Tender Age – Disappear Here EP

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Their sound is a challenge and seduction hard to shake off; an infestation of noise and harmonic invasiveness which runs at odds with the band’s name yet has an unfussy innocence and bold outlook in thought and voice which compliments it. The Oregon hailing Tender Age are the sculptors of the bracing proposal and the Disappear Here EP, the evidence of its compelling persuasion.

The successor to the successful Get High single of last October, Disappear Here provides three new entanglements of the senses, psyche, and the band’s experimental pop alongside two startling and fascinating covers which swiftly feel as if they belong to the imagination of Tender Age. Whether you wish to describe the band’s sound as bedroom pop, caustic shoegaze, or lo-fi indie, and it is all that and more, it makes for an ears and imagination bracing incitement which feels even more sonically bullish and creatively bracing on the new EP compared to the previous single alone. Recorded, mixed and produced by the band and Eric Sabatino, Disappear Here invades with fuzz fuelled guitars whilst a near toxic scuzz of noise corrodes the air. Within that though melodies smoulder and flame whilst vocals serenade with beauty undiluted by the rawness around them.

art_RingMasterReviewIt opens with Lowers, an initially low key affair with slowly unwinding rhythms leading ears into the enchanted landscape of vocal seduction and melodic expression. As swiftly though, the abrasing fuel of the band’s sound is potently shaping song and thoughts as the guitars of vocalists Tauna Leonardo and Elaina Tardif, matched by fellow six string craftsman Christopher Klarer, entwine and evolve into darker and harsher protagonists. The track is mesmeric, an absorbing trespass which especially hits the sweet spot when the sonic animus of noise takes over and violates psyche and senses.

It is a thrilling start matched by the melodically hazy Delirium. It is easy to offer My Bloody Valentine as a hint to the infectious bond between ear and song which quickly grows, though equally a whiff of bands like Throwing Muses and Breeders comes to mind too as the lighter elements float around the rhythmic spine and shuffle of drummer Nick Ferrucci and bassist Bryan Robertson. Less demanding and no less bewitching than its predecessor, the song slips away for the outstanding devilment of NO. Discord drips from every note and syllable offered with fuzz expectantly lining the walls of the mouth-watering enslaving of ears and imagination though even that seems to wear even more disorientating off-kilter devilment . British eighties Young Marble Giants nudge thoughts as the song resonates and pulsates with its sonic toxicity, their lo-fi beauty an undercurrent to the dissonant majesty at play within this gorgeous encounter.

The best track on the EP is followed by the two covers, starting with the Bobby Darin classic Dream Lover. Tender Age twist it, turn it inside out, and dissect it again with their sonic prowess yet still retain the melancholic air and melodic embrace the song has forever endeared ears with. Its examination of the senses and igniting of lusty reactions is followed by I Love How You Love Me; the Paris Sisters gem in turn infected and explored by the band’s raw simmering sound and unique imagination. Spoken vocals collude with sonic smog, haunting and romancing the senses simultaneously whilst bringing a kiss of the original to bear on nostalgic passions for an alluring and highly enjoyable finale.

The Disappear Here EP is a beguiling and at times almost rabid tempting of body and soul from a band which continues to show itself as one of the unique voices in noise and melody bred invention. So be bold and be blessed by exploring the raw world of Tender Age is our suggestion.

The Disappear Here EP is available now digitally and on cassette and 12” vinyl @ http://tenderage.bandcamp.com/album/disappear-here-ep-11-vinyl-cassette via SINIS Recordings.

http://tenderage.tv/   https://www.facebook.com/TenderAgepdx

Pete RingMaster 20/04/2016

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The Amputees – The Hitchhiker’s Guide To The Amputees

band photo_RingMaster Review

It has been just over two years since US garage punks The Amputees stirred up strong attention for themselves with the Scream EP, its body and success building on the similarly appealing beginnings founded in its predecessor Commence The Slaughter a year earlier. Always a busy live proposition, now the seven strong collective of musicians return from the studio with The Hitchhiker’s Guide To The Amputees, a four track roar proving their promise drenched sound has now come of age.

To be fair, the new 7” EP is also rich in further potential too, it more the beginning of a new chapter of exploration than a final destination in sound. From day one, The Amputees have never been predictable, in the style of songs, the direction an EP might go, or the line-up at shows but always the septet makes a potent and stirring impact and The Hitchhiker’s Guide To The Amputees is no different; in fact it is the band’s finest moment to date.

front cover_RingMaster ReviewFormed in 2011 by vocalist/guitarist Louis Ramos, the band consists of Gary Young (guitar), Kaleen Reading (drums/guitar), Carrie Ramos (tambourine/vocals), Geena Spigarelli (bassist/vocals), Soledad Alvarado (bass), and Nova Luz (vocals/guitar/bass); musicians uniting in New York City from various US states. Inspirations range from The Beatles and Fleetwood Mac to The Sex Pistols, The Velvet Underground and Black Sabbath to Nirvana amongst many; influences which no doubt go some way to the diversity of the band‘s sound and songs over their trio of EPs.

The new encounter opens with Al Hammer, the song hugging ears with a controlled but dirty guitar before launching into a fiercely rousing slice of punk ‘n’ roll. Louis Ramos immediately stirs things up vocally as riffs and rhythms unite in a combative yet infectious stroll whilst hooks come with a mischievous tempting. In no time a thick anthemic quality entices and grip ears and appetite, infesting its potency into the vocals too as fiery grooves and sonic enterprise add their tenacity to the inescapable contagion driven by confrontational rhythms.

The song is superb, alone sure to wake up broader spotlights upon the band, though the following Dogrose will pull its fair share of keen appetites too. A boisterous riff steps forward first with a lure which is almost Rocky like in its challenge and invitation, though the biggest bait is the female vocals which lay tempting tones across the emerging song almost as instantly. We cannot say which of the ladies provides the lead, but her tones only seduce as the song bristles and rumbles in something akin to Breeders meets The Passions with a touch of The Raincoats to it.

Ego dives straight in next, riffs and beats inspiring a feisty stomp as vocals and guitars spread their raucous attitude and tangy resourcefulness respectively. A minute and a half of punk ferocity, the song as its predecessors, also uncages the keenest hooks and spiciest melodic twists to grab attention and ignite the passions before Dogmother grumbles into view to bring the EP to a cantankerous close. Grouchy and compelling, band and song merges grunge and garage punk to infest body and psyche with a proposal which swiftly has you heading back to the play button once it departs.

As suggested The Hitchhiker’s Guide To The Amputees is the band’s finest moment so far, and clearly so, such its step forward from those previously impressive encounters. The Amputees should be stirring up crowds and ears far from home and after their new EP escapes that might just begin to happen.

The Hitchhiker’s Guide To The Amputees is released on February 13th on Money Fire Records.

http://www.theamputees.org   https://www.facebook.com/theamputees

Pete RingMaster 21/01/2016

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BLiNDNESS – Wrapped In Plastic

BLiNDNESS2015_RingMaster Review

It may have been a long time coming but the debut album from BLiNDNESS makes time immaterial as it sizzles on the senses from start to finish spreading a dark wave electro pop seduction which is just as likely to snarl and explode with attitude as it is to smoulder and caress. Wrapped In Plastic is a sonically and imaginatively charged incitement, an adrenaline driven helter-skelter of sound and energy that ears and thoughts quickly bask in. The accompanying press release to the album calls it a “rollercoaster ride of beautiful chaos” and that about says it all.

Formed in 2008, BLiNDNESS consists of Beth Rettig (vocals, programming, noise), Emma Quick (bass, noise), and Debbie Smith (guitar, feedback, noise) previously of Curve, Echobelly, and Snowpony. Since emerging the London based band has persistently been an explosive proposition on the Capital’s live scene and beyond. Now it is the turn of Wrapped In Plastic to set the fuse to fresh and major attention, and from its opening proposal it easily leaves ears and appetite seriously engaged.

Serves Me Right is the first protagonist and from an opening sonic lure which has the senses flinching whilst anticipation licks its lips, begins a perpetual transfixing swiftly enhanced by a grizzly bassline. With pulsating electro beats and a scuzzy air to the guitars lining up soon after, the song resonates and enthrals as it broadens its landscape, the warm but steely vocal tones of Rettig riding its thick melodic mesh of sound and intensity to further stretch the captivating start.

Blindness-Wrapped-_RingMaster Review   The guitar sculpted Deserving keeps the strong potency going with immediate effect next, fiery flames from the strings of Smith igniting the air as the dark tones of bass and gripping tones of Rettig bring contrast and balance. Pungent beats spark a meaty stride to the slice of fuzzy rock ‘n’ roll, the song emerging like a mix of Garbage and Breeders dug for extra spicing into the originality of BLiNDNESS. Contagious and bracing, the track pushes the album up another gear to a stirring level matched as magnetically and forcibly by Last One Dies. Tenaciously simmering with electronic imagination and brewing a sturdy and bewitching tapestry of melodic and psych rock, the third song simply rumbles and flirts with increasing energy across its vibrant body.

A gentler croon emerges with No One Counts, though as all tracks there is a volatile edge to sound and invention which means unpredictability is as ripe as melodic and fuzz soaked enterprise. The bass of Quick once more adds a delicious shadow rich twang to proceedings whilst melodically and in creative crescendos there is an air of Muse to the fiery encounter, though just one whisper in a few to something ultimately individual to the band.

Both Sunday Morning and Humming Song wrap ears to pleasing effect, the first vocally and melodically with a mellow tone and reflective shimmer. Its rhythmic shuffle adds a kinetic energy and catchiness to its mesmeric busyness whilst its successor initially slips into an even slower and elegant serenade, swimming over the senses and around evocative rhythms, before brewing a dramatic blaze of sonic and emotive intensity then repeating the cycle once again. The theatre and vocal drama of the song is bewitching, and though neither inflames the passions as powerfully as those before them, each leaves a want for more.

It is a hunger quickly fed by the dark textures and atmosphere of Broken. There is an open shoegaze glow to certainly vocal delivery and melodies throughout the album but probably at its most vivacious here, though that is beautifully tempered by the underlying growl of bass and character of the track, and indeed its almost acrid swamp of sonic imagination and ferocity. Hypnotic until its final parting breath, the track is a meditative, almost carnal incitement.

All In One raises the temperature of the album next, its physical presence as mercurial as its invention. BLiNDNESS entangles seventies psychedelic rock and nineties alternative/ electro rock into its resourceful scorching fire, feedback and celestial acidity as always an ever potent presence. The track ignites ears with ease before Confessions ensures a blistering close to the album with its bluesy inferno of intoxicating rock ‘n’ roll. It is an intense and thrilling end to Wrapped In Plastic, a release finishing on a high and sparking the want to go again.

To be particularly picky there is a similarity in certain areas of some songs which threatens to smother the invention and creative adventure specific to each track but close and constant attention covers that, Wrapped In Plastic a release you need to spend time with to reap all its strengths and qualities. BLiNDNESS definitely rewards such focus though with an encounter which leaves ears ringing, bodies sweaty, and satisfaction bloated.

Wrapped In Plastic is available now via Saint Marie Records @ http://saintmarierecords.limitedrun.com/products/553220-blindness-wrapped-in-plastic

http://www.weareblindness.co.uk   https://www.facebook.com/weareblindness

RingMaster 08/07/2015

Copyright RingMaster: MyFreeCopyright

 

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Sassy Kraimspri – Cock Fight

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Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

http://www.sassykraimspri.com/   https://www.facebook.com/SassyKraimspri

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

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Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.

https://www.facebook.com/forgerylit

9/10

RingMaster 28/05/2013

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Me, You and Thomas – Eventually

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    With a lo-fi indie rock sound energising the air as well as the senses through potent fuzzy sonic persuasion, Eventually the new and second single from UK duo Me, You and Thomas continues the impressive emergence of a fresh sound which started with their debut single Repeat. The self-released song caught the imagination of a great many and with the new Howling Owl Records released track, the band is set to step into a brighter spotlight.

Consisting of Rhianna Berarey (vocals, guitar, piano) and Joe Sherrin (drums), the Bristol two-piece cement their emerging presence in UK indie music with a trio of songs which seduce and provoke with equal strength and accomplishment. The title track Eventually Frontimmediately takes a grip with its opening salvo of rolling drum hooks and engaging guitar beckoning, their touch wrapping an inviting arm around the shoulders of the senses, luring them deeper in the focus of the song and the impending scuzz lined bluster of its heart. As it parades its impressive presence within the ear there are loud whispers of bands such as Au-Pairs and Girls At Their Best as well as the scintillating discord challenging likes of Breeders and Throwing Muses apparent. The song is as infectious as it is aurally evocative and recruits the passion with ease to its contagious cause rewarding with intense rewards in return.

The following Stop Here has a less energetic freedom but a more imposing depth to its reserved gait. Again the rhythms of Sherrin cage and lead the intent of the song whilst the guitar of Berarey brings a steely narrative to the sound whilst her soft yet sharp vocals seduce with a lyrical embrace to match her open tones. Into its stride the track has an agitated atmosphere which soaks the ear with an inviting menace to make a distinct contrast to its predecessor but a co-conspirator in securing a solid engagement of the emotions.

Closing track Boundary takes another step into a slower emotive stirring which though it lacks the more instant attraction of the previous pair emerges as an engrossing and thought forming encounter. Again the bands previously mentioned comes to mind with elements of The Passions added, but the sound even with those references to old bands has a fresh bite to its melodic excursion.

With an extremely limited run to its CD version, Eventually is a single you need to snap up quickly but more importantly it is another step for a band we feel sure we will hear a lot more of.

www.facebook.com/MeYouThomas

7.5/10

RingMaster 08/04/2013

Copyright RingMaster: MyFreeCopyright

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Skyline Pigeons: House of Mysteries

With a kaleidoscope of touching emotions, sensual textures, and warm hauntingly enveloping atmospheres the debut album House of Mysteries from US band Skyline Pigeons is truly one of the most mesmeric releases heard in a long time. Bringing a blend of shoegaze rock psych-pop with flushes of folk, post-punk, and psychedelic-rock the release is an inescapable immersive wrap around the senses. Within the distinct unique weave of sound that is Skyline Pigeons the additional elements of country and garage rock all combining to create a sound which cuts across the decades bringing a vibrant yet dark breath to the release.

The band is made up of two sisters from Santa Barbara/Los Angeles, Roxanne and Caroline Teti. The duo crafted House of Mysteries with inspiration raging from not only their personal musical influences but emotionally from the experience of losing their home and possessions to the Santa Barbara wildfires and the process of starting again. The tracks within the release are part of an emotional journey for the girls translated perfectly for the listener to absorb and feel with each song exploring and challenging the scars and fears borne from the devastating event. With the band completed by Andrew Harrison, Ben Potter, and Orly Gal and the album recorded with and produced by Ryan Hadlock (Blonde Redhead, Ra Ra Riot, The Black Heart Procession, The Gossip) at Bear Creek Studio in Seattle, the album is a remarkable pop rock entry.

From the moment first song The Cycle weaves its melodic way around the ear there is a sense of something special emerging to send tingles through the spine. Once the beauty of the vocals and emotive Wurlitzer keys wrap themselves around the beckoning bass, firm beats and endearing guitar strokes, the track slowly envelops the senses and thoughts building to a plateau of emotive warmth and stirring energy tinged with a soulful country rock lilt.

Off of this impressive start the following Get Up raises the bar even higher. The anthemic badgering from the song is deeply infectious as the song confronts the wrong kind of personal acceptance with a stunning mix of Breeders and Belly like grace and melodic imagination. The song is glorious and brings a deep sigh of disappointment when it ends.

    House of Mysteries is pleasingly eclectic throughout bringing diversity to fit the varied emotive thoughts and heartfelt issues dealt with lyrically. Songs like the reflective slightly haunting Together and the rougher textured pop enchantment that is Tennessee are as openly diverse and equally wondrous as the songs before them. Within the latter of the two the infectious pull is especially immense and unavoidable but to be honest every song no matter the heart and breath it expands from is as captivating as another.

The golden ballad whisper of Lucid finds the band in further hypnotic lush emotive fields, its balance and poise the strongest aural siren to find the ear and further evidence of the astounding songwriting and its realisation upon the album. As much as the sounds, lyrical inventiveness and the amazing voices of the girls, it is the seamless fit and thought brought to all aspects within the pulsating soundscapes which impresses as deeply. The alto and soprano ranges of Roxanne and Caroline belong within any myth spun by sailors dashed upon rocks, their beauty that full and far reaching but it is as much their organic mix and blend with the other instruments and skills which ignites their fullest majesty.

Tracks such as Alright and High bring more sultry irresistible splendour but the brightest sun on the album comes with Fire She Blues, a blistering piece of sixties psychedelic toned post punk ingenuity. The track is a primal trigger with continual insistent rhythms and fiery melodic imagination. As the song explores its path the energy rises and flares with scorched sonic and blues dripping explosions. Almost like a pop version of Blood Ceremony the band opens up every note and chord with a raw yet compulsive intensity to engineer the most inventive and impressive song on the album.

House of Mysteries is a masterpiece and the declaration that Skyline Pigeons and their unique talent will be bringing even greater rewards for years to come with what is real pop music.

RingMaster 07/06/2012

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