Matinée – Empty

matinee_RingMasterReview

With the melodic charms of debut album, These Days, still luring attention over a year later, backed by subsequent singles, the Italy hailing, London based Matinée are poised to unveil a new magnetic encounter posing as a single. Empty is a warm kiss on the senses, a melodic blush of elegance and catchy enterprise which equally is a rousing adventure hard to stop feet and enjoyment showing eager reactions to. The single in many ways echoes the creative exploits of that first album but at the same time pushes the invention and rich weave of flavours to new captivating heights.

Since emerging a handful of years back, Matinée has persistently impressed and fascinated a growing following of fans and attention. The success of their album has been matched and backed by a live presence which has drawn its own praise with the quartet sharing stages with the likes of Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power and many more along the way. Empty sees the band linking up with Tony Doogan (Mogwai, Carl Barat, Glasvegas) again, the producer repeating his part of These Days, alongside Chris Geddes art_RingMasterReviewfrom Belle and Sebastian this time around.

Empty opens on a gentle rhythmic pulse and a charming drizzle of melodic rain, each synth cast drop a golden burst of warmth and enticement. The vocals of synth/guitarist Luigi Tiberio only adds to the attraction, his Italian accent bringing a touch of the Mediterranean and further infectiousness. Once the bolder, darker hues of Alfredo Ioannone’s bass and Alessio Palizzi’s lively beats join the affair on ears, the song is an enthralling blend of light and shadows amidst darker emotion and creative festivity.

Just as impressive in the song as the sounds offered, is the way sometimes the keys seem to lead the way, in other moments the guitar of Giuseppe Cantoli do or the vocals of Tiberio potently backed by those of Ioannone. The reality is that everything is equal yet the ebb and flow of the song, its rich crescendos provides a deceptive and very pleasing drama which consumes attention.

If you have yet to enjoy a Matinée performance, Empty is the perfect moment and adventure to spend your ticket on.

Empty is released April 29th via Neon Tetra Records.

https://www.facebook.com/thematineeband

Pete RingMaster 25/04/2016

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/

Matinée – These Days

Matinee

Taken from their acclaimed debut album, Matinée confirm themselves as one of the UK’s best emerging melodically magnetic propositions with new single These Days. The title track of their strongly impressing full-length, the track is a warm and vibrant romp eager to involve the nation’s ears and passions in its tantalising dance. It is a catchy adventure of melodic enterprise and indie rock tenacity, a capture of ears and imagination reminding fans of and nudging newcomers towards their colourful sound and striking album.

With a name inspired by the Franz Ferdinand song of the same name, the Italy hailing, London based Matinée is no stranger to potent attention through not only their singles and album but a live presence which has seen them sharing stages with the likes of indeed Franz Ferdinand as well as Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many. Not only at home but into Europe and especially Italy, their stature has increasingly grown and been matched by media attention over time too, most potently through the Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days album which pushed the quartet of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals, bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums) into the broadest recognition yet.

Now it is the turn of their single to bring another wave of keen interest their way and from its opening moments These Days shows a potency to do just that. The opening tangle of guitar and synth bred melodies is an immediate inescapable invitation, especially once the warm tones of Tibeiro join the enchanting start. The song is soon showing bigger muscles though as a dark bassline colludes with punchy beats, their union an imposing yet respectful frame around the emerging weave of melodic revelry and harmonic temptation. It is a lively and invigorating mix, not explosive but a captivating festivity of voice and sound gripping feet and thoughts as easily as ears and emotions.

The song is pure rock pop for a summer day but similarly a warming romp for colder and darker moments. The perfect doorway into the arms of their album, though not the greatest moment on said release, which with the single’s impressive proposition will only excite newcomers, These Days is a heartily and thoroughly recommended encounter, album or single.

These Days is released March 16th

http://www.matineeband.com/   https://www.facebook.com/thematineeband

RingMaster 16/03/2015

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://reputationradio.yooco.org/

Matinée – These Days

10734166_10152466117388034_4360113292011008281_n

A release radiating melodic smiles and mischievous energy from start to finish, These Days from UK indie rockers Matinée is one of those encounters which lingers and niggles away at the psyche in and away from its magnetic presence. The album tantalises and flirts with constant imagination and revelry so that whilst it does not exactly light a fire in the passions it is a persistent and refreshing incitement for ears and emotions. There has been an eagerly growing buzz around the East London quartet and the release of their debut full-length reveals exactly why.

Taking their name from the Franz Ferdinand song of the same name, Matinée has earned acclaim and support through their lively stage presence and vivacious sounds. The band has supported the Scottish band on shows in Italy, that leading Matinée to be invited to play numerous major venues in the country whilst receiving strong radio support. With the sharing of stages with the likes of Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many also under their belts, the band is on a feisty rise, an ascent already reinforced by their singles starting with the acclaimed City Lifestyle. The Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days is the next potent slice of persuasion from the band, a festival of pop rock sure to awaken a broader and keener spotlight upon the foursome of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals , bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums).

Opener Bigger Picture instantly grips ears and imagination as an electro pulsing is swiftly joined by heavy resonating rhythms. It is a compelling entrance which only increases in potency as vocals bring their effect wrapped presence into an almost post punk temptation. Choppy riffs link up next as the song shifts into a synth pop/ electro rock stroll complete with imposing shadows and melodic provocation. There is also an eighties feel to the song which only adds to the evocative colour and air of the bewitching and inventively intriguing encounter.

The captivating start is followed by the mellower White Lies, keys bringing a gentle caress initially which is cored by a dark roaming bassline. Energy is raised as a catchy and harmonic chorus grasps ears, the vocals of Tiberio and cover170x170Ioannone an engaging blend which filters through into the surrounding crystalline sounds. The feistiness of the chorus leaves a spark from which the rest of the song also finds greater urgency in its presence, blooming into a controlled yet rampant charge of contagion before the album’s title track and recent single unveils its similarly infectious parade of enterprise. The track is a transfixing shuffle of elegant melodies and emotively expressive vocals within another pungent rhythmic frame, an easy addiction and thoroughly enthralling slice of creative revelry.

Both Said I and City Lifestyle keep attention and appetite bound, the first a smouldering coaxing with wiry grooves and hooks around the persistently heavy footed and thrilling bass lure from Ioannone giving greater depth to songs. There is a touch of Futureheads to the song, especially in its more agitated moments as a whispering eccentricity provides richer intrigue and sonic radiance. The song pulsates as does its successor with its flirty swagger and fleet footed shuffle. It is a treat of a persuasion, an insatiable dance of Arctic Monkey like musical and vocal hooks aligned to Editors bred melodic mischief, and one of the major pinnacles of the album.

     All The Good Fella’s is no slouch at exciting ears and feet either, its slower pace still a bubbling stroll as acidic melodies and spicy vocal harmonies play and tease over a punchy rhythmic stepping. The bass again brings the perfect contrast and compliment to the creative flames provided by Cantili and the warm keys of Tiberio. It is a template for all the songs yet not one sounds like another as proven again by Nobody Like Me and its sinew guided vibrant prowl through a raw and fiery sonic weave. The heaviest track on the album but still a virulent infection to ignite feet and emotions, the song provides another side to the character of the album and Matinée’s songwriting, even if maybe it lacks the spark of some if its predecessors.

New single Missing Pieces of a Jigsaw is next and straight away spreads a masterful cloak of contagion and melodic luster across the senses, sweeping the imagination and emotions up in its lively sunshine before passing them onto If You’re Gone. Featuring Mike Cook and Chris Geddes, past and present of Belle and Sebastian, the track is a thick and enthralling ball of impassioned melodies and expression enriched by the brass flames of Cook and rampant keys of Geddes.

The album comes to a close with 40 Years Old, a sultry and slow burning song which fails to excite as most of its companions on the album but still ensures the album leaves on a potent tempting.

From a strong first impression These Days just gets bigger and stronger with time, as mentioned never setting a fire but inducing a romance in thoughts and emotions through its presence and sound which most bands can only dream of. Matinée is heading towards very healthy and exciting horizons if the potential and majesty of their first album is anything to go by.

These Days is available via Neon Tetra Music now @ https://itunes.apple.com/gb/album/these-days/id927953442

http://www.matineeband.com

RingMaster 04/11/2104

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Sparrow & The Workshop – Murderopolis

hi_res_sparrowEDIT

Sparrow and the Workshop is one of those bands that music always needs, a temptation which is as beautiful as it is shadowed and as expansive as it is intimate. Previous albums, the debut Crystals Fall of 2010 and Spitting Daggers the following year, marked the Scottish band as melodic entrepreneurs of imaginative weaves fusing indie folk and rock pop, songwriters creating rich and emotive escapades soaked in aural colour and resourceful enterprise. The Glasgow trio return with third album Murderopolis, a release which explores their invention for greater and deeper adventure whilst sculpting a kaleidoscope of passion tingling elegance. It is a seduction of evocative textures and mesmeric caresses which quite simply is rather special!

The band consists of Jill O’Sullivan (vocals, guitar, violin), Gregor Donaldson (drums, vocals), and Nick Packer (bass guitar, electric slide guitar, basstard), a threesome which have not been strangers to acclaim certainly since their debut album. The name of Sparrow & The Workshop has equally been wrapped in hungry responses for their live performances which across the time has seen them play alongside the likes of Brian Jonestown Massacre, British Sea Power, Idlewild, Broken Records, Sivert Hoyem, The Lemonhead, Thee Oh Sees and more, as well as numerous festivals to great success. Released via independent label Song, by Toad Records, Murderopolis strolls through another potent plateau which matches the virulent seduction of previous album Spitting Daggers, whilst walking further diverse adventures.

The band arguably unleashes their greatest shadows at the start of the album, though those dark tints are always teasing the senses MurderopolisHiResand thoughts throughout the album musically and lyrically. Opener Valley of Death is a smouldering triumph, a track which instantly sets the release into the strongest wash of acclaim. Bold yet reserved beats and moody melodic provocation pokes the ear first, opening up attention for the as ever sirenesque tones of O’Sullivan. Her voice is one which seduces and caresses the senses but has a nip in its caress which allows darkness to play with the enchanted emotions already inspired. Like a sun in the skies of the dramatic she guides the listener into a warm soak of colour fuelled melodies and harmonies for the chorus, the track then returning to that provocative hypnotic enticement which started things off for the verses. Those dark and expressive leads have the same kind of wanton visual and emotive sway that marked the opening credits to eighties UK TV show Tales Of The Unexpected, a tempting yet menacing seduction. It is a powerful and riveting track, a song with a sixties call to its breath and vocals, which alone seem like a mix of Helen Shapiro, Kristin Hersh, Chantal Clare, and Debbie Harry.

From such a potent start the album retains its compelling grip with the following Darkness, another shadowed call for the passions which sows the seeds with an opening throaty bass beckoning and reined in male vocal chants. It is a slowly prowling encounter, the song walking with intent around thoughts with lone strands of melodic taunts riling up the appetite further. With a touch of The Passions to it the song widens its lure with the again excellent vocals of O’Sullivan before sealing the lustful deal with heated flames of soaring vocals and acidic mastery, crescendos which ignite the fullest appetite. Like the first, the track explores the depths of light and dark with breath-taking craft and imagination leaving an already awoken hunger for more seized by rabid urgency.

The album continues to show it is as diverse as it is absorbing, starting with the stunning Odessa, a song as different to the opening pair as it is a continuation of flawed light and emotional incitement. A melancholic mesh of vocal, keys, and dark strings gently wash through the ear at first before a strong pause makes way for an equally rich narrative of guitar and rhythms which turn up the heat a touch more. It is a vibrant passion sculpted song which haunts thoughts with classy enterprise and emotional exploration, its latent energy brewing up and exploring the limits of the impressive songwriting, its realisation becoming more intense and magnetic the further towards its fiery climax the band drive.

Through the likes of the first single from the album Shock Shock, a meeting of The Pixies and The Shangri-Las in a folk rock atmospheric haunting wrapped in a sonic senses courting ambience, and the tantalising Water Won’t Fall with its scenic paint and crystalline touch, the band raise new emotive adventures whilst the title track is a noir tinted flame of seventies spiced melodic rock and Wicker Man laced folk which transforms the landscape of the album into a new distinct dance of mystique.

Released the same day as the album, May 27th, new single The Faster You Spin sets another pinnacle for the album. Another song rippling with an almost predatory intent through heavier melodic rock feistiness, it conjures the strongest contagion with searing flames of sonic and melodic… well eroticism seems the best word to describe it, complete with an ardour inducing addictiveness to its suasion.

Further songs in the scintillating Avalanche of Lust with its wonderful bass itch and the deliciously incendiary Flower Bombs, a song with an array of bewitching infectious climaxes around slow post punk taunting ingenuity, push the boundaries of the album and listener’s greed yet again whilst the closing pair of The Glue That Binds Us and Autumn to Winter leave an irresistibly effective temptation to start the whole emotive course of triumph again.

Murderopolis is a scintillating release from a band which walks beauty and darkness like no other. If Sparrow and the Workshop have yet to guide you through your and their invigorating passions than this album is the perfect introduction.

www.sparrowandtheworkshop.co.uk

9/10

RingMaster 26/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Sparrow & The Workshop: Shock Shock

    sparrow.....

    2011 saw the release of Spitting Daggers, an impressive and enthralling album from Glasgow based band Sparrow & The Workshop which certainly for us triggered a lingering attraction to the imaginative indie folk sounds and invention of the trio. Now they have returned with new single Shock Shock and a new evolution of their already striking presence, the song as enthralling as anything they have produced before but with a deeper expanse and richness of ideas to fully capture the imagination.

Formed in 2008, the threesome of Jill O’Sullivan (vocals, guitar, violin), Gregor Donaldson (drums, vocals), and Nick Packer (bass guitar, electric slide guitar, basstard), soon were drawing critical acclaim with the release via Distiller Records of debut album Crystals Fall in 2010. The following Spitting Daggers elevated their reputation and recognition further with its engaging and evocative creativity whilst tours and performances alongside the likes of Brian Jonestown Massacre, British Sea Power, Idlewild, Broken Records, Sivert Hoyem, The Lemonhead, and Thee Oh Sees only further enhanced their status.

Released on Song, By Toad Records, Shock Shock is the fore taster of the third album from the band due later in the year and a compelling declaration of the new venture in sound the band is exploring. The single finds the band fusing their still vibrant folk enchantment with a feisty fuel of rock and haunting ambience. Within seconds the song offers a sinew and intensity new to previous releases though it is an evolution to their already impacting ideas and imagination which marked their previous album. From the start guitars paint an emotive fiery tapestry to wrap the melodic vocal caresses of O’Sullivan in, whilst the bass of Packer adds inciting yet inviting shadows with its throaty resonance. It is the atmospheric wash though which adds the final provocation for thoughts and senses, its passion courting sonic cloud a slightly abrasive yet golden voice to bring an additional delicious persuasion.

Inspiring loud whispers of The Pixies, Throwing Muses, and The Shangri-Las in many ways, Shock Shock is the perfect invitation and temptation to Sparrow & The Workshop and their upcoming album, a release which is sure to have much anticipation waiting for it after the single ends its own persuasion.

http://www.facebook.com/sparrowandtheworkshop

8/10

RingMaster 11/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Broken Links: Disasters: Ways To Leave A Scene

There has been a little bit of a stir brewing around UK rock band Broken Links and after hearing their debut album Disasters: Ways To Leave A Scene a few times it is easy to see why. To be fair it only took a couple of engagements with the vibrant and compelling release to be convinced but such its magnetic and powerful pull the resistance to returning time and time again was weaker than a paper boat in a tempest.

Since forming around four years ago, the trio from Southampton has seen a slow but very solid rise with their potent mix of post punk, rock, and industrial rock with strong whispers of new wave, winning over hearts consistently along the way. Certainly locally they are one of the most talked about bands and with the release of a trio of well received EPs have built a fan base which is loyal and feisty whilst moving farther afield. Influences come from the likes of Joy Division, Depeche Mode, Nine Inch Nails, Manic Street Preachers and Bush, flavours which Broken Links evolved into their own unique sound. The result is songs which trigger all the keen responses and taste buds their inspirations ignited, whilst opening up new depths of pleasure for themselves. Their eclectic sound also makes the band an easy and effective fit with many genres which their sharing of stages alongside bands such as British Sea Power, The Boxer Rebellion, InMe, My Vitriol, 22, Official Secrets Act, Fighting with Wire, and The Xcerts shows.

Disasters: Ways To Leave A Scene brings many of the tracks which featured on those early self released EPs with a couple of new ones to create a stirring and towering expanse of emotive and melodic invention. Even though the release strikes a match to open a full magnetism towards its sounds from the start, the more impressive it becomes with time spent in its striking aural arms. Evocative and impactful, the album leaves one breathless and invigorated whilst fully charged to dive into its shadows and immense soundscapes again and again.

The release opens on the sonic simmering of Electrik, though the track soon explodes into a sonically burning sunrise of mesmeric charms.  It is impossible not to be rocked back on ones heels by the mighty vocals of guitarist Mark Lawrence and the electronic blistering which ignites the atmosphere of the song like a cascade of hot golden rain. The rhythms of drummer Phil Boulter form a magnetic frame whilst bassist Lewis Betteridge is a prowling and imaginative shadow to the synths and expressive guitar of Lawrence. The track itself is a ravenous mix of Depeche Mode, My Preserver, and Muse, though the one band which did come to mind during the song was Ultravox, the early version before John Foxx and guitars became redundant.

Within Isolation and What Are You Waiting For? Raise the temperature even higher with their thumping urgency and inventive craft. The first is a sinewy romp of energetic vocals and riffs wrapped in riotous intent and acidic sonic manipulation, a barnstormer of an affair whilst the second explores darker corners of the sound with a smouldering heavy post punk resonance and metallic sonic licking of the senses. A Joy Divison starkness combines with  barbed Comsat Angels like hooks to leave one drooling and when the atmospheric grandeur of Modern English wraps its emotive muscular arms around the song nothing but passion is apace. It is a track which reaps the riches of the eighties yet still is of the now, the band nurturing and evolving those seeds once again into something quite irresistible and distinct to themselves.

Great tracks come thick and fast, each song without fail leaving deep pleasure and ardour behind their accomplished ingenious lures. Tracks such as the brilliant electro rock/pop  triumph We’re All Paranoid, the two part grandeur that is Choice/Decay, with Part I a chilled ambient and slightly disturbing build into the stunning crescendo of Part II, and the swaggering Shelter Your Loss, just captivate and evoke more and more heated enthusiasm.

Hitting even greater pinnacles with the snarling Therapy Sessions In The Dark and potently contagious Cherno, not forgetting the gloriously inciting What Are You Addicted to?, the album expertly and skilfully explores across styles and emotions. Melancholic and reflective, warm and oozing positivity, Disasters: Ways To Leave A Scene is a true giant of a release and surely the first massive and impressive step to wide recognition for Broken Links.

http://www.brokenlinksmusic.co.uk

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright