TV Coma – Body Negativity

If you can imagine the results of Weezer and Swound! musically cavorting with Jan and Dean alongside Blur with a punk nurtured revelry you can get a whiff of the sound of TV Coma though not necessarily the individual mischief and enterprise rampaging through their debut EP, Body Negativity. It offers six tracks of unbridled fun and boisterous deeds amongst cleverly manipulative creative antics and is simply one of the most enjoyable exploits we have greedily indulged in this year.

Emerging from the songwriting revelry of brothers Leo and Max Troy, St Albans hailing TV Coma is a foursome by bassist Jamie Rider and drummer Robert Clark. They also seemingly embrace the punk DIY ethics of yesterday with their first release recorded in Max’s bedroom who then mixed the tracks himself before passing them over to Alan Douches (Ben Folds Five, Converge, Sufjan Stephens, Mastodon) to add his professional gleam to things. The result is an encounter which has an organic roar and an instinctive devilry and one which eagerly gets under the skin with unbridled fun in close quarter.

Have A Party kicks things off and rises up from an encroaching sonic lure with big scythes of guitar and matching rhythms. Everything is an intriguing tease leading to the first vocal rally cry before things settle again into a calm stroll and reflection. It in turn invites ears and listeners to its subsequent chant loaded bellow and a finale which the body, if not already bouncing, can no longer escape. Seriously contagious with a great rock muscularity and edge to it, the track is a glorious invitation into the waiting fiendish clutches of EP and band.

There is no escaping thrusting a Weezer likeness to the following Digital Girl, the LA band one of the major inspirations for the brothers. Even so, the track is ablaze with raw pop punk zeal as it is pop rock catchiness and swiftly inciting physical and vocal participation with its rousing holler before Trudy latches on to its infectious antics for its own particular weave of viral contagion. Something akin to Weezer meets We Are the Physics with Asylums in close attendance, the track just saunters along spilling grooves and hooks like confetti as rhythms cast their own manipulative incitement. Surf pop harmonies escalate the fun and listener’s involvement with a track which never leaves a moment void of creative rascality.

A sonic clamour announces next up Unemployable; a short but attention stalking roar of angst and noise around more of the hooks and enterprising taunts the band seem to instinctively breed. The track instantly and effortlessly leads into inhibition losing shenanigans, reactions even more escalated with Football Song, a Blur meets Television Personalities howl which could easily be adopted by the sport’s fans or haters.

Grow Up completes the line-up of plaintive ejaculations. From its initial vocal wail to the punk rock soaked blaze of sound, the track is a zealously waving finger at immaturity and irresponsible fun whilst creatively providing both.

With each track sparked by traits within modern life, Body Negativity is one spirit rousing adventure. It might not be the best thing you come across in 2018, though it very well could be too, but there will be few as memorable and even fewer as relentlessly enjoyable.

Body Negativity is out now and available @ https://tvcomamusic.bandcamp.com/releases

https://www.facebook.com/tvcomamusic/   https://twitter.com/tvcomamusic

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Buster Shuffle – I’ll Take What I Want

As you shiver over the winter months, body and energy needs something to keep the cold at bay and spirit stomping and Buster Shuffle have just the right tonic in the shape of their new album, I’ll Take What I Want. Bursting with their most virulent and imaginative sound yet, the UK quartet’s fourth full-length mischievously swings and devilishly strolls as it grabs limbs and soul like a rascal puppeteer.

I’ll Take What I Want casts more of the fusion of ska, pop, and rock ‘n roll Buster Shuffle has increasingly pushed and established since emerging back in 2007. Each of their previous albums has added a fresh lick of enterprise and adventure but the street carnival of their latest offering is a whole new ball game and easily the band’s most unique and thrilling proposal yet. Debut album Our Night Out of 2010 swiftly lured acclaim and attention the way of the London outfit subsequently backed by a live success soon seeing the band share stages with the likes of The Holloways, The Wombats, Goldie Lookin’ Chain and Chas ‘n’ Dave, a list which Buster Shuffle over the years has added artists such as Lee Scratch Perry, Frank Turner, Drop Kick Murphys, Madness, The Blockheads, The Rifles, and Flogging Molly. The albums Do Nothing and especially Naked has increased their presence and reputation with unerring fun and craft something I’ll Take What I Want can only vigorously escalate.

With their street wise/reflective lyrics and multi-flavoured sound, Buster Shuffle instantly infest ears and appetite with album opener I Don’t Trust a Word You Say. Straight away a rousing wave of vocal and musical temptation surges through ears, vocalist Jet Baker leading the way with his tones and equally potent piano revelry as rhythms swing. Hitting an impossibly contagious stroll part ska, part old school punk with a dash of fellow Brits The Tuesday Club to it, the song instantly has the body bouncing and passions greedy with its boisterous antics.

The forcibly captivating start only continues as We Fall to Pieces steps in with its folk ska rascality, the song like a fusion of Blur and Tankus The Henge around the throbbing lure of Tim Connell’s double bass and the crisp beats of Terry Mascall. Again Baker’s piano and James Stickley’s guitar collude in creative chicanery as the former’s tones and words tantalise across two minutes of instinctively bold rock ‘n’ roll before Pretty Boy swaggers in with its own infectious dynamics and enterprise. Imagine Television Personalities and again Blur bursting in on Bad Manners and you get a flavour of the track’s gorgeous recipe of enticement.

There is no escaping a rich Madness spice within next up See You Next Week, its determinedly infectious canter pure instruction to the body to dance and ears to greedily devour before The Estate takes the listener into the danger and shadows of modern city life with its spunk pop manipulations. Set across two stages, the day light vivacity of its initial stomp is a darkened night lit rush by its departure, song and imagination running with instinctive eagerness to only increase the already rich impact of the release.

I’ll Be in Peckham has a touch of gypsy to its virulent amble next, its seductive yet off-kilter street  waltz manna to these ears as pretty much the whole of I’ll Take What I Want to be honest but especially manipulating as it sets up the warm gallop of the album’s madness soaked title track. It is ska pop to get frisky with, hips getting a keen workout as melodies and hooks unite in an irresistible web of catchy temptation.

With a throbbing tuba-esque hook to swing from, Your Mommy Is So Hot for Me is simply ska impishness so easy to devour, the band’s constant humour as virulent as their sound as too their lyrical prowess as shown yet again in the predacious flirtation of The Tables Have Now Turned and the indie punk pop jangle of Take Them All. Both songs tease and tempt with their creative twists and unpredictable turns, all lined with the never relinquishing infectiousness of the Buster Shuffle sound.

The album is completed by the folk littered contagion of Banana Thief, its ska spun carnival also embracing a country twang as tasty as its other infectious ingredients, and finally the instrumental skanking and harmonic seduction of the Outro Song. With its sixties espionage/sci-fi TV theme tune air and not for the first time, the golden hues of backing vocalist Carrie Griffiths radiating, the track is a masterful end to a real treat of an album. Also featuring the keyboard and vocal enterprise of Pete Oag, I’ll Take What I Want is sheer pleasure and addiction in one; quite simply another year high for music.

I’ll Take What I Want is out now via Burning Heart Records on iTunes, Amazon, and other stores.

https://bustershufflemusic.com/     https://www.facebook.com/bustershuffleofficial

Pete RingMaster 29/11/2017

Copyright RingMaster: MyFreeCopyright

Jingo – Make Some Money, Buy Some Love

jingo_RingMasterReview

March 11th sees the eagerly anticipated second album from British rock band Jingo and it is very easy to say that it does not let expectations, bred from the band’s previous impressive releases, down. The ten tracks making up Make Some Money, Buy Some Love are the band’s most eclectic bunch yet, at times in an understated way with closer attention revealing the new myriad of flavours and broad imagination bringing them to life. Just as importantly, it is another mesmerising collection of songs feeding in us and their growing wealth of fans an already eager appetite for the band’s invention and carrying the potential to excite another hungry wave of newcomers to the world of Jingo.

Formed by husband and wife, guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, Jingo seem to have made a strong impact with every move since Jingo played its debut live show was supporting Blur’s Graham Coxon. Through a clutch of captivating singles, creatively provocative EPs, and striking debut album The Art Of Loving of 2014, as well as a live presence seeing the London based band take their imagination and craft across the UK and over to the US, France, Germany, and Belgium, Jingo has enticed rich interest and fan support which has through a highly successful pre-order campaign enabled the band to release Make Some Money, Buy Some Love on CD and vinyl as well as digitally.

With its line-up completed by the invention of Nima Safai, Michael Hussain, and Kelly Lenahan, Jingo has from day one never been easy to pigeonhole. They are generally tagged as alternative rock and have found themselves compared to the varied likes of Portishead, The Magic Numbers, Not Blood Paint, Fleetwood Mac, Interpol, and Jess & the Ancient Ones along the way. As Make Some Money, Buy Some Love again proves Jingo spins broad tapestries which explore diversity with zeal to match their eagerly creative imagination.

art_RingMasterReviewRecorded in New York with producer Kahan James, and mastered by Kevin Blackler (Raconteurs, RHCP etc.), Make Some Money, Buy Some Love opens up with Lifer, the alluring tones of Katie cradled by melodic coaxing as the bass strolls with a controlled but carefree grace. Crisp beats add to the enticement instantly flirting with ears, the song’s underlying funkiness infesting its gait and the listener as pop catchiness and lyrical romancing tempt. Drama is never far from a Jingo twist and turn, its boldest attraction lining Katie’s vocal prowess especially here in a gem of an introduction.

All of the track’s qualities and more emerge in the following Sirens and Vices, Its rhythmic bait quickly infecting feet as melody woven grooves seize hips. Both elements add to the flirtatious nature of the song, impassioned vocals and raw, fiery textures growing in the blend of smouldering and raucous seduction. Grabbing ears and imagination from the first second, it only tightens its grip second by second squeezing lustful responses out before making way for the pop revelry of Money. It is instinctive catchiness with a steely backbone and bold attitude though, dancing persistently and mischievously as the song teases with playful coquetry.

From a busy bedlam Gaia emerges with its own melodic grace and emotive eloquence next, Katie joined by the equally potent tones of Jack as keys and guitars paint their own poetic picture over a more forceful rhythmic spine. It is pure magnetism with a just unveiled eye catching video to match.

Never Love Again also has little trouble winning attention and pleasure as its evocative melodies and warmly invasive essences hug captivating vocals. The song never quite reaches the heights of its predecessors but never lacks a second of enjoyable adventure before the outstanding Death Counts takes over. The track is nothing less than melancholic beauty becoming more exotic, almost sinister, and relentlessly beguiling with each passing seduction of passion fuelled notes and vocal fascination.

The body is back jumping around with Let’s Be Friends next; its noir lit drama and tenacious rhythmic dexterity enough alone to enslave the imagination. Katie is like a devious puppeteer in the midst of the brew of fire bred grooves, agitated beats, and frequently concussive energy; her lures as inescapable as the gloriously tempestuous textures making up another mighty highlight within Make Some Money, Buy Some Love.

Last year’s sensational single Sweet Anne follows, Katie and Jack united in crooning temptation as initially the song gently grows in ears. Soon it is in full swing with boisterous rhythms skirting the tangy funk infused hooks and lecherous grooves uniting and barging against each other. It too has an irresistible tempest like texture to its body but equally melodic calm makes a compelling persuasion in between the song’s moments of vociferous and explosive carnival like devilry.

The album is completed by firstly the melodic romance and harmonic charm of Supersymmetry, one simply bewitching encounter with fire in its heart and finally by the pop rock seducing of The Shell. Both tracks solicit emotions and body to get involved in quick time and each leave only a want for more, the perpetual hunger which seems to come with every Jingo encounter.

For Make Some Money, Buy Some Love, Jingo has honed their sound into something as diverse and bold as ever but exploring both with a more seamlessly and easily flowing touch; the result being another Jingo moment which makes the world a better place.

Make Some Money, Buy Some Love is released March 11th

http://jingomusic.com/   https://www.facebook.com/jingomusic/   https://twitter.com/JingoMusic

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

WE-ARE-Z – Easy

Wearez _RingMasterReview

Yet again showing themselves the puppeteer of hips and funk in induced revelry, UK based indie poppers WE-ARE-Z release new single Easy this month, a song that pulls you to your feet to share moves probably best kept under wraps. The song is a virulently persuasive little number, something for ears to wear and inhibitions to depart for from a band making a habit of turning the world into an eager dance-floor.

Formed in 2012, the London based Anglo/French quintet merge individual experiences of playing with artists such as Beyonce, The Waterboys, Pharell Williams, and James Morrison with inspirations ranging from David Bowie, Serge Gainsborough, Talking Heads and Blur to The Clash, Devo, XTC, and Sparks. The band’s debut track Airbrush sparked potent interest in 2014 though fair to say Walkways the following year was the real attention grabber. With its success backed up by tracks like Knucklehead and a live presence which leaves everyone out of breath, you might say that WE-ARE-Z and their songs have become one of UK pop’s eagerly anticipated adventures.

art _RingMasterReviewThe new single pulsates into view, its initial electronic tempting soon joined by rhythmic throbs and vocal bait. The ripe coaxing, speared by the purposeful swings of Guillaume Charreau, increasingly grows as sultry hues caress ears, their lures aligning with a just as potent melodic and harmonic drama. In no time body and imagination are lost in the flirtatious and riveting theatre of the song with the dark rhythms, led by a gorgeously throat bassline cast by Marc Arciero, alone just irresistible. The keys and guitars of Clément Leguidcoq and Drew Wynen sparkle and dance as they entangle with each other around the ever welcoming and tenacious vocals of Gabriel Cazes, he like the ringleader to a band of sonic mischief makers with a delivery which simply lures the listener deeper into the party playing with their ears.

As with previous songs from WE-ARE-Z, our thoughts bring the likes of Shriekback and Franz Ferdinand coming to mind but also there is a touch of Sparks and Talking Heads to a song which, at the end of the day, really only sounds like another highly enjoyable and rather naughty WE-ARE-Z soirée.

Easy is released April 8th via Sputnik Records.

http://www.we-are-z.com/    https://www.facebook.com/WeAreZmusic   https://twitter.com/WeAreZmusic

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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

Sugarmen – Plastic Ocean

cover_RingMaster Review

2015 will be marked by many things for different people in regard to music, and most likely amongst them will be not only the introduction to UK indie rockers Sugarmen through debut single Dirt in April but equally its successor, the rousing infection that is Plastic Ocean. The band’s new song is a tenacious dance of jangly guitars and eighties spiced melodies with captivating energy and joyful enterprise to match, it all making up confirmation of the promise and qualities shown in its predecessor.

The year has been a potent adventure for the Liverpool quartet. Between the singles, the foursome of songwriters/guitarists Luke Fenlon and Chay Heney, bassist Tom Sheilds, and drummer Sam McVann have played two Hyde Park shows with The Who and Blur, whilst amongst their own shows they have shared stages with the likes of Sleaford Mods, The Bohicas, Hooton Tennis Club, Deer Hunter, Metronomy, and British Sea Power. The release of the Mick Jones (The Clash) produced Dirt was a attention grabbing spark in the year too and now matched by the voracious adventure of Plastic Ocean.

The single instantly hugs ears with a spicy melody from within the jaws of a groaning bass and crisp rhythmic jabs. As quickly that eighties flavouring springs its welcoming lure, the song like a mix of King Trigger and through its spicy guitar flirtation, Haircut One Hundred. The voice of Fenlon is just as warmly inspiring as the sounds, feet and hips fully involved by rhythms and the catchy swing of the song as the listener’s vocal chords and a greedy appetite are recruited by the vocal and melodic prowess seducing ears.

Within it’s less than three minutes of length, further magnetic infusions of fresh flavouring emerge to line the excellent dips and leaps in energy, it all adding to the undiluted festivity of the song. Quite simply, the track is an adventurous pop rock party which has the listener in the palms of its boisterous hands.

If you missed Sugarmen the first time, be sure not to miss this second slice of their sound, indeed add it to your playlist for this festive period and spread the goodness.

Plastic Ocean is out now via Rooftop Records.

https://www.facebook.com/sugarmenuk    https://twitter.com/Sugarmenuk

RingMaster 08/12/2015

Copyright RingMaster: MyFreeCopyright

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

Jingo – A.D.D.

Jingo_Reputation Radio/RingMaster Review

Photo – Patrick Auffret

 

With each unveiling of songs since forming and a simply majestic adventure of a debut album last year, we wondered whether the days of saying Jingo just get better and better was coming to an end as surely they could not surpass the riveting might of The Art of Loving. Thankfully that is a massive no as the band release brand new single A.D.D., a simply scintillating teaser of their forthcoming EP due later this year. The theatre of their sound, the intensive creativity of their music is all fuelled by a new voracious energy and imagination whilst emotionally and lyrically, the song is as rich a blaze as ever. So yes this is the UK based alternative rockers Jingo being better than ever again whilst breaching yet another lofty pinnacle in their invention.

The foursome of guitarist/vocalist Jack Buckett, his American wife and vocalist/keyboardist/guitarist Katie, drummer Joseph Reeves, and bassist Chris Smith, Jingo has potently flourished since their first ever show supporting Graham Coxon of Blur, releasing some attention grabbing songs and honing an increasingly acclaimed live presence which alone has shown them to be one of the most impressive bands on the UK rock/pop music scene. Comparisons to the likes of Fleetwood Mac and The Magic Numbers were early declarations but swiftly from the constant evolution and diversity persistently showing in their songwriting and music, Jingo was establishing their own unique identity which came to a head with the album The Art of Loving. In hindsight and using A.D.D. as a new marker, the release was a closing of a chapter in some ways but equally the sensational bridge to new dramatic climes now revealed in the new single.

Cover_Reputation Radio/RingMaster Review    A.D.D. opens with a bulging temptation of firmly bound rhythms wrapped in a tangy melodic enticing of guitar, and already drama colours the air as brewing emotional intensity begins soaking every early note and rhythmic swing. The track relaxes a little as the bewitching tones of Katie incite ears and closer attention, as ever her distinctive voice bringing an air of jazz like resourcefulness against the funkier spicing of the music. Keys add an emotive hue to the song whilst rhythms offer the shadows, everything building slowly but surely towards the irresistible flame of the chorus. It is a point where the song opens up and explores an even more energetic and provocative landscape, within which the song’s powerful lyrical and vocal narrative further blossoms. The song just grows bigger and bolder with every passing second, angst and passion increasingly and intensively dripping from every note and syllable as it heads into a blaze of a finale though the song’s parting moment is a just as pungent kiss of vocals and a reflective melody.

From its brilliant artwork provided by another side to Katie’s impressive talent, A.D.D. is pure aural beauty. It is a beast of a song too, generating a passion and emotion translated as physical intensity which most out and out heavy rock bands would kill for. The blood of Jingo’s music is melody though and that is as feverish and explosive as ever. Can the band top this we ask, well we are not betting against it.

A.D.D. is available to stream now @ https://soundcloud.com/jingomusic/add-2 whilst its Launch Show is on June 11th at Old St Pancras Church in London. See links below for more details.

https://www.facebook.com/jingomusic   https://twitter.com/JingoMusic

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

We-Are-Z – Walkaway

pic by@AndyWillsher

pic by@AndyWillsher

The song might be about “taking a journey into the recesses of consciousness, exploring perceptions and angles that don’t add up”, but musically Walkaway is just one inescapable funk ‘n’ roll devilment of indie pop come new wave virulence. The song is the new single from We-Are-Z, a UK band which on the evidence of their new release, springs a sound on the senses as agitated and warped as it is infectiously magnetic. It incites body and imagination with tribal like rhythms amidst paranoia kissed sound, each racked with St. Vitus dance like activity within theatrical melodies and mellow washed vocals. The track is pure temptation, like Shriekback meets Late Cambrian in a Two Door Cinema Club embrace, yet different again.

The London based Anglo/French quintet formed in 2012, with its line-up already seasoned musicians bringing experiences of playing with the likes of Beyonce, The Waterboys, and James Morrison into the mix. Debut track Airbrush swiftly drew strong attention and support from media and fans alike, whilst the band since then has lured in diverse comparisons from Vampire Weekend to Devo and Franz Ferdinand to XTC. Inspirations are equally varied within We-Are-Z, the likes of David Bowie, Serge Gainsborough, Talking Heads, Blur, The Clash, and Static cited but as their new single shows, the band ultimately emerges with something yes a little familiar but perfectly peculiar to them.

Walkaway from its first touch is a rampant shuffle of jabbing beats and a dark flirty bass lure from Guillaume Charreau and Marc Arciero respectively. The guitar of Drew Wynen adds a lively temptation to the attention grabbing start also, little but gripping hooks and slithers of melodic spices a flirtatious tempting adding to the instant magnetism. Seductive and quirky keys are colouring the song further next, Clement Leguidcoq bringing a smouldering coaxing seeping around and within all the other tenacious textures at play whilst vocalist Gabriel Cazes has a drama and flirty quality to his insatiably vibrant tones and harmonies. There is no escaping the enslaving effect of the song, the puppeteer like lure of rhythms on limbs and the addictive contagion of everything else on voice and emotions, a proper feel good treat.

According to reliable sources, with an energetic and irrepressible live presence to match the adventure of their new single alone, it is easy to suggest we will all be hearing and devouring a lot more of We-Are-Z from hereon in.

Walkaway is available via Sputnik Records from May 18th

http://we-are-z.com/   https://www.facebook.com/WeAreZmusic

RingMaster 17/05/2015

Copyright RingMaster: MyFreeCopyright

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