Katalina Kicks – We Don’t Care

Pic credit Andrew Cotterill

Having embraced a big year with the release of new album Vices in May, undertaking a supporting 20 date UK and European tour, receiving featured airplay across the likes of Kerrang!, BBC Introducing, Planet Rock and a horde of regional and online stations, plus the addition of a new bass player, Katalina Kicks cap it off with the release new single We Don’t Care. A slice of pure punk rock twisted and manipulated into the alternative rock infused sound which has already brought attention and acclaim the way of the UK band, We Don’t Care is a snarling ‘fuck you’ declaration bringing the spirit of ’77 to the modern generation.

As mentioned, the single sees bassist Conor Cotterill alongside remaining band original in vocalist/guitarist Ian George and drummer Jase Wilkinson for the first time. Whether it is the new line-up or simple evolution but Katalina Kicks have managed to find a new antagonistic growl in their sound, a raw but virulently infectious and belligerent ferocity within We Don’t Care which as suggested recalls the late seventies when music found its defiant originality and attitude if for only a brief moment.

Its electro punk opening sweeps temptingly through ears, its sonic teasing the lure into a rapacious web of riffs and rhythms within which George raises his vocal middle finger. Bellowing against those trying to put the band down over the years and all wronging the world, it stomps and spews antagonism across the senses like a fusion of The Damned and Calling All Astronauts. The song’s nagging prowess and sounds are manna to the ears, words and hooks flirtation for the imagination and combined a spark to those feelings once rife numerous decades ago.

Katalina Kicks just seem to get better and better with every irritable expulsion and if We Don’t Care is the sign of things to come, set to have an even bigger, bolder year in 2018.

We Don’t Care is available now

http://www.katalinakicks.com/home    https://www.facebook.com/katalinakicks/    https://twitter.com/katalinakicks

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

1919 – Bloodline

This is a moment no one likes to contemplate let alone undertake, reviewing something from an artist and exceptional musician who has sadly just been untimely taken from music and the world. It also though gives fingers and thoughts a chance to pay homage especially when the subject of the piece is such a striking and rousing slice of creativity.

Bloodline is the new album from gothic/post punks 1919, a band formed at the tail of 1980 which proceeded to break the charts with a trio of singles, record one of the genre’s inspirational albums, and make appearances on the John Peel sessions twice before disbanding. Founding guitarist Mark Tighe

Mark Tighe RIP

began bringing the band back to life in 2014, its line-up sealed the following year with original drummer Mick Reed and bassist Karl Donner joining Tighe and vocalist Rio Goldhammer; the quartet subsequently releasing the ‘Madness Continues Sessions’ live album and in turn the self-released Death Note EP.

This past night of January 27th, Mark passed away; a deep loss for family, band, and fans but equally for music generally. His playing was distinctive, like a single individual colour in a vast palette of hues, able to create haunting melodies and moments as evocative and captivating as the incisive grooves and hooks from him which so freely and uniquely gripped body and imagination. The evidence is no more powerful and true than on Bloodline. He was also a wholly loved man to whom music was his life’s fuel and a true gentleman for all those who knew and met him.

Bloodline is a thrilling way to remember and enjoy Mark’s craft and potent presence; an album which grips physically and imaginatively from its first breath, increasingly winding appetite and lust around its creative fingers track by track. The foursome quite simply cements themselves as still one of the essential post punk incitements with it, almost as if they had never been away as a presence yet pushing themselves into new fresh realms of creative drama and aural adventure.

The album’s title track is first up, chugging riffs swiftly turning into wiry tendrils as percussion teases. Once the brooding bassline enters, things become eagerly catchy with the song blossoming into a PiL meets Leitmotiv like lure with Rio’s tones showing a certain Lydon-esque tinge to them. Feet and hips cannot avoid being involved as sultry melodies weave their temptation and a repetitious Killing Joke scented nagging growls in its belly.

Drama seeps from the electronic coaxing bringing next up This Vanity into view, its raw industrially kissed smoulder continuing to hug the senses as the bass unveils a gorgeous lure. Alongside, Mark’s guitar spins a spiral of melodic suggestion as Mick’s rhythms instinctively roll, a Gene Loves Jezebel like breeze soon floating over the provocative landscape to seep into every emotive crevice as vocals plaintively croon. Quickly absorbing the senses, the track makes way for the outstanding, rhythmically tenacious canter of Inquest. There is no escaping thinking of Jaz Coleman and co as Karl and Mick unite their flirtatiously anthemic designs but as throughout Bloodline, 1919 soon breed their own distinct character of sound and imagination. Magnetic harmonies and intoxicating melodies proceed to vine the ridiculously virulent encounter drawing the listener further into its creative theatre where just as riveting treats lay like its successor Retrograde. Like a puppeteer, it has the body bouncing while its spicy maze of melody is a sunspot of temptation contagiously matched by the snarling bass and hungrily leaping beats; Rio the ringmaster to its rousingly provocative and exhilarating waltz.

Even darker depths are drilled by the bass next in Legacy, its gnarly breath echoed in the caliginous air of the song though it too has a rampant catchiness which tempers and suits its shadowy presence. Imagine Bauhaus in league with Play Dead and the song can be visualised but still only a glimpse of its invasively compelling adventure, success matched by that of the wholly different presence of Zeitgeist. Again the first of the just mentioned pair of references is a prime clue to its tenebrific air and almost vampiric temptation, Rio carrying a Pete Murphy air to some of his persistently highly enjoyable, ever moving delivery. Mark’s imagination spins another labyrinth of melody and haunted sound too, evolving textures as radiant as they are emotively darksome to seduce and ensnare.

Through the galvanic punk rock of Disassociation and the intrigue soaked flirtation of Waiting For God ears are thrilled and the album’s variety stretched with the latter revolving its charms in ears and imagination like a temptress whilst wearing Theatre of Hate/ The Danse Society sourced inspiration as another alluring spice to its own spellbinding and tenacious revelry. Both tracks whip up body and spirit with sublime yet forceful ease, being quickly and as boldly matched in results by the slightly calmer and heavier fascination of Trespass. Maybe the most pop lined song on the album it just as openly shares raw shadows whilst boisterously serenading the listener, and as those before, it only sparks emotional and physical participation.

Bloodline closes with Life Is.., its tribal incitement of rhythms alone enough to incite allegiance, bewitchingly assisted by the fuzzy glow of melodies and variety coated vocals. Something akin to a fusion of Calling All Astronauts and Inca Babies but not, the wonderfully niggling song saunters and swings with increasing infection; an aural epidemic from which there is no escape as it brings one very fine release to a tremendous conclusion.

You cannot evade sadness listening to Bloodline but neither the joy sparked by its simply stunning presence.

Bloodline is out now through Westworld Recordings.

Video Dir. Carl Arnfield / ChalkmanVideo.com

https://www.facebook.com/1919official/

Pete RingMaster 06/03/2017

Copyright RingMaster: MyFreeCopyright

Calling All Astronauts – Life As We Know It

lawki_RingMasterReview

With their second album still drawing wide acclaim, British electro punks Calling All Astronauts ensured 2016 left in fine style with Life As We Know It. Their ninth single and taken from Anti-Social Network, the song is more enticing evidence to the variety in the band’s sound and their ability to get the body grooving as eagerly as the spirit devours their rousing sounds.

Backed by three remixes of the single, the proposition is more an EP than single and a fine end to another increasingly successful year for the London based trio of vocalist/keyboardist/programmer David B, guitarist JJ Browning, and bassist Paul McCrudden. Earlier single Empire reached the No.2 spot on the Official European Indie Chart while the band twice hit top spot in the Hype Machine Twitter Chart, success capped by CAA headlining the Bandstand Stage on the final night of Beautiful Days Festival.

Released on Supersonic Media, Life As We Know It is an encounter hard for hips and the imagination to resist. It is a warmer, mellower affair compared to the band’s usually eclectic but attitude loaded sound; irresistibly catchy with a nostalgic air bringing thoughts of bands like The The and B-Movie whilst being distinctly CAA. Few bands create a sound truly unique to themselves but the threesome persistently achieves that while still pushing their creative boundaries. With suggestive melodies colluding with punchy beats and David B’s uniquely captivating tones, the song is an offensive of melodic charm and funk spiced basslines wrapped in tempting guitar and caressing keys, all fuelled by a contagion which as suggested has feet and bodies at its mercy; manna for any dance-floor.

The remixes bring bold new shades to the song with the Daak Sun Remix especially striking. Darker bordering on sinister as it rumbles in sound and atmosphere, the track is a far more physical proposal which if anything has the body and imagination even more frenetically involved.

Surrounding it the Naked Highway Remix is a fuzzy stroll under a spatial sky, its bassline earthily scuzzy as keys radiate a cosmic revelry while the Malandrino Remix is a seductive sunset, intimately exotic as keys dance evocatively through ears to the bouncy beat of the rhythms like a tropical Thompson Twins.

Together they all add up to another richly enjoyable outing with Calling All Astronauts with the original slice of Life As We Know It further evidence of a band deserving the keenest attention.

Life As We Know It is out now through Supersonic Media across most online stores.

http://www.callingallastronauts.com    https://www.facebook.com/CallingAllAstronauts/     https://twitter.com/CAA_Official    https://callingallastronauts1.bandcamp.com/

Pete RingMaster 11/01/2017

Copyright RingMaster: MyFreeCopyright

The Pink Diamond Revue – Miss Lonely Hearts

The Pink Diamond Revue artwork_RingMasterReview

Carrying a sense of cinematic and provocative drama with every compelling note and rhythmic pulse, the new single from British electro psych rockers The Pink Diamond Revue, is pure aural theatre. Miss Lonely Hearts offers a dark seduction as mischievously flirtatious as it is ominously intriguing. It is a slice of noir lit, fifties and sixties scented suggestiveness, and quite irresistible.

Equally there is a garage rock ‘n’ roll/punkiness to the song, an underlying confrontational edge which adds to the imagery and dramatic sonic painting spun by guitarist Tim Lane and drummer Robert Courtman-Stock. Uniting behind Acid Dol, “a model from another dimension”, the duo entangles modern beats and imaginative devilry with riffs, samples, and vocal harmonies lured from those previously mentioned decades. As Miss Lonely Hearts reveals, it is a combination which simply infects body and imagination

Since uniting, The Pink Diamond Revue has become a magnet on the live scene, infecting venues and festivals to increasing acclaim with their addictively invasive and compelling sound. Alone Miss Lonely Hearts suggests why, the track immediately swamping ears with magnetic yet challenging rhythms as electronics and especially the wiry grooves of Lane wind around ears and imagination. Dark and alluring, inviting and evocatively temperamental, the track is organic rock ‘n’ roll at its most enthralling and in turn rousing.

As melodies seduce, beats lure, and samples conjure, the track additionally courts essences of bands such as Sigue Sigue Sputnik, Calling All Astronauts, and The Avalanches but swiftly weaves its own identity in bold and tempting sound amid aural mystery.

The Pink Diamond Revue takes the listener on an adventure of clandestine intrigue and shadow clad revelry with Miss Lonely Hearts, and boy is it fun.

Miss Lonely Hearts is available now.

Upcoming Live Dates:

August 6th Glastonbelly Salisbury

August 7th Roadkill Camden

August 20th Some Weird Sin Brixton Windmill

September 4th Purple Turtle Reading

https://www.facebook.com/thepinkdiamondrevue

Pete RingMaster 03/08/2016

Copyright RingMaster: MyFreeCopyright

Rousing waltzes and alluring confrontations: talking Calling All Astronauts with David Bury

Calling All Astronauts_RingMaster Review

British electro rockers Calling All Astronauts continued an inescapable trend of releasing some of the UK’s finest provocative and rousing encounters with their new album Anti-Social Network a short few weeks back. An uncaging of snarling and virulent rock ‘n’ roll with a political and emotional bite, the album showed the addictive prowess of CAA in getting bodies bouncing and thoughts exploring. Meaning for a long time to talk with the band, the outstanding album was the spark which made the time to act now. So with big thanks to band vocalist/writer/producer David Bury, we turned the spotlight on CAA and Anti-Social Network with plenty more insights in tow.

Hi David and thanks for sharing time with us.

Before we get into your new album, Anti-Social Network, can you tell us about the beginnings of Calling All Astronauts for those still new to the band? How did you all meet and what became the spark to the creation of the band?

J and I used to be in a band called US:UK together, J then went on to be in the pop-punk Caffeine. Caffeine had drawn to a standstill after numerous tours of the UK and US, we bumped into each other and just thought we’d like to have a jam for old time’s sake. One thing led to another and Calling All Astronauts was born. We originally had Andy the Caffeine drummer, but he went travelling, while he was away I decided to learn about programming drums and keys, and that’s how the sound we now have developed.

As you said all of you in the band now have experiences before and outside of Calling All Astronauts; how much has the band been shaped by those musical adventures either in where you want to go with it or in what not to get involved in again?

You learn a lot about the industry over the years; the good memories, the parties, the massive gigs are the ones you cherish, but the knowledge you gain about how the music business runs really shapes your attitude towards it.

We first caught on to the band through the single Winter Of Discontent in 2012, which was your second? This was already a lively and potent time for the band live, the playing with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers amongst your shows, and in making music as well as reactions to those early releases. What was the feeling in CAA back then and how has that differed over time, if at all?

The feeling than was actually pretty much the same as it is now, we always feel both flattered and humbled that anyone likes our music, we are just three guys recording in my lounge, yeah in modern terms that’s a studio, but it’s a lounge nonetheless; we’ve got Sky Sports on in the background, my cats walking through, and we are under the Heathrow flight path, so I regularly have to redo a vocal when a plane has been particularly low. 🙂  We do what we do; it’s a kind of love us or hate us, it’s your choice, we won’t take it personally if we are not to your tastes, but we’ll embrace you as a friend if you get what we do.

Calling All Astronauts Promo PictureSince then singles, EPs, and an impressive debut album has come and gone; all leading to the recent release of second album Anti-Social Network. Following the band over those encounters, your music has clearly evolved and grown over time. From the inside how do you see and hear that change?

I think that is a direct reflection on my production skills. I’ve learnt so much in the last four years about how to actually make a record. We are a Rock And Roll band that works in the manner of a dance act; we pay a lot of attention to how our records sound sonically. We took a long time recording Anti-Social Network because we wanted to make an album that we’ll still be proud of as a piece of art in 25 years’ time.

Apart from personnel, how too as CAA changed mentally in regard to making music and how you deal with the music scene.

I don’t think we have actually changed much, we are all kind of set into the people we are. We do however have an increasing dislike of the mainstream music industry, and how it brainwashes kids into thinking things that are mediocre at best are amazing. If you swallow diamonds your turds with contain diamonds, but they will still be turds.

The band is seems defiantly DIY; your releases for example being uncaged on your own Supersonic Media. Has that always been the intention or just how things have worked out?

It seems that way, as yet, we’ve never sent any demos or any of our releases to any record labels. Actually I lie. I did give a copy of the first album to Brett the radio guru at Epitaph. I met him in LA and just wanted him to know how we sound rather than looking for a deal, so gave him a copy of the album, but that’s about it. We like having artistic control; yes we would be a lot bigger than we are if we were with a big indie or major, but at what artistic cost. I’m doubtful any of them would allow us to make an album as eclectic as Anti-Social Network; they want their artists to make an album of the same track 11 times, all the different variations around the same three chords.

Let us get right into Anti-Social Network now. Did you approach its writing and creation as you have previous releases or try something different in its making?

Yes pretty much, except we had Paul on board for this one. We tend to start with a drum track and built up from there, it’s quite like building a house, and as we all know, without solid foundations you may as well build your house out of straw.

You seem to have woven essences of many of your inspirations over the decades in its sound which was an extra tasty spice for us as I know we share similar favourite artists and songs from the seventies and eighties especially. Was this something you set out to do or just an organic arising from the writing?

Not really, we had a bunch of ideas, and as they grew organically into the songs they now are, we often referenced them using the names of the bands that they had a feel of. All the album sounds like us; I don’t think any of it could be called a pastiche. I think it’s maybe more a case of, band X made some amazing records, let’s see if we can make something that can stand up in its own right against what they did. It would have been the easiest thing in the world for us to make 11 tracks all sounding like Time To Fight Back or conversely Always Be True, but that’s really not what we are about. CAA to us is about making music we like, it’s not some master plan to sell millions of records; we’d rather be Clock DVA than Coldplay every day of the week.

Like many we generally call CAA an electro punk/rock band. As the new album shows, your sound is much richer and varied than that suggests. How would you describe it for newcomers?

It’s kind of like a ride on the world biggest Rock And Roll Rollercoaster. You never know whether it’s going to turn, or drop or go upside down until it’s upon you. Wow that sounds pretentious; ok, just imagine all your favourite left field rock bands since 1976, i.e. Killing Joke, Ministry, PIL, Bauhaus, New Order, Psychedelic Furs, and then getting them produced by Skrillex and Prodigy

Lyrically Anti-Social Network is as biting as ever, something easy to expect from your music, but equally there seems a thicker intimacy to some songs too. Can you give some background to art_RingMasterReviewthe themes of songs and to the album in general?

I have been hoping somebody would ask this, this will be quite extensive but I’ve been longing to go through the album track by track, please feel free to edit this if you want.

  1. Living The Dream

I grew up in a northern town, not a city, and in towns you see people on the local music scene who are the “big cheese”, they walk around like Billy Big Bollocks, they get a little bit of interest from local radio and think all they have to do is move to the big city and world will be the oyster. When the reality is something far different, when you make that leap to pursue your dreams, you have to be prepared for the reality that you are suddenly a shrimp in an ocean of sharks.

  1. Empire

We are very active on social media, especially Twitter, where we have a lot of young followers, and I see their tweets about how in love they are and the next second they are broken hearted. It’s kind of sending the message that broken hearts are only temporary when you’re a teen and that you are going to fall in love many times during your life and that if one relationship doesn’t work out, move on to the next one.

  1. Time To Fight Back

The world and society is pretty much on the brink of imploding; if the majority of us don’t stand up and say, “enough is enough” 1% of the world’s population has 99% of the wealth. There are children dying because they don’t have clean water, how can that be right in 2016?

  1. Hands Up Who Wants To Die?

Is about youth crime and gang violence and how leaving the house with a weapon can lead to a whole heap of consequences due to one thoughtless move

  1. Life As We Know It

This is about envy and how people wish they were somebody else, it’s clichéd but life is what you make of it. If you’re happy in your life, embrace the fact you are happy and celebrate it, if you are not happy, do something about it. Sitting on your ass complaining is never going to improve things, unless you grasp the metal and go for it.

  1. The American Dream

It is not particularly about the US, but as the American Dream has always been held up as a goal for what people can achieve through hard work, I thought it was a good example for society as a whole, and how things have changed from the days that people left school with ambitions of professions or trades. They now want to be YouTubers or famous on Vine, they want fame from zero talent in a narcissistic shallow world.

  1. God Is Dead

God is a metaphor for consumerism; you don’t get consumerism without the word consume and society has become all consumed with the latest product X until they have it, and once they have it, their thirst for the net product X is instantly greater than their joy at getting the latest thing they’ve craved for.

  1. Always Be True

As I mentioned earlier we have a lot of young fans, this is a message to them not to bow to peer pressure. If you don’t like something or don’t want to do something never be afraid to say no, because one day, your day will come.

  1. Look In Your Eye

This is about the cynical people at major labels who only see artists as product and really have no feelings about the long term futures of said artists as long as they have them signed to 360 deals, make a profit and keep themselves in a job

  1. Black World

Is really saying, I don’t have all the answers, but if you listen to what I’m saying in my lyrics and think about them and join us in thinking that the world doesn’t have to be like this, together we can make the world a better place

  1. Divisive

Is about how the media and governments manipulate the news to suit their own agendas. They tell us they are doing it for righteous reasons when it’s all about greed and power and that once you turn to violence it becomes both self-perpetuating and self-defeating; hence the chant of Greed Equals Power Equals War Equals Death repeating almost to infinitum at the end because wars go on and on and only increase the misery.

Do the same things predominantly rile up the lyrical muse or are you adding to the recipe of sparks as years and records pass?

The constant in my psyche is that I don’t like inequalities in society.  I’m not saying that people shouldn’t be rewarded for doing good work or being enterprising but I don’t think people should be forced to live in poverty. I just think people need to keep their eyes open and feel compassion for others, see both sides of every story; never judge people on their race colour creed, religion or lack of it, or their sexual orientation. Judge people on whether they are good people or not. While these things still exist in society, I will maintain my motivation as a lyricist.

Can you give us some insight into the recording of Anti-Social Network; any unexpected dramas and surprises?

There were no real disasters along the way, however it did take way longer than we hoped or expected it would. In all it took 2000 hours to record;, I think that’s maybe on a par with some of the 70’s prog rock bands, but you have to be truly happy with your records as you have to live with them forever once you release them.

CAA_RingMasterReviewFor most artists it is fair to say that playing live is their favourite part of making music. When it comes to writing and recording something though, what is your favourite part or element?

It’s actually when people tell you that they have listened to your record and really got what you’re doing. It’s the greatest feeling in the world to know you are not the only people that think the way you do.

Is there any particular moment in Anti-Social Network which gives you an extra glow of satisfaction?

There are three parts I love; on the intro of Divisive where the combination of guitar drums and keys gives the impression of a weird pitch shift on the drop, it gets me every time. I also love the almost UK Garage drop on the middle 8 of Always Be True, and J’s guitars on Life As We Know that sound like Cellos. But we are very proud of all of it, I honestly believe there are no fillers on the album and that if we released all eleven tracks as singles, we could get radio play on all of them, I could however be delusional.

Tell us about the art work for the album which seems to sum up the air of the great release more and more every time you look at it.

It was amazing, we were trying to come up with ideas, and Paul had googled the word Anti-Social Network and up this came. It’s an actual sculpture by South African artist Maurice Mbiyaki. We contacted him and asked if we could use it on the cover, and he replied “he’d be honoured”; the rest is history. J

What is next in store for CAA fans and the band itself?

We are working on a new live set and will be out and about before too long. Time To Fight Back is set to be released as a single in June with David CAA VIP Remix and a specially recorded cover version.

Big thanks again David for chatting with us; anything you would like to add?

Not really other than a big thanks to you for being so supportive of our releases, we really do appreciate the kind words you have written about us.

And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.

Blimey, this is a massive question for me; I think I can nail it down to genres rather than actual acts, I’m very influenced by, Punk, Northern Soul, Goth, Metal, 80’s Hiphop, Synthpop, Industrial, EDM, 90s Indie, Post-Punk, Hardcore, Big Beat, Reggae, Ska, and DnB.

Check out our review of Anti-Social Network @ https://ringmasterreviewintroduces.wordpress.com/2016/03/11/calling-all-astronauts-anti-social-network/

http://www.callingallastronauts.com    https://www.facebook.com/CallingAllAstronauts/     https://twitter.com/CAA_Official

Pete RingMaster

The RingMaster Review 16/04/2016

Copyright RingMaster: MyFreeCopyright

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

Calling All Astronauts – Anti-Social Network

Calling All Astronauts Promo Picture_RingMasterReview

It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

art_RingMasterReviewIt is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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

CALLING ALL ASTRONAUTS UNVEIL THEIR “ANTI-SOCIAL NETWORK”

art_RingMasterReview

UK goth punks ‘Calling All Astronauts’ have just released their hotly tipped second album ‘Anti-Social Network’ through Supersonic Media.

Calling All Astronauts are a London based, politically charged three-piece who rose from the ashes of ‘US:UK’. Featuring vocalist/programmer/producer David B, ex-Caffeine guitarist J Browning and Marionettes bassist Paul McCrudden, Calling All Astronauts blend electro, rock, post-punk and even dubstep to a sound that ignites and engulfs.

Since their incarnation in 2012, the trio have racked up a slew of accolades including four Number One’s in the Twitter Music Charts (knocking Adele from the top spot), having their latest single “Empire” notch up a three-month stint in the ‘Official European Indie Chart’ peeking at Number 2, and sharing stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers. The band have also headlined and sold out ‘Alan Magee’s Death2Disco’ at Notting Hill Arts Club.

The electro punks have a prolific output, releasing seven singles to date; this has helped the band pick up a swell of support from all four corners of the globe with numerous rock and alternative radio shows taking the band into their hearts by putting them on heavy rotation. The threesome have been featured on BBC Introducing, and were invited into the studio by Tom Robinson for his BBC 6 Music show. Their underground attitude to video production has also received great praise from many, including Irvine Welsh, who, after viewing the video for ‘What’s So Good About’, proclaimed it as ‘Brilliant’.

Calling All Astronauts now press on with the release of their blistering new second album ‘Anti-Social Network’, which is out now in stores via Supersonic Media and rammed with eleven killer cuts. Look out for festival and summer shows later this year.

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