The Ellipsis – Elsewhere

Continuing to earn potent praise and attention at every turn, British outfit The Ellipsis recently released their new video/single Elsewhere. Following on from their rousing previous single Cold Cactus, the new track sees the band’s creativity becoming even bigger and bolder, an attribute which seems to escalate with every release without losing the instinctive catchiness of The Ellipsis sound.

Emerging in 2013, the Coventry hailing band has become a keenly followed live proposition across the UK and an eagerly welcomed source of rousing rock ‘n’ roll through a host of singles around their attention grabbing debut EP Mind In The Sky of 2016. That live presence has seen the band The Ellipsis headline Coventry OxJam in front of 30,000 at the Ricoh Arena and play last year’s Godiva Festival in their home town. Now it is Elsewhere pushing things again, the Darren Lawson (White Lies, The Enemy, Bloc Party, Wolfmother, Placebo) mixed song and its energetically tenacious and imaginatively lit video reminding of the potential and creative imagination within the band.

The song leaps into view on a rally of beats from Alex Bonsor, the guitars of John Connearn and lead vocalist Henry Bristow colluding in a feisty tide of riffs before the latter’s distinctive and ever enjoyable tones court ears with a “boy meets girl” story. There is an air of shadowy intrigue to the song sparked by the brooding basslines of Harry Green, just one hue in the kaleidoscope of essences making up the captivation swiftly working on body and thoughts.

Easily the track is the band’s most eclectic and adventurously layered yet, every listen revealing a new twist and lining in a proposition much busier in craft and invention than it maybe seems upon the first couple of listens. In many ways, The Ellipsis sound and songwriting has come of age with Elsewhere though there is the feeling there is more adventure to come for which anticipation is already ripe.

Elsewhere is available now and you can check out its video on our video selector @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

http://theellipsis.co.uk/    https://www.facebook.com/theellipsisuk     https://twitter.com/TheEllipsisUK

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright

Astral Cloud Ashes – Too Close to the Noise Floor

Album Art_RingMasterReview

With three attention grabbing and imagination sparking singles under the belt, Astral Cloud Ashes unveil debut album Too Close to the Noise Floor. It is a collection of songs which arouse and serenade the senses, often simultaneously as the project’s mesmeric songwriting and emotive melodic elegance seduces.

Astral Cloud Ashes is the new project of Jersey bred songwriter/musician Antony Walker, previously better known as one half of the Channel Islands hailing Select All Delete Save As. Having already created music under the name ALPA, amongst other monikers, Walker quickly sparked attention to his latest project last year with first single Too Close To The Noise Floor, the now title track to the new album. Primarily a solo project but with backing vocalist Jason Neil a permanent fixture in the band, Astral Cloud Ashes draws on inspirations ranging from The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything as well as flavours bred in indie and alternative rock/pop. Equally though, the album shows bold ventures into more progressive and post rock pastures without losing the instinctive catchiness and melodic romancing found in those earlier propositions.

Mixed across its tracks by Gareth [The Fold], Edd HartwellPaul Miles, Daniel Szanto,  and Walker himself, with the mastering undertaken by Tim Turan, Too Close to the Noise Floor opens with The Man I Had To Become. Instantly a temptation of bubbling guitar captures ears, the coaxing quickly joined by a wave of rhythmic jabbing and a thicker weave of melodic guitar and harmonious vocals. It is a gentle yet boisterous affair easily whipping up the imagination and spirit with Walker’s distinctive tones the mellow flame within a more combustible web of enterprise. It is a great mix which marked those early singles but already seems to have blossomed within the album into a more adventurous and confident entangling of the listener.

The great start is followed by the album’s title track, Too Close to the Noise Floor showing a rawer, more imposing energy as it takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Punching its rhythmic and contagious essences home, it also carries a hazy climate to its atmosphere with the bass a deliciously throaty lure amongst nothing but virulent temptation. Embracing a XTC feel and Melvins like revelry, the track has body and appetite eagerly involved in swift time.

Grateful for the Ghost In Our House steps forward next and as the last track showed a more formidable presence to its predecessor, this song reveals a fiercer predation to its opening and subsequent invention within another wash of suggestive melodies and smouldering dynamics. Though not in the actual sound, it is easy to see where an influence of The Cure comes into play, Walker creating an emotional and musical drama which has the senses riding a roller coaster.

Recent single Get Real follows, strolling along with the ever present catchiness which Walker conjures with seeming ease across every track. Guitars pop and bubble throughout the song as rhythmic tenacity creating an anthemic frame to the vocal and melodic ingenuity before Flashback takes over. A calmer and mellower engagement but even more emotively forceful, the song caresses ears with a lone guitar melody before being joined by a heavily shadowed bassline aligned to a broader floating melodic enterprise. Vocally, Walker provides an introspective narrative as provocative as the poetic almost volcanic fuzziness of his guitar. Adding another individual shade and hue to the album, the track shows the broader landscape of Walker’s songwriting and an intimacy, whether personal or observational, which fuels his words.

With drummer Max Saidi guesting, Avant Blah! strolls boldly in next, its lo-fi pop ‘n’ roll blending Weezer infection with Pavement-esque invention while its successor Lites almost lumbers into view in comparison with the brooding bass and irritable riffs to the fore. In all songs there is a great repetitious quality brewed by Walker, here almost coming over drone like to great effect around the solemn melody and the similarly melancholic vocals. As it expands though, a wave of rich textures and rousing energies flood the song, returning throughout the low-key yet thickly enjoyable, almost imposing encounter.

The excellent This Once Great Place has an air of The Cure again with its atmospheric landscape, reminding of the A Forest/Pornography era of the trio across its own captivating journey before the equally impressive Housing in a Bubble makes a grab for best track with its more punkish/grungy roar of sound. Everything about it has a snarl not heard on the album previously; revealing more of the diversity the release carries whilst stirring up a fresh greed in ears and pleasure.

Our Holiday brings Too Close to the Noise Floor to a sombre and enthralling close, the track initially a dark sigh but soon building its own catchy canter loaded with spiky hooks and spicy melodies around another slightly foreboding and compelling bassline. Once more thoughts of Robert Smith and co are sparked but again as a flavour in something individual to Astral Cloud Ashes. It is a riveting end to a striking and increasingly impressive first album from Walker.

The clues to the project’s potential were there in its first trio of singles, and now confirmed and partly realised by Too Close to the Noise Floor. The feeling is that there is plenty more to come and to be explored within that promise, and going by the strength of this thoroughly enjoyable offering, we are all in for many treats ahead.

Too Close to the Noise Floor is released July 11th @ http://apple.co/1RFvoL8

https://www.facebook.com/astralcloudashes   https://astralcloudashes.bandcamp.com/   https://twitter.com/AstralCloudAsh

Pete RingMaster 08/07/2016

Copyright RingMaster: MyFreeCopyright

Astral Cloud Ashes – Flashback

Flashback (artwork)_RingMasterReview

Having made a strong and captivating introduction to itself with the single Too Close To The Noise Floor, the Channel Islands hailing Astral Cloud Ashes are about to follow up that success with Flashback. Providing another potent teaser to a forthcoming debut album, the new single also reveals another dynamic and colour to the project’s songwriting and sound. Whereas its predecessor was a lively stroll of infectious enterprise and energy, Flashback is a calmer and mellower emotive engagement and just as magnetic.

Astral Cloud Ashes is the new project from Antony Walker, one half of the duo Select All Delete Save As which especially earned deserved acclaimed with their album Ultra Cultura in 2014. Walker has been exploring his own solo creativity for a while, often under the name ALPA, amongst other monikers, but as quickly suggested by his first single as Astral Cloud Ashes, this new venture is one with the potential to match and even eclipse the previously mentioned ‘day job’ band. Sound wise Walker draws on inspirations from the likes of The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything for an indie/pop/rock persuasion, presumably self-tagged, as future-core.

Flashback caresses ears with a lone melody initially before the guitar is swiftly joined by a heavily shadowed bassline and floating melodic enterprise. At the same time, Walker provides an introspective narrative as gently provocative and ear pleasing as the harmonic embrace of sound around it. Guitar jangles, crisp beats, and emotive toning subsequently add to the web of alluring textures building the captivating proposal; a song wearing varying shades of The Lightning Seeds, Pavement, and Dinosaur Jr. to its melodic and evocative charm.

The track is a warm and fascinating encounter showing, as suggested earlier, another aspect to the band and offering another reason to keep an eager ear open for the first Astral Cloud Ashes album later this year.

Flashback is released May 4th across all major online distributors.

https://www.facebook.com/astralcloudashes/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Astral Cloud Ashes -Too Close To The Noise Floor

ACA_RingMasterReview

Antony Walker is one half of the Channel Islands hailing Select All Delete Save As, a band we have taken a shine to especially after the release of their 2014 album Ultra Cultura. The Jersey bred musician has also created music under the name ALPA, amongst other monikers. Now though he has unveiled a new project and a debut single which suggests he is tapping into a new vein of fascinating adventure in songwriting and sound.

The band is called Astral Cloud Ashes; predominantly a one man project though it occasionally features Jason Neil also. Musically tagged as future-core, the band’s sound on the evidence of the new single is an imaginative weave of indie and alternative rock but equally involves elements of noise and pop rock. To be honest, Too Close To The Noise Floor enjoyably makes it hard to pin down the music but if a mix of The Pixies, Swell Maps, Weezer, Bloc Party, and early Cure appeals, then it is a song to seriously explore.

Mastered by Tim Turan, Too Close To The Noise Floor takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Guitars and rhythms descend on ears from its first breath, creating a hazy breeze which relaxes as Walker’s warm tones lay engagingly across songs and ears with some great vocal backing adding to the appeal.

There is punchiness to the song too, beats and bass jabbing and prowling respectively alongside the spicy melodies and vibrant hooks that entice. There is raw feel of XTC to the song in particular moments, maybe a whiff of Melvins too, all going to provide a refreshing hip flirting and pleasure inciting proposition.

With a debut album scheduled for later in the year to be anticipation wrapped from hereon in, Too Close To The Noise Floor is a thoroughly enjoyable and attention grabbing introduction to Astral Cloud Ashes, and potentially what could be Walker’s most successful project yet.

Too Close To The Noise Floor is released March 7th across all major online distributors.

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Pete RingMaster 29/02/2016

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Bare Traps – Inside

Bare Traps - Inside_RingMaster Review

Following up the sizeable impact their debut single made with its release this past July, UK indie popsters Bare Traps have released a worthy successor called Inside; a song easy to expect earning similar reactions to those lured by the Every Time. Bursting with a melodic smile and funk bred rhythmic hips; the song is one feel good involvement for body and emotions.

Hailing from London, the quartet of vocalist Mikey Brown, guitarist Luke O’Gorman, bassist/keyboardist John Grant, and drummer Scott Dillon have drawn on inspirations from the likes of Blood Orange, The Smiths, Foals, and Chic for their sound, a mix which if exactly not in sound, in feel and texture you can certainly relate to as Inside incites instinctive festivity. Debut single Every Time took little time in sparking attention and support, its lively magnetism of melodies seeing the song entice over 5,000 plays on SoundCloud and rising to 7 in the Hype Machine Twitter Charts. Gearing up to unveil their first EP, recorded as the single with John Davis (Bloc Party, Led Zeppelin, The Maccabees, Arctic Monkeys, Beady Eye), Bare Traps now raise the ante with the even more danceable Inside whilst revealing a little more of the diversity seemingly bubbling away in their songwriting and sound.

The song opens on a shuffle of guitar enticing and rhythmic coaxing, that gentle but potent bait continuing as the bass opens up its dark throat and beats begin to bring livelier energy to their enterprise. The voice of Brown has a strong and distinctive expression to its tone, a texture aligning well with the smoother swing of keys and the guitars. With the pungent rhythms it all adds up to an inciting contagion which swiftly has feet and appetite in eager involvement. A whisper of an eighties bands like Heaven 17 and China Crisis hint at older minds across the enchantment of the song but equally it has an indie jangle and resourcefulness which resembles the essence of Foals and a little at times of Interpol.

Inside is also a grower, a song which just seems to gain more character with every listen and placed alongside Every Time, it is already easy to suggest Bare Traps has the potential, craft, and imagination to make a big impact ahead.

Inside is out now via iTunes.

Pete Ringmaster 22/09/2105

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Black Strobe – Godforsaken Roads

Photo Philippe levy.

An adventure which has the imagination bouncing around as enthusiastically as the body, Godforsaken Roads from French band Black Strobe, is an exhilarating stomp with more juicy flavours than a Pick ‘n’ Mix stand. The band’s new album is a tapestry of sound and enterprise which is as insatiable in its eclectic intent as it is contagious in its devilry. Seamlessly and inventively entwining fiery melodic rock and sultry blues spicery with a flirtatious electronic resourcefulness, and that brief description still only a thick hint of what is in store, the release simply lifts spirits and passions as one of the year’s most captivating and thrilling releases.

Black Strobe is the brainchild of Arnaud Rebotini, a Parisian musician and producer just as renowned for his instrumental electronic explorations released under his own name. Alongside this and a horde of remix work for the likes of Rammstein, Depeche Mode, The Rapture, Bloc Party, Nitzer Ebb, and Fischerspooner, Rebotini’s 1997 founded project has released a host of well- received singles and debut album Burn Your Own Church which saw its founder collaborating with Kill the DJ label head Ivan Smagghe. Live the band has equally earned potent acclaim, touring the likes of USA, South America, Japan, Australia, and Europe to great success and lighting up festivals such as Reading/Leeds, Sónar, Primavera, Pukkelpop, Dour, and Transmusicales. Now with guitarist Mathieu Zub, drummer Mathys Dubois, and bassist/keyboardist Benjamin Beaulieu alongside him, Rebotini and Black Strobe return with, we suggest, their finest moment yet, Godforsaken Roads.

Recent single Broken Phone Blues offers the first temptation and from its initial touch it is fair to say that Godforsaken Roads is in full control of excited attention and increasingly lustful emotions. An electro bubbling opens things up and is swiftly joined by the distinctive and dark toned voice of Rebotini. His voice has lured comparisons to Nick Cave and Johnny Cash and it is easy to see why as it sits somewhere between the two in expression and tone. Just as quickly a pulsating electro stroll adds its captivating invitation before guitars and bass align to jabbing beats to cast an irresistible canter over the senses. It is a virulently infectious electro rock romp which in some ways brings thoughts of The The and also Helldorado with its increasingly steamy ambience.

It is a tremendous start right away surpassed by the outstanding Monkey Glands. The track is an out and out rocker; again electro essences stirring up ears for a gripping entrance before vocals and riffs finding seeds in fifties rock ‘n’ 10646751_10152620336545266_4319895831447366858_nroll which in turn infuses even greater captivating colour into the devilish engagement. Wonderfully exhaustive in its dramatic vivacity and hungry energy, the track sets a new plateau for the album which the blues scented He Keeps On Calling Me matches with its smouldering sonic heat and melodic intrigue. Bass and guitars take centre stage alongside the relentlessly impressing voice of Rebotini, the song a forcibly seductive yet controlled spaghetti western spiced drama standing tall like a mix of Nick Cave and Fatima Mansions.

Both Blues Fight and For Those Who Came on Earth Thru The Devil Asshole keep ears and appetite hungry for the album. The first draws on a steamy funk hue to ripen its sultrily woven blues rock climate, with the guitars showing a growl and bass a throaty predation to temper the flirty swing and electro tantalising of the track. It all unites in another ridiculously catchy and addictive proposition with a touch of De Staat to it. Its successor idles in on a slow melodic and vocal croon embraced by an exotic electro teasing within a portentous and ever darkening keys bred atmosphere. It is a compelling encounter which feels like it is brewing up to a major fire, and at moments comes close, but almost taunting the listener instead just ebbs and flows with an intoxicating evocative charm and intensity which is just as gripping.

The two triumphs are emulated and over shadowed a little by the delicious cover of Johnny Cash’s Folsom Prison Blues. Held in a transfixing electronic embrace only, the song is given an exceptional make-over. Rebotini strokes its body with an individual vocal delivery but the same shadowed irresistibility as offered by Cash whilst keys simply create a seducing beauty which steals the passions whilst keeping the unique expression and presence the legendary song has always held. It is a stunning offering backed up right away by the heated temptation of Swamp Fever, a song mixing acoustic and blues rock with electro elegance around one of the most infectious and anthemic choruses on the album.

House Of Good Lovin’ revisits a fifties rock enterprise for its agitated rumble of addictive beats and blues soaked guitar endeavour; think Muddy Waters and Joe Cocker with definitely a twist of The Cramps and you get another riveting incitement on Godforsaken Roads. It though only warms up the passions for Dumped Boogie and From The Gutter. Both tracks provide a masterful feet enslaving temptation, the first riding a steamy wave of electronic contagion and the second bringing a less urgent but just as enticing electro pop waltz reminiscent of Heaven 17 to transfix body and emotions.

Levels slip slightly with Going Back Home, a dance floor spawned encounter which still shines with beacon like strength within the album but to be honest is less appetising for personal tastes, but raised again somewhat with Boogie in Zero Gravity, one of two songs exclusive to the digital copy of the album. With a touch of The Correspondents about it, the song is a tempered yet persuasive dance which though not at the heights of the more rock infused tracks leaves satisfaction full.

The album is completed by Promised Moon, a song seemingly bred under the influence of The Beatles’ Get Back and on the digital version by The Girl From The Bayou; the pair further inescapable temptations without casting the same potency of suasion as earlier encounters upon Godforsaken Roads. They still add a fine end to an exceptional release though which simultaneously nostalgic and innovative as it weaves an epidemic of ingenious sound and body gripping enterprise.

Godforsaken Roads is released on CD and vinyl 6th October via Blackstrobe Records/K7 Records and digitally @ https://itunes.apple.com/gb/album/id903413308

http://blackstroberecords.com/

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RingMaster 06/10/2014

Copyright RingMaster: MyFreeCopyright

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Axis Mundi – Sci-Curious

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If debut album Chapel Perilous was the gas cloud holding the seeds to their genesis and the Science Junkie live single the spark to their expulsion, Sci-Curious is the big bang thrusting UK’s sound adventurers Axis Mundi into global recognition. An incendiary merger of aggressive rock, voracious rave, and untethered dubstep just to suggest some of its blistering invention, the band’s second album is a coming of age, a realisation of the potency in songwriting and sound which tempted before whilst breeding another strain of potential to even greater heights. A roaring celebration of science with insatiable riffs, hooks, and melodic predation, the album puts an already irrepressible proposition into the arms of essential investigation and devouring.

The trio of drummer Matt and guitarist/vocalist Gary Frewin with lead vocalist Shaun Garner first emerged in late 2008, taking little more than a year to become rated as one of the top upcoming bands in the UK. Originally a quartet, Axis Mundi earned an acclaimed reputation for their live performances and emerging songs. Already holding a passionate appetite and exploratory intrigue for all things science and its battle against the likes of politics, religion, and apathy, the Hinckley band worked closely with best-selling science author and New Scientist writer Michael Brooks during his election campaign against Hinckley and Bosworth MP David Tredinnick. Their first EP Find the Others caught strong waves of attention but it was with Chapel Perilous that the band really sparked a wider appetite for their sounds within the underground scene and subsequently more established media spotlights. Sci-Curious though makes it all seem like just the appetiser before its own main meal.

Through an attention raising Introduction, the album erupts with the instantly transfixing and highly animated opening shimmering of Sci-Curious-CoverE-Bomb. Synths merge on the senses with sonically drenched colour and vivacity from its first breath, tempting the senses in league with increasingly tantalising sounds. Into its energetic and fiery stride the track dances around ears with a dervish like enthusiasm before settling into a more relaxed stroll within which the melodic tones of Shaun unveil the song’s narrative as infectious guitar toxins bred by Gary entwine their shadowed bait around the imagination. The sounds are as provocative as the lyrical view and its look at the turning away from scientific truths from those which choose to be blind. A masterful blend of electro alchemy and compelling heavy rock, the track is a magnetic tempest setting the album off to a tremendous start.

It is a potent entrance swiftly taken to another level by Movie In The Mind which emerges from the finale of the previous treat. Like a side show barker, Shaun coaxes in thoughts as a great niggling rub of guitar skirts his tones. The rhythms of Matt join the revelry soon after, his precise jabs adding to the unpredictable and intriguing showmanship of the song’s initial gambit. Just as immediate is the contagious air to the track, its irresistible call wrapping every note and syllable of the punk and metal kissed canvas beneath the subsequent rampantly swirling keys. Whereas the its predecessor had a feel of the Pendulum to its character, this plays at times like a rapacious merger of Pop Will Eat Itself and Enter Shikari, though as with the first song Axis Mundi have developed their sound to a point that first thoughts are always of the band itself when describing any of its distinct aspects.

The album continues to stir up hunger and passions with its might and established band sound as Science Junkie steps into view next. A favourite of seemingly everyone upon its release as a live track a while ago, the trio have understandably relinquished some of the unbridled urgency and rabidity which marked the original release with a greater adventure and melodic clarity on the album. The track still gallops like a stallion in heat, keys and guitars brewing up a techno maelstrom which is impossible to escape. As it sways, lurches, and climbs all over the senses you can almost see the invention of the song pulsating through its veins, its sonic blood rushing around the hypnotic hooks and seductive melodies which parade relentless across its ravenous body as glorious vocal harmonies between Shaun and Gary caress like a devious temptress. The track is a ridiculously thrilling encounter soon rivalled by the enthralling and confrontational rocker Shut Down The Rave. Feisty guitars and more sinewy toned vocals lead the track into another variation within the release, it in many ways a more straight forward course of electronic metal and rock but with plenty, like the acidic scythes of guitar and flowing evocative key sculpted hues, to steal the imagination all over again. With an antagonistic climax which smells of Rage Against The Machine at their best before a final bloom of seducing melodies, the song is a magnificent incitement.

As undeniable impressive as the album is already, the next stretch of songs secures its status as a classic protagonist. Springing from an informative sample, their use another pleasing additive to the album, The Astounding Fact unleashes almost ten minutes of heart racing, bone juddering invention but equally it involves elegant and sweetly melodic caresses between rabid outbreaks of predacious ravishment. Consistently evolving into and involving further anthemic strolls and almost Manic Street Preacher-esque like croons the ingenious provocative and unpredictable storm alone shows just how far the band has come in its songwriting, musical skills, and mischievous designs. It is just the start though as both What Do You Get? and Little Stories Of Discovery climb up to yet another plateau of persuasion. The first plays with that earlier carnival like premise of Movie In The Mind, though its intensive menacing onslaught of initial rhythms and guitar around discord blessed keys is a differing frightening prospect. Once the vocals enter to stir up air and lyrical dirt, a deranged fairground essence seeps into the riveting equation, wonderfully darkly tainted verses inspiring thoughts of Insane Clown Posse more than one or twice. Switching with a chorus cast in melodic rock, the song is a puppeteer of shadows and passions, the best track on the album though straight away challenged by its brilliant successor. It is a psyche /indie rocker which leaps and swaggers with the relish and craft of a Reuben and a Bloc Party aligned to the melodic craft of a Feeder, though despite those references the bewitching slice of invention is again uniquely and irrepressibly all Axis Mundi.

The album carries on enslaving thoughts and emotions though maybe not to the same heights such the brilliance of earlier songs but certainly the rich and welcomingly bruising rock endeavour of Only Genes Can Judge Me and the jagged reggae inspired canter of The Gospel According To Science steal their very fair share of the passions with their highly accomplished and skilfully coloured tales whilst the closing New Scientist brings one final undiluted festival of dancefloor igniting voracity. Within all the tracks the band again thrusts a middle finger to expectations with their enchanting harmonies and reserved melody fuelled breezes within diverse tempestuous stomps, and all constant instigators of feet and passions.

Sci-curious is an exceptional kaleidoscopic offering which takes Axis Mundi into a whole new realm of quality and instinctively invigorating adventure. You can only hope and suspect that the world will take intensive notice of the UK trio as they and the album dive into an insatiable rampage which maybe even scientific doubters will find no resistance for.

The self- released Sci-curious will be released on June 1st

http://www.axismundionline.com

9/10

RingMaster 16/05/2014

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