer Peter Gill and vocalist Holly Johnson in Sons and Egypt, forming the outfit with the duo after playing in several other bands with varying styles. Sons and Egypt came to an end in 1980 when his colleagues left to join a new band in the shape of Frankie Goes to Hollywood. The departure of Gerard O’Toole from that band two years later saw Nash link up with his former band mates again, the band going on to have international triumphs of course with the likes of Relax and Two Tribes. After their demise in 1987 Nash collaborated with singer Grant Boult as Low and later again in Dr. Jolly’s Salvation Circus. Two solo albums in Ripe and Le Grande Fromage appeared in 1999 and 2002 respectively, Nash also creating his own Internet-based label, Babylon Pink, around that time upon which 432-1: Open The Vein now appears.

It opens up with Salt in Our Veins and the sound of water falling and lapping from presumably the Mersey of his hometown as its specific noises raise their heads. From within their evocative textures, Nash’s acoustic guitar strokes the senses, his following vocals similarly coaxing attention with their harmonic warmth. The emotional suggestion and plaintive insight of his words are just as magnetic, Nash seemingly sharing light on his move to the capitol and the retaining by Liverpool of his heart. The wonderful song is a sign of things to come, of the drama lining every note and syllable, of the infectiousness fuelling every ballad and livelier engagement with ears and thoughts.

The fine start continues through the folkish stroll of Still Can’t Find the One, a song embracing eighties pop hues more akin to the likes of Blancmange and Heaven 17 than his Frankie exploits, and the observational melancholic theatre of I Spy. Not for the last time upon the album, there is something of XTC to the songwriting or more the Colin Moulding side of the band, the song a pastoral reflection in sound and insight in word of modern life. Both tracks are instinctive magnetism, warm yet shadowy caresses matched in strength and beguilement by the sunny disposition and emotional sentiment of Whole.

Through the harmonic questioning of one of the bitter protagonists of today in Katies and the boisterous rock ‘n’ roll of Prostitutes and Cocaine, the album only adds to its riveting and skilled pleasuring of ears while Just Sounds Like Noise engagingly repeats words that people of a certain age share about Saturday afternoon and evening TV. It was better in our day is a staple claim of every generation and forever will be though not always with the charm given it by Nash.

The mellow hazed Pebbles to Dust seduces next; the increasingly bewitching song almost somnambulistic in gait and air as it melancholically smooches with the senses. Its darkly lit atmosphere flows into the equally sombre glide of Where Will the Kids Live? through the lively antics of youth. The track is gorgeous, once more drama seeping into every melodic sparkle and haunted glaze of sound and emotive shadow.

Both Nothing Homes and XO simply captivate; melodies and harmonic sighs to the fore with the second of the two slipping into an animated skip for its pop catchy incitement of feet and emotions. With a whiff of Pete Wylie to its contagious enterprise, the track has the listener physically and emotionally bouncing before Yesterday’s News closes things up with its Jam lit croon. More of a grower compare to the instant persuasion of earlier tracks, it emerges as a just as momentous and stirring proposition within 432-1: Open The Vein, an album which leaves the heart even more lustfully in love with music, especially if you hang on for its hidden Bowie inspired finale.

 432-1: Open The Vein is out now through Babylon Pink Recordings.

https://www.facebook.com/Nasher-105270312871476/

Pete RingMaster 05/07/2017

Copyright RingMaster: MyFreeCopyright

Snuttock: An introduction of Rituals

Photograph by Laurie A Smith

Allow us to introduce you to Snuttock, a band from Baltimore in Maryland consisting of Bryan Lee, a classically trained musician, and Christopher Lee Simmonds, the latter also a founding member of Michigan progressive metallers Thought Industry. There the background to the pair and Snuttock ends though the fun and real discovery of the electro outfit is through their music. Some might pin it down as synth pop and certainly that is its breeding but with sonic and emotion cast shadows, a kaleidoscope of flavours and textures, and more twists and curves than a descending slinky, it makes for a proposition which never leaves ears and imagination lost for adventure.

Formed in 2003, Snuttock released debut album Straight Jacket Life two years later. It was the first insight to the pair’s blossoming fusion of industrial rapacity with the instinctive allure of synth pop; a blend shaping Carved and Sutured in 2008 and its collection of new tracks and dance-floor friendly remixes. Where we come in and cast a glimpse into, thanks to Lee and Simmonds themselves, is with the band’s last two releases, Endless Rituals and Rituals Redux. The first is in a way the duo’s proper second album, though it seems to be classed as the third, and was released in 2013. Its successor came out last year and sees a host of artists presenting remixes of its predecessor’s tracks, the album acting like a companion piece to the originals bringing new sides and personas to their already captivating characters.

What Endless Rituals quickly establishes is the diversity across the sound and creative enterprise of Lee and Simmonds; songs ranging from simply synth pop to industrial, dark electro, ambient and much more.  As expectations and assumptions of what comes next arise they are quickly shot down and left floundering as song by song the release persistently presents a new facet to its swiftly captivating presence. For all its twists and new sides though, there is a coherency to it all which links it all as something truly individual to Snuttock.

From opener Attention, intrigue is an eager response, the opening shadows of the track rich in suggestion and invitation before the track breaks into a vibrant stroll. That vibrancy is soon a flood across hungrily catchy endeavour, grabbing body and ears with zeal and infectious energy. There is a feel of early Mute Records bands to the song, The Normal coming to mind most and the laying down of the first compelling moment in the album’s landscape.

The dark wave scented, robotically natured Single Cell Antenna is the first twist in the emprise of sound within the album, its dance dexterity and pop glow managing to also cast a dystopian shadow over the affair. New turns flow through ears from thereon in, the emotional reflection and melancholic sharing of the Depeche Mode like People Too, the reserved but open funk of We Learn with its BEF air, and the dark ambience of Nameless straight away expanding the broad terrains honed by Snuttock. The last of the three is like a flight across cosmopolitan lands, its instrumental blossoming in adventure and suggestion with something akin to a merger of Kraftwerk, Thomas Dolby, and pre-split Human League.

It is fair to say that every track within Endless Rituals stirs the senses; the outstanding and dark, almost predacious presence of Crawl invading the psyche with a prowess reminding of UK band Defeat giving one particular favourite moment though with its thought romancing, dark atmospherics One Day and Spitting Into The Wind with its Blancmange meets Artery like emotive theatre leave their magnetic mark. Even throwing a handful plus of references to give a hint of the songs on offer, the uniqueness of Snuttock is the driving force and continues to captivate across remaining tracks like the haunting post rock/electro ambience of Ghost and the irresistible electro punk popper Advice.

Endless Rituals is a treat, even more so if you can get the deluxe edition with an additional four tracks, which newcomers to Snuttock should make their entry point though Rituals Redux certainly makes for a potent invitation too. Even after years of taking them on board, we have yet to get our personal heads around the appeal and maybe even purpose of remixes especially when the originals are so impressive and dominate. We can equally understand their popularity and in turn demand for others though, even more so after listening to Rituals Redux. Whether it was because we heard it first and numerous times before Endless Rituals, the album like a film or TV show hinting at the majesty of a source book, or simply the quality of the tracks on offer, the mix of all maybe, it certainly awoke an appetite for the Snuttock enterprise and a fun in imagining their originals.

First the only ‘negative’ with the album and that is its radio show skits and bumpers. Whether they are taken from a real show or are simply cast to suggest that surrounding they do niggle personal tastes, especially when coming back to back. It is a minor thing of course and certainly once the music descends and remixes from the likes of Psy’Aviah, Marsheaux, [:SITD:], TweakerRay, and Sebastian Komor, is forgotten as feet quickly leap and the spirit jumps opening track and a sparkling take on Advice by Leæther Strip. Each track takes the core essence and heart of the original songs and casts them in a fresh landscape of imagination or shadow of dark suggestiveness. Major highlights for personal tastes include Sebastian Komor’s fizzy take on We Learn and indeed Marsheaux’s warmly seductive version, The Metroland Protocol’s hypnotic twist on Single Cell Antennae, the noir lit take of the same song by The Rorschach Garden, and Psy’Aviah’s haunting at times senses stalking remix of Spitting Into The Wind.

As we said though, and maybe surprisingly, considering its 2 CD, eighteen track length, Rituals Redux hits the perfect  spot with artists such as [:SITD:], Amarta Project, Statik SeKt, Retrogramme, Red This Ever, TweakerRay, Guilt Trip, L’Avenir, Diskodiktator, and Deutsche Bank Machine equally lighting ears and enjoyment with provocative interpretation and craft.

So that is Snuttock, a band which if synth pop and broad electronic adventure is your appetite should make for a highly pleasing new exploration.

Check them out more @ http://www.snuttock.com/ and https://www.facebook.com/Snuttock/  and their music @ http://www.snuttock.com/store.html

Pete RingMaster 31/05/2017

Copyright RingMaster: MyFreeCopyright

SΔCRED ΔPE – Self Titled

We are among many claiming Sligo based songwriter/multi-instrumentalist/producer John Bassett as one of the most inspiring and refreshingly imaginative composers/songwriters around today and the first album from his new project gives no reason to pull back on that acclaim. SΔCRED ΔPE is Bassett’s, the founder and driving force of KingBathmat and post/progressive metal solo project Arcade Messiah, exploration into electronic/synthwave bred adventures. It is a bold new avenue to pursue for artist and listener but a continuation of the kaleidoscopic sound and visually stimulating artistry within his eager imagination.

As poppy as it is progressive, as emotive as it is instinctively infectious, the SΔCRED ΔPE album needs little time to infest an eager intrigue for something new from its creator; as instantly exciting the senses and involving thoughts and more physical involvement. In many ways, it is his most accessible offering yet though attracting and gripping attention and pleasure has never seemed to be something needing a great deal of time across any of his releases to date. It has a freedom suggesting Bassett is embracing his own electronic loves seemingly with an eighties breeding; playing with inspiring sounds and textures with zeal but weaving them into pieces suggestively complex and intimate and, especially in the album’s pair of instrumental soundscapes, cinematically pregnant though all tracks have just as potent passages.

The album opens with its first instrumental, Horn and swiftly has ears and appetite entangled with its electronic coaxing equipped with virulent melodic hooks. Intrigue coats every note and their emerging collaboration, sonic shadows dancing with melodies and repetitious seduction like an aural cousin to the imagery at the start of the old British TV show Tales of the Unexpected. Spatial yet sinisterly terrestrial, bright but with an almost cold war like drama, the track is a virulent transfixing of ears and imagination and just irresistible.

Asleep At The Wheel (Part 1) follows, contrasting its predecessors light frenetic gait with a heavier almost prowling slow stroll. There is a weight to its air and emotion, a thoughtful pondering soon emulated in the vocals of Bassett. Again melodies escaping synths rise to a celestial atmosphere yet laden with those ever present shadows to temper the climate before Birds Fall From The Sky pulsates with sonic palpitations. From within the animated lightshow a glorious darkwave scented groan, for want of a better word, erupts and swaggers into the passions. With surrounding melodic revelry and an overall creative drama at play in sound and lyrical word, there is a touch of OMD to the song; a flavouring adding to a familiar Bassett design yet as ever one of singularly fresh enterprise.

As a tangy melody steers in next up I Want To Go Back To The Happy House, a Blancmange like lure teases ears continuing to attract as the song broadens its landscape and voice with more of a Kraftwerk meets Giorgio Moroder inspiration. The instrumental floats across and surrounds ears like a summer haze with electronic imagery indistinctly but evocatively flirting from within; easily sweeping the listener up in its flight if without quite igniting the same lustful reactions as those before it.

Through the reflective embrace and dark pulsations of Season Of The Damned and the compelling theatre of Walking On Ice, Bassett has enjoyment and manipulation of the imagination in the palms of his hands; both tracks individual slices of ethereal synth pop with an earthier heart and spine to their explorations with the first a warm hug of temptation. Its outstanding successor though, brings the darker suggestion of the first into a more tangible touch on ears and thoughts creating a John Carpenter like cinematic espionage of suggestion creeping upon and infesting the senses as melodic infection gathers. It is a catchiness which soon leads the way but never diminishes the darker threat alongside resulting in the kind of mouth-watering blend Frank Tovey (Fad Gadget) was so skilled at weaving.

The album concludes with the lullaby-esque Asleep At The Wheel (Part 2), an epilogue of melancholy fuelled, melody woven inference with a childlike clockwork skeleton. It is a sigh of emotion which bursts into greater weight and drama midway and again simply captivates from its first to last breath.

It is too easy to expect big things from John Bassett because of past experiences with his music and it is an instinct sure to continue with SΔCRED ΔPE adding another impressive and seriously enjoyable string to his creative bow. It is an aspect in his creativity we fiercely hope he continues to explore and we are certain in that wish we will not be alone.

The SΔCRED ΔPE album is out now and available @ https://sacredape.bandcamp.com/releases

http://www.johnbassettmusic.com   https://www.facebook.com/arcademessiah/

Pete RingMaster 02/05/2017

Copyright RingMaster: MyFreeCopyright

Estetica Noir – Purity

There is no need of any written text to realise the inspirations to the sound of Italian band Estetica Noir, strong flavours which openly line each song within their debut album Purity. They weave haunting and atmospheric, frequently addictively infectious, proposals which court the imagination as easily as ears; all eighties new/dark wave influenced encounters as familiar as they are refreshingly fuelled by twenty first century imagination. The result is a sound which demands attention and a thoroughly enjoyable first album.

Hailing from Torino, Estetica Noir was formed by vocalist/guitarist/songwriter Silvio Oreste and bassist Rik Guido in 2013. Their self-titled first EP came out in 2014 with a re-mastered re-release coming two years later, its body showing more of the electronic spicing which now adds to the tapestry of sound shaping Purity. With their track I Will Kill You making a potent addition to the For The Bats compilation and another in Beautiful Absence part of the third instalment of the series, the songs nesting between offerings from the likes of The March Violets, The Eden House, and The Danse Society, Estetica Noir have only lured increasing interest and support to match a praise drawing live presence seeing the quartet share stages with bands such as Christian Death and The Chameleons. Last year, Estetica Noir linked up with Italian label Red Cat for the release of Purity, both sure to come under greater spotlights due to the album’s captivating presence and character.

With its line-up completed by guitarist/backing vocalist Guido Pancani and drummer Paolo Accossato, Purity swiftly grabs ears with opener Hallow’s Trick. An initial electric shimmer of guitar is the spark for a great crystalline melodic hook within a fuzzy keys bred seducing around a swinging rhythmic coaxing. It is an instantly successful persuasion increased by the expressive tones of Oreste. Like Thomas Dolby meets the synth pop version of Ministry, the track strolls magnetically into the imagination, its virulent chorus inescapable bait for participation as it makes a powerful introduction to the release.

Next up Plastic Noosphere is no less a tempting; its own instinctive catchiness immediately grabbing body and appetite as guitars and keys conjure individually descriptive enterprise for a B-Movie meets She Wants Revenge like offering with a nagging rhythmic persistence from Guido and Accossato recalling the likes of Leitmotiv. As its predecessor, the song has ears in the palm of its creative hand before In Heaven provides a fiery romancing of ears with its steely guitar bred melodies, melancholic yet inviting bassline, and fuzzy keys. A thicker intensity and drama does little to lessen an inbred infectiousness in the Estetica Noir sound, rather showing the variety and imagination nurturing it, echoed again in the likes of Suicide Walk and I Hate.

The first of the two creeps around ears like atmospheric fog, almost prowling with its instrumental suggestiveness as a melodic radiance glows at its heart while the second straight away flirts with the senses through bold but controlled and imagination serenading melodies. It is just the opening shadow to another rampantly catchy escapade with lively beats and a just as tenacious brooding bassline calling from inside a web of feisty electronic and guitar spun temptation.

The outstanding Polarized brings its electro pop spiced exploit next, complete with another irresistible hook and smouldering keys in something akin to Nine Inch Nails meets Blancmange while Deluxe Lies Edition reveals the strength of inspiration the band find in The Cure, its dark climate and emotive shadows as inspired by Robert Smith and co as Oreste’s vocals. Both tracks captivate and inspire ears and imagination respectively, the adventure in the Estetica Noir creativity here and across Purity compelling.

Hypnagogia is a second instrumental which like its earlier companion is a provocative piece, its piano cored emotional shadow intriguing before the band gives its own touch to the Pet Shop Boys written, Eight Wonder track I’m Not Scared. It is another easy to embrace offering but lacks something the band’s own penned songs have, as emphasized by A Dangerous Perfection which follows. Laying somewhere between Modern English and again The Cure and early Ministry, the track throbs with rhythmic and melodic theatre as an epidemic of creative infection swarms through ears.

Completed by the melancholy haunted You Make Life Better, an imaginatively twisting and turning track as fascinating and persuasive as anything on the album, Purity leaves nothing but lingering pleasure in its wake. As mentioned, its influences are a strong texture in its body and songs but it is a ‘lack of uniqueness’ which matters little in the unbridled enjoyment found. If any of those influences mentioned hit the spot, checking out Estetica Noir is a must.

Purity is out now via Red Cat Records through most online stores.

https://www.facebook.com/esteticanoir   https://twitter.com/esteticanoir   https://esteticanoir.wordpress.com/

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright

Mr. Strange – The Bible of Electric Pornography

For a long time Mr. Strange has been one of the British music scene’s most imaginative and unique songwriters and artists, and one of its biggest unrecognised talents. Whether as the frontman of the brilliant circus rock steampunks, The Shanklin Freak Show or in solo adventures, he has teased and stoked the imagination whilst exciting ears with perpetual regularity. Potent spotlights have always seemed to fall elsewhere though, but that might be about to change, in fact expectations are sure it will as new album The Bible of Electric Pornography spreads its electronic seeded sermon.

The persona and sound of Mr. Strange has undergone a rebirth, a major evolution in all aspects in the time between acclaimed previous album Wonderful World Of Weird and the new slab of alchemy from his deviant creativity. Embracing fresh industrial and electronic temptation whilst weaving in numerous other rich flavours, Mr. Strange has opened up all sides of psyche and imagination whilst wrapping new songs in the so-called deviancy that others claim is pestilence. Thematically The Bible of Electric Pornography is defiance and a middle thing to the oppressive ‘normal’, an anthem for the supposedly grotesque, for the freaks and the like-minded unique; an encounter which also happens to rock like a thousand orgies to stand in the words surrounding the album, as a “sacrilegious assault of electro-influenced filth!”

  The album opens with Born Again, and the birth of they, of Mr. Strange. Upon arrival electro pulses and shimmering melodies crowd around the creative cot, his vocals providing the commentary as synths strengthen their drama and the atmosphere becomes shadowy. There is a portentous air to the track but one breaking into the dawning of climactic sounds and the heralding of Mr. Strange’s new realm of invention, which in turn sparks the stomp of Deviant Ritual. Making a sort of bridge between past triumphs, the song sharing open essences of The Shanklin Freak Show and previous solo album, keys swing and vocals entice as beats grip with potent temptation. In no time the track has the body acting like its puppet, limbs and energies flung around to the wicked swagger and infectious seduction of the outstanding protagonist.

Disco Bitch is on an immediate prowl next, though its gait has a more boisterous than predatory energy and design to it. Quickly into its robust stroll with compelling walls of electronic tenacity and enterprise, the track resonates with Being Boiled era Human League potency and colouring, a scent dirtied and fuzzed up by the craft of Mr. Strange as electro squirts lure and bassy rhythms dance with the passions. As its predecessor, the track is a blaze of dance-floor devilment and raucous sonic eroticism, incitements to get the defiant and proud party started before the album begins setting its sights on prosecutors, Electric Pornography continuing the festivity whilst flirting with the devil and its breed like a seductive pout of devilment. Amongst inspirations for the album, Mr. Strange offered Electric Six recently and definitely the track shares their kind of dance/rock devilry.

A thicker air of intensive energy soaks the following Tension, its emotive breath crafted and accentuated by darkly enticing rubs of guitar and moody bass tones as synths cradle the warmer hues of voice and melodies. It all unites in provocative electro rock persuasion which again has ears, hips, and thoughts emotionally and psychically involved.

A tirade of sample pieces spouting religious and social bigotry fattens God Hates Me next, keys initially a misting of melancholic elegance eventually brewing into more dramatic smog, though still with despair rather than outrage as its hue. The piece leads into the remarkable Jonathan, easily one of the pinnacles amongst a constant range of peaks within The Bible of Electric Pornography. It is a narrative for and growing support of the track’s oppressed champion which as the character, grows into its mesmeric creative skin as simple melodies align to weaves of electronic and industrial resourcefulness. Ebbing and flowing in intensity as the voice of Mr. Strange reveals all, the song is simply glorious, as lyrically impacting in its croon as it is invigorating musically, and easily one of the best things heard this year.

Do It Like… is another exhilarating whipping up of body and soul, a song inspired by Pete Burns and his life/attitude whilst musically drawing on the contagious invention of Dead Or Alive and indeed Nightmares In Wax which evolved into the former, and merging it with Celldweller like steeliness . Every element of the song has the body, inside and out, bouncing and swinging whilst again nudging thoughts with its lyrical potency.

The bubbly punch of I Like Girls & Boys is the next to take over, sculpting rousing crescendos of skittish beats and scuzzy electronics along its magnetic body, expulsions conducted by the ever alluring tones of its creator. Though not in an obvious way, there is a definite feel of Fad Gadget to the song, to its theatre and emotive richness whilst My Addiction gets down and funky offering up hints of a Heaven 17 and Blancmange in varying degrees. By now it is not unusual to leave a song without a smile on the face and appetite, this of course no exception with its warmly stimulating hug.

The noir jazziness of Sodom Nights brings yet another eclectic shade to the album, its melodic waltz and electronic seduction a sultry fondling of the senses and inciter of lusty contemplations, that dark romance followed by the rapacious sinister sizzle of D/s, a fuzzball of temptation featuring Global Citizen. The crawling magnetism of the track is just sonic addiction matched by the bold lure of Stormtrooper In Drag, a striking cover of a solo song released in the eighties by Tubeway Army guitarist Paul Gardiner and featuring Gary Numan who co-composed, sang lead vocals, and played on it. It is one of those ‘lost’ gems now given new life, re-vitalised by Mr. Strange’s innovative touch.

Closing up the album is firstly Fag, a leviathan of rhythmic tempting with a Manson-esque snarl providing the most irritable proposal upon The Bible of Electric Pornography and in turn one of its numerous slices of ear slavery and lastly The Last Song. Providing a bewitching serenade with a message for those who hate change, and might argue about the new direction Mr. Strange has taken, its defiance to any complaints openly and mischievously argued by the strong and highly enjoyable Kraftwerk influence, the track is pure captivation bringing the album to a thrilling close.

Familiarity and uniqueness collude within The Bible of Electric Pornography, with the latter the overriding substance, the album leading the second coming of Mr. Strange and easily eclipsing previous solo offerings, as impressive and they were and still are. We are looking at a release boldly challenging offerings from the supposed electronic big boys and girls, challenging and surpassing.

“Mr. Strange is dead. Long live Mr. Strange!” Time for all to join the resurrection.

The Bible of Electric Pornography will be released November 16^th, pre-ordering available now @ http://mrstrange.bigcartel.com/product/electric-pornography-cd-album-pre-order

http://www.mrstrangemedia.com https://www.facebook.com/Official.Mr.Strange https://twitter.com/MrStrangeMedia

Pete RingMaster 05/11/2015

Copyright RingMaster: MyFreeCopyright

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

 

Glamour Assassins – Ain’t So Young

The lure starts with a great name and becomes a vibrant persuasion with a debut album that gets feet moving and hips swaying. Glamour Assassins is that first bait, a title reflected perfectly in the melodic beauty and imposing potency cruising their music, and Ain’t So Young the captivating introduction to the Connecticut hailing band. The release offers a host of songs seeded in eighties new wave and synth pop but equally embracing dance punk and an indie rock flavouring. It is an encounter which has at times thick familiarity to it but also a striking freshness which combines for a persistently enjoyable proposition.

Hailing from New Haven, Glamour Assassins consists of Jared Savas, Nick Post, Jose Novo, Carrie Martinelli, and Gil Morrison, a group of musicians with a combined experience of playing with artists such as Dragonette, Matt & Kim, Plushgun, Freezepop, the Postelles, and Greg Hawkes of The Cars under their belts. As Glamour Assassins, they have earned a weighty reputation for an intense live presence which their album is now looking to back up with its theatre of striking songwriting from Savas and a sound which just wants to make you move as it feeds the imagination.

Produced by Joey Mascola and mastered by Grammy-nominated Emily Lazar, Ain’t So Young gets off to a rousing start and never really looks back. The Day Rock & Roll Died is the initial temptation, a song slipping through ears on a single guitar cast melody as keys and atmospheric tempting brews. It is soon into a catchy stroll, wiry hooks and a deep bass line colluding with punchy beats as the track quickly awakens attention and the first breath of involvement by the listener, especially when the vocals bring their strong persuasion to the mix with additional harmonies just as engagingly in tow. The track does not make a seemingly dramatic impact but swiftly the body is lending its moves and feet jabbing the floor as more enterprise blossoms in the increasingly infectious encounter.

    The rousing swing of the track is replaced by the emotive serenade of Hate Song Part I (Exile), a female delivered vocal caress on the senses awash with evocative keys and a laid back, shadow built bass prowl. It is a slither of a song at a breath over a minute but a transfixing set up for the electronic adventure of Phantom of the Disco. The band’s latest single is a bubble of dance bred electronica and varied impassioned vocals. There is a whisper of OMD to it, as too of Thomas Dolby and Blancmange, but they are mere essences in the thick ambience and emotional shadows fuelling the impressive drama.

Already there is no escaping the diversity to the album and Glamour Assassins’ sound, a quality continuing with the soulful roar of Sex Life. Synths once more envelop ears in a suggestive hue whilst the minimalistic beats and groaning bass lures bring the funk. Vocals and guitars add extra catchy and resourceful enticement in a track which you can easily offer hints of Duran Duran and Tears For Fears too. That recognisable air is in many guises a constant to the band’s sound it is fair to say, and just as honest to admit it only adds to the success and virulence of songs as proven by first the album’s title track and straight after London Fog. The first of the two thrusts indie tenacity and raw sinews into the mix, bouncing along with attitude and feisty energy as crystaline keys court jangly guitars across jabbing rhythms. In contrast its successor sculpts an aural theatre with an epic atmosphere which evolves into a more intimate and sinister proposal over time. Musically it is like eighties era Ultravox meets The Slow Readers Club with another bewitching range of vocals building unique adventure to the narrative. The track is as immersive as its title suggests if not as muggy with keys providing a shining provocative light throughout.

Indie pop ‘n’ roll has voice and limbs heavily involved next through Scumbag, bands like Late Cambrian coming to mind, whilst the contagion soaked Never Get Caught draws from Visage like territory for its pulsating seducing, though to this the band fuels the vocals with a rapacious edge and angst as the guitars spin a riveting web of sonic and melodic imagination which is seemingly Cure inspired. Once more Glamour Assassins turn familiarity into something of their very own though, just with an old friend like nature.

The album closes with Hate Song Part II (Death or Love), a track which kind of sums up the album and the band’s invention in one go. Part rock, part synth pop, and bursting with an array of crafty hooks, alluring grooves, and an infectiousness which never leaves ears and appetite alone, it is an impressive end to a thoroughly enthralling and enjoyable release.

Eighties new wave and synth pop seems to be having a strong influence on numerous emerging bands right now, of which Glamour Assassins is one of the most exciting and potential flooded propositions. Their album…well if you want to dance to some old school but freshly inventive contagion then Ain’t So Young hits the spot.

Ain’t So Young is available now

Pete RingMaster 10/09/2015

Copyright RingMaster: MyFreeCopyright

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