Foreign Legion/The Shame – Split 7”

reb1038_front_RingMaster Review

Courtesy of a co-release between Aggrobeat and Rebel Sound Music, punk from both sides of the pond links up in a 7” split which just ignites the appetite. On one side stands Welsh oi/punks Foreign Legion and on the other Tulsa Street punks The Shame, both offering two tracks of highly satisfying incitements. There have been a few potent punk splits over recent times and this stands right up there as one of the best.

Foreign Legion_RingMaster Review     Emerging from the ashes of Dead On Arrival, Foreign Legion began in 1984 infusing an oi seeding with varied essences of punk rock. The years have come and gone, line-up changed but the band has never slowed down or taken the heat out of their creative and lyrical rage as shown by the new release. Recent years has seen Foreign Legion share stages with the likes of Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, and Stiff Little Fingers and play festivals such as Back On The Streets, Punk & Disorderly and Rebellion, whilst over time they have played in 15 different countries and remained the only Welsh band to ever play at the legendary CBGB’s in New York. With four albums under their belt, including the Mick Jones produced What Goes Around Comes Around, as well as a split full-length with Major Accident and numerous other splits and compilation appearances, the band instantly show they are as stirringly confrontational as ever with their first contribution to this new encounter.

Nowhere Left To Hide strides in straight away with commanding rhythms and attention seizing riffs, their mix a potent lure which the grizzly tones of Marcus stand astride. An air of Angelic Upstarts lines the attitude and presence of the track whilst backing vocals are as anthemic as the core hook repetitiously fuelling the infectious challenge. With guitarist Simon and bassist Dave colluding to grip ears and appetite with their creative bait as the rhythmic swings of Sid thumps them, the track stirs up air and emotions with its old school tones and a modern attitude driven on by the lyrical attack on the state of the world, a premise continued in its successor.

Our World Today is even more addictive with its central hook incessant in nagging repetition and inescapable virulence. Around this the guitar flames with sonic enterprise whilst the throaty bass belligerence snarls with antipathy to match the thick accusation of the lyrics, again anthemically and intimidatingly delivered by Marcus. As its predecessor, the track is not trying to stretch boundaries and venture into unique landscapes but for a thrilling and provocative slab of honest punk rock it is prime incitement.

The other side of the release belongs to Tulsa’s The Shame, another band breeding their attacks from old school punk this time with maybe more US heritage though there are undoubtedly The Shame_RingMaster Reviewsome essences of British punk found within their sound. Their potent history has seen the band play with bands such as Queers, Downtown Struts, Noi!se, Bishops Green, The Templars, Fatskins, Concrete, and Those Unknown whilst their discography includes an album and a 7”. With a new EP scheduled for later this year, the band launch their part with Crossing the Line first of all and quickly gets down to being musically and vocally grouchy and thrilling ears straight away.

Riffs and rhythms rise as one and are soon taking the listener on a feisty attitude driven ride. A thick bass lure easily grips the appetite as does the group calls around the chorus, but from start to finish with a whisper of bands like NOFX to it as well as a UK influence of bands like The Business, the song is a rousing stomp led by pungent hooks and beats around the stirring influence of the lead vocals.

Its successor is just as contagiously imposing and bullish, Faded Glory emerging as a thick anthem of nostalgia and rebel rousing inspired by beer and sonic rioting. A little more reserved in energy compared to their first, song and band still raise the passions and spark the defiance in us all with accomplished and galvanic posture.

The four tracks on the release all hit the spot with ease in a reminder that punk on both sides of the big water is still roaring as strongly as ever. ‘

The Foreign Legion/The Shame 7″ Split EP is available now on exclusive US red vinyl version (250 copies) via Rebel Sound Music and European blue vinyl version (250 copies) via Aggrobeat http://rebelsoundmusic.limitedrun.com/products/541545-foreign-legion-the-shame-split-7-ep

https://www.facebook.com/pages/Foreign-Legion/149893361856696    https://www.facebook.com/oitheshame

RingMaster 04/07/2015

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

Melodic fire and raw passion: an interview with Kyle MacKenzie of 7stbaby

7stbaby - Promo Image

The turn of 2014 saw the unleashing of the debut album from UK rock band 7stbaby. Control swiftly announced a band to keep close attention on with their gripping blend of varied styles into a riveting stoner and grunge veined blast of heavy melodic rock. Garnering strong support and acclaim, the band’s album was a potent statement for 7stbaby and their emerging presence in the UK rock scene. Ahead of the band’s new single Horses, we grabbed the chance to talk with one of the band’s founders and vocalist/guitarist Kyle MacKenzie. Looking at the origins of the band, Control and the new single as well as his and his band members other project, Kyle led us to the heart of 7stbaby.

Hey Kyle welcome to the site and thanks for taking time to talk with us.

Thanks for having us

For those yet to discover the delights of your sound, introduce 7stbBaby to the readers for us.

7stbaby is a project Ben and I (Kyle) had decided we wanted to do several years ago while writing for the first Static Plan EP. There were lots of riffs and song ideas which were not fitting with SP’s style, but that we still really liked and wanted to use. In August 2013 we finally got round to doing something about it, Ben basically moved into my place for a couple of weeks and we wrote and recorded Control. We then asked Greg to join us on drums for the album, and he was happy to be involved. Although we didn’t want to pigeon-hole ourselves genre-wise, we are a project that is definitely coming from a stoner rock viewpoint, just with anything we like thrown in!

Can you give further background to the band too, exploits before and alongside the band for its members.

Hilariously, line up wise 7stbaby is basically Static Plan, so 7stbaby’s background for the members is pretty much exactly the same. Ben and I met years ago while we were studying at university, when I answered an advert for a rock band looking for a vocalist. That then became Static Plan with Jonno on guitar duties, and after several drummer changes we finally ended up with Greg, who changed the dynamic of the band for the better. We gigged our balls off for a couple of years while writing and recording as many demos as possible.

7stbaby then came to the forefront as Static Plan began to wane a bit. Member changes, money issues and health and personal problems stopped us from carrying on the great momentum we had built, but we still wanted to make music and get it out there. So Control was about creating without the pressures we had experienced over the last couple of years.

Your music as evidenced by debut album Control earlier this year, is unafraid to employ a wealth of styles and flavours in its roaring recipe. How would you describe your musical canvas?

7stbaby is about doing whatever we want to do musically. If people love it that’s great, but if people hate it, then so be it. We created a concept album in a very short space of time with the tools that were available to us at the time, and because there was an ‘anything goes’ attitude, we approached it with no fear. 7stbaby’s musical canvas is anything that we want it to be.

It suggests you guys have a wide range of inspirations personally too, what are some of the more potent influences on your sound and ideas?c

Yeah we have quite a diverse range between us I think. I love artists and bands such as Martin Grech, Jeff Buckley, Radiohead, Porcupine Tree, Karnivool, QOTSA, Alice In Chains etc. Honestly there are just too many to list! I am inspired by great songwriting and great musicianship. Ben has a slightly more ‘alternative’ influence list than I have, loving bands like Gorgoroth, Mortiis, Mayhem, Mondo Generator, Sonic Youth etc. By no means are we limited to these bands or genres, I think we both have a healthy appreciation of music and its influence over us.

I read that Control was written in just three weeks, was that the reality or were some songs already around in some form or idea before that?

There were some riffs and parts floating about from writing the SP EP a while before, but the vast majority of the album was written in three weeks

Control deservedly garnered eager praise and acclaim upon release, did that surprise you in some way the vocal support and enthusiasm it received?7stbaby - Horses Single Cover

Ha-ha it did a bit! I think I was expecting it to either get distinctly average reviews or none at all, I didn’t think anyone would understand what we were trying to do! But the reviews were great to read and made me realise that people did understand what the album was about. Some of the reviews were just emphatic, and really brought some joy to me after a difficult couple of years making music.

Give us some insight to its creation and how you fitted it in with your other projects like Static Plan.

Static Plan at the time had ground to a complete halt after a couple of line-up changes. Ben and I had some free time during the school holidays and we just decided to get it done. It was incredibly fun and made us really want to start work on the Static Plan album.

September 26th sees the release of your new single, Horses. Taken from Control, it is one of the album’s biggest highlights for us. Was it an obvious choice for a single?

I think it’s a heavy song on the album, and probably the kind of song that most people can respond to without hating it ha-ha! We debated for a while which song was going to be released actually, and Horses at first didn’t seem like the obvious choice to me, I thought Leave Me To Bleed would be the better single after releasing Somebody’s Bitch. After a while of debating I realised that Ben was absolutely right, Horses is just the right single; it’s much more immediate!

Have you tinkered with it for the single release?

We have not; it’s as pure as it was

Horses, as the album, is out on Got Wrong Records; your own label?

Yes it will be a pay what you want digital only release on my label Got Wrong Records on September 26th. Available at https://gotwrongrecords.bandcamp.com

Can you give us some insight to the inspiration and theme of the song?

Horses is about conquering the power someone can have over you, and breaking out of the cage you confine yourself to when you let them control you. It’s the climax of the album for me

Horses sparked thoughts of Life of Agony for us, its provocative nature and intimate energy reminding of the great US band. Is that something you can feel?

Yeah I can see that. They’re aggressive and melodic, and that’s what Horses is in its simplest form. We really wanted to get the emotion across in the vocals, so hopefully we have done that if you’re comparing Horses to Life of Agony 🙂

The song is accompanied by a great video, who was that filmed by?

The video was filmed with a lovely chap called Sam Sheridan. Ben and I wrote some music for a short film he made several years ago, and we lost contact afterwards. As we were hunting for a director to make the video for Somebody’s Bitch we got chatting and got him involved. He has done an amazing job with incredibly little budget and filming was an absolute riot. Our lead man Alex Netting absolutely smashed it as well, bringing some intensity and humour to the whole thing.

It looked like a fun day out ha-ha; I am imagining that the central character (Alex) drew plenty of attention from the passing throng during filming?

It was a hilarious day for sure! Amazingly every person that interacted with us on the day was very positive; they loved the idea, loved the make-up and loved the character. We definitely got a lot of attention that day.

You guys are in two bands to my knowledge 😉 It is hard for any band to make an impression in the current state of music, so how have you found it juggling and driving forward with your projects?

Yep it’s hard, that’s just the way it is. I think it’s always been hard though. The key is to keep going and enjoy the small victories I think. It’s definitely possible to juggle everything and find the time if you are committed enough; you just have to want it bad enough.

How do you see the current state of music especially the catch 22 effect of the internet with its usefulness and detriment for bands.

I think that even though there are always things we can complain about, bands and artists are in a much better position nowadays for people to hear their music than say 20 years ago. It’s incredibly difficult to earn a living from it, but there’s no change there really. Hopefully in the years to come, with organisations like the Musicians Union working on behalf of musicians, fairer deals can be made on behalf of musicians on the likes of streaming royalties.

10505283_311135829045859_3576936077197922227_nIs it hard to hold your enthusiasm at times, or does the music always hold sway over the emotions?

Personally I go through high and lows on a daily basis. Sometime I can struggle to bring myself to pick up a guitar and other times I can’t tear myself away to go to bed.

What is ahead for 7stbaby?

Not a clue! We’ll have to have to have a chat about that at some point ha-ha

…And from your other projects?

I’m currently working on albums for Static Plan and Outpost Zeta, and Ben is working with Ventenner and Exquisite Ending.

Thanks again for sharing time with us. Any last words you wish to share?

Thanks very much Pete, we really appreciate the support! My last word shall be check out www.gotwrong.com for a free EP/Album from Static Plan, Outpost Zeta and 7stbaby, and spread the word 😉

https://www.facebook.com/7stbaby/

Read our review of Control @ https://ringmasterreviewintroduces.wordpress.com/2014/01/17/7stbaby-control/  and of Horses @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/7stbaby-horses/

Pete RingMaster

The Ringmaster Review 23/09/2014

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7stbaby – Horses

7stbaby - Horses Single Cover

Following up their impressive and acclaimed album Control, British rockers 7stbaby are poised to unleash their new single Horses. A track as voraciously aggressive as it is melodically seductive, Horses easily reinforces the presence and already in place anticipation of major success for the band ahead.

Formed in the autumn of 2013 by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass) but an idea already long in place but held in check due to the work and success of their other band Static Plan, 7stbaby swiftly gripped attention and praise through the diversely flavoured Control. Merging the richest and rawest essences of stoner and heavy rock with grunge and progressive metal spicery, the Guildford pair along with drummer Greg Webber, also of Static Plan, set a high startling plateau for the project with their album. Taken from Control, the new single confirms and pushes further that impressive start, its mesmeric and muscular tenacity a cauldron of sonic invention and unbridled passion.

Released on Got Wrong Records as the album, Horses immediately fills ears with punchy beats and almost grizzled melodic grooves over scarring riffs. It is an intensive start given further weight by the vocal growls and increasingly gripping twang of the guitar’s grooving. As mellower tones move in to welcome the fiery chorus, there is a definite Life of Agony groove and emotion to the song which only adds to its flavoursome adventure and blossoming fascination. A slip into a more progressively honed stoner twist loses some of the song’s snarl but adds greater intrigue before the track erupts back into its compelling antagonism and captivating melodic enticement.

Horses is an outstanding provocation for ears and imagination as well as a potent doorway into the similarly terrific and impressive body of the band’s album. Think Queens of The Stone Age meets Deftones and the aforementioned Life of Agony after being filtered through a heavy vat of Electric Wizard and XII Boar and you get a sense of 7stbaby. British heavy rock is at one of its most exciting periods right now and this band simply adds more substance to that claim.

Horses is released on September 26th via Got Wrong Records with an accompanying video.

https://www.facebook.com/7stbaby

Read our interview with Kyle from 7stbaby @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/melodic-fire-and-raw-passion-an-interview-with-kyle-mackenzie-of-7stbaby/

RingMaster 23/09/2014

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Foreign Legion – Light At The End Of The Tunnel

12 Jacket (3mm Spine) [GDOB-30H3-007}

    As shown by their new album Light At The End Of The Tunnel, Welsh punks Foreign Legion has never strayed too far away from their roots but continue to invigorate and push their core sound with a passion and energy which never becomes tiresome. The band’s latest riot bridges their old school punk/oi background with a modern punk ‘n’ roll confrontation resulting in twelve songs which make swift anthemic stabs with contagious endeavour aligned to antagonistic intent.

     Formed in 1984, Foreign Legion has built an attention grabbing presence which has endured and widened over the years. A trio of full-length releases continued to set the band apart from the pack, especially the acclaimed Mick Jones produced What Goes Around Comes Around of 2002, whilst split releases with Major Accident in 2000 and Sledgeback in 2010 amidst their own EPs and compilation gracing songs, have proved the band a potent encounter within the modern era of punk rock. On stage again the quartet has forged a formidable reputation, the band playing across over 15 countries and sharing stages with bands such as Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, Stiff Little Fingers and many more. They are also the only Welsh band to play the legendary CBGB’s in New York which makes an additional potent mark on their career’s CV alongside their numerous festival appearances including the likes of Back On The Streets, Punk & Disorderly and the Rebellion Festival, where the band is set to ignite the crowd again in 2014. Released via Aggro Beat in Europe as a Green With Red Splatter vinyl and Rebel Sound in the US as an equivalent in Mint Green with both issues limited to 250, Light At The End Of The Tunnel provides another feisty and tasty morsel from Foreign Legion to enthuse over.

     Light At The End Of The Tunnel makes a strong and appealing start with opener Jenny and its successor What A Place To Be, if neither really inspires a greedy appetite in the emotions. Both tracks still grab attention easily to set things off promisingly, the opening song entangling ears with welcoming guitar strands of melody from Simon Bendon punctured by the firm beats of drummer Glyn Bendon. Soon into its stride with the track’s narrative unveiled by founding band member and vocalist Marcus Howells, the restrained and easy to access stroll makes a simple and catchy romp before the second song on the album similarly has feet and voice in tandem with its infectious if undemanding beckoning, the bass of Steve Zuki the most irresistible lure.

    The album catches fire from here on in with firstly the excellent Regenerations (Council list. Riffs and rhythms bring an instant entrapment of the imagination before soon being reinforced by the swiping vocals as the song looks g at local governments and the decline of British towns and all that inspires. The track is a contagious two minutes plus of uncomplicated but thoroughly inciting social commentary in the renowned Foreign Legion style, though again maybe there is a spark missing in comparison to the following tracks. There is an undeniable greater potency to the song which the band and album expands further through songs like My Radio. A great bass intro from Zuki sets the track off in compelling style, its swagger and groove matched by the hooks of the guitars and the effect rubbed vocals. Infection again wraps the song, its virulence at new heights for the release with riffs and rhythms an additional thrilling toxic bait.

   Both Hey Girl and George Best continue and elevate the new plateau of the album, the first a Peter and the Test Tube Babies meets The Clash like provocation which takes mere seconds to seduce senses and passions whilst the similarly bred second creates a terraces like anthemic quality for an Serious Drinking mixed with Angelic Upstarts eyeballing, both songs enlisting full physical and emotional participation to its recruitment drive. As probably recognised, Light At The End Of The Tunnel just gets stronger and more impressive the further into its body you delve, the likes of Stalker with its deviously addictive bass hook, another striking offering from Zuki who adds something extra to the album arguably lacking on earlier releases, and the excellent Market Trader adding to the weight and bait of the release. The second of the pair again deals with the decline of towns, this through the intervention of supermarket chains and the likes, whilst raging and infecting with resourceful invention. #

     The uncompromising Three Years, and its unbridled assault on child abuse and feeble punishments, scars and provokes with greater venom and passion within the album before Miners and Drunken Heroes uncages a raw, caustic sonic grazing and belligerent defiance respectively. All three songs stalk and coax with spite and energy before the closing song covers them with its shadow. Phoenix from the Flame is a pure punk rock anthem, a band banner which alone places Foreign Legion band amongst the highest echelons of British punk, its body holding all the cards and bait to ignite crowds and recruit new hearts.

   Closing on its finest moment Light At The End Of The Tunnel is an outstanding punk quarrel and maybe the best thing Foreign Legion has set loose to date, certainly the rival to past glories. Punk right now feels like it is moving to a new heyday and records like this only reinforce that notion.

https://www.facebook.com/pages/Foreign-Legion/149893361856696

8.5/10

RingMaster 03/03/2014

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7stbaby – Control

 

7 st baby

    Providing an encounter which not only sparks the imagination but takes it on a rapacious ride through a maze of sounds and metal bred styles alongside the passions, UK band 7stbaby is a provocation we are going to hear much more of and be persistently impressed by. The reason for that bold declaration is debut album Control, a compelling and scintillating landscape of invention and adventure. The Guildford trio has created a juggernaut of riffs and grooves aligned to a sonic mastery which just infects thoughts and emotions. Equally though it is an adventure unafraid to leave expectations and assumptions a barren wasteland with nine tracks which explore and stretch everything from stoner and progressive metal to ambient textures and heavy rock enterprise. Released January 31st via Got Wrong Records, it is one of the first important introductions of the year and already a heavyweight contender to rival the established regime within rock and metal.

     Founded a few years ago but held on the back burner until last year by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass), both members of the also impressive Surrey band Static Plan, the duo enlisted the presence of drummer Greg Webber also of their other band to complete the active line-up. August last year saw the band record and self-produce their debut album, a release which seizes ears and thoughts from its opening moment and never relinquishes its imaginative feisty hold until its parting breath. Now with its impending release also ready drawing impressed responses alongside ours, the album is poised to thrust 7stbaby into the heart of the heavy riffing intensive fire of British stoner and progressive metal.

     An atmospheric electronic breeze opens up Behind The Looking Glass, an ambient coaxing infused with distant vocals Screenshot-2014-01-07-at-16.15.30taking over the first few seconds before the song slowly stretches out a melodic arm. Again this is a mere moment in the evolving fire of the track, soon bulging riffs and crisply cracking rhythms assault the ears as a sonic weave of guitar class veins their urgency. Into its sirenesque stride the vocals from MacKenzie and Martin punch through air and sounds, their tones laid with effects but expressively forceful in their own right. A Queens of the Stone Age flavouring emerges at this point though similarly the track offers essences of bands such as Orange Goblin and fellow Brits Ten Foot Wizard to the mix. Three minutes of blood rousing, emotion inciting endeavour the tracks makes the perfect contagious start which the album only grips tightly and continues across subsequent offerings.

    The following Somebody’s Bitch opens with a grouchy bassline gnawing at the ear before sonic winds erupt from within the equally rapacious riffery. An acidic groove only adds to the instant lure and as it settles into a more relaxed but still intensive stroll with outbreaks of intimidating and weighty aggression, the song sparks another wave of hunger in the awoken appetite. As magnetic as the first but bolder in its merging of varied styles and sonic spicing, more than happy to slip into voice and ambient progressive breaths within the sturdy enticement , the song continues the strong and riveting start with an ease soon matched by the next up Psycho and its successor, the title track. The first of this pair stalks the senses with an initial predatory snarl and combativeness, a Devildriver feel wrapping the vocal delivery and antagonistic menace. It is an immense opening soon taken to another plateau when the band steps into a gentle melodic embrace, warm vocals and dark rhythms combining for a Korn like temptation which persists throughout. It is a seamless transition repeated as the voracious and virulently addictive chorus erupts. The track is metal alchemy, a voracious invention soaked hunt and enslaving of the passions. Its successor delves into a blend of striding melodically caustic sounds and smouldering vocals, a Palms like venture that seduces and riles the imagination and senses with another mouthwatering fusion of songwriting ideas and musical craft.

      Leave Me To Bleed is another song with a ravenous snarl and heart to its creative abrasiveness yet skilled in immersing melodic and sonic persuasion which leaves the track unpredictable and impossibly compelling. From an Alice In Chains like start the track through an electronic whiff of ambience unleashes a blaze of rhythms and riffs which devoid of vocal direction simply consumes and invigorates with anthemic potency. Its robust and torrential energy is very different to the atmospheric climate of Lucid. The next song on the album carries strong elements of the band’s sister venture, a Static Plan rock elegance merging with a Deftones like immersion for the imagination to seduce and enthral. It is a glorious wash of emotive and bordering on melancholic beauty with shadows as company.

      The outstanding Horses puts the listener back under intensive and heavy incitement next, its vocal drama and tightly gripping grooves sparking thoughts of Life Of Agony whilst the mesmeric Bastille and the closing Pale Horse only reinforce and intensify the impact of the album. The first of the final pair is a riveting interfusion of light and dark, hope and pain through again a Deftones cast ambient transfixing within a threatening and skilful frame of rhythms, bass menacing, and shards of guitar invention. The final song is a drifting melodic caress matched by a similarly sculpted vocal embrace. A progressive flight through reflective beauty lyrically and musically it is a bewitching end to a simply impressive debut.

     From a rigorous and towering first half through to the emotionally driven beauty of its second with maybe just the production a minor niggle with its slightly suffocating touch on the songs, Control is a fluid evolution which takes the listener on an exceptional flight of brave adventure and skilfully sculpted emotional provocation; it gives the passions and neck muscles a damn good time too. 7stbaby is destined to major things…you heard it here!

https://www.facebook.com/7stbaby

9.5/10

RingMaster 17/01/2014

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Centre Excuse – Control

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Continuing the impressive stature and irresistibility of their previous releases, UK electro rock band Centre Excuse now let out of its cage their new single Control, a song which whips up the appetite with warm and infectious, wholly energetic charm. The track hungrily romps through the ear, the glowing melodies from the keys and vocals offering a magnetic embrace whilst framed by crisp rhythms and sprawling flaming sinewy guitars. Expertly fusing lush sonic temptation with almost brawling punk rock aggression, the song has again provided the persuasive evidence for a continued rich acclaim upon the trio.

From Rutland, the three-piece of brothers Jamie and Alex Rush, and Teddy Lewis have made great strides since emerging in 2010. From their first introduction with debut EP All Systems Go the band has reaped strong and eager responses to their fiery sound, the following Generation Z EP and single In Your Mind only increasing the depth of acclaim and their potent presence. Their music is not demanding but still ignites a passionate return from listeners with inspiring enterprise, the result more often than not eager compliance and dedication to the cause. Their previous releases and equally successful live shows, which has seen Centre Excuse alongside the likes of A Sky Jet Black, I Am Giant, and Tonight Alive over the past couple of years, has set the band up as a dawning bright flame in UK indie rock, Control the register that they have arrived.

Recorded with Australian music producer Antonio Hanna, the single initially is a gentle coaxing of the senses, the keys almost teasing with their smouldering beckoning. It is mere moments though before sound and band erupt into a torrential blaze of grabbing riffs, vocal harmonies, and the swirling loud wind of keys, the combination a delicious burn with seductive intent in its heart. As with previous songs from the band, the hooks and constant lure of the track is uncomplicated and pure contagion but within and beneath that unbridled siren of a call the band unveil skilled invention and mesmeric imagination. It all makes for a song which is simply thrilling yet still makes a case for so much more to come from the band with its open promise.

The single is another thrust to the charging rise of Centre Excuse, a song which stands individual in the already diverse wealth of sound unleashed through the previous EPs and single. Each release has offered surprise and exciting ventures for the world of pop rock, Control is no exception.

http://www.centre-excuse.com/

8.5/10

RingMaster 20/04/2013

 

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Autoheart: Control

With their debut single Sailor Song, UK band Autoheart earned great and deserved acclaim for its impressive sound and presence, now the East London quartet return with Control, an indie pop song which just lights up the imagination. It is a track which captivates and evokes thoughts and emotions, its finely crafted and at times mesmeric charms fully engaging from start to finish.

The foursome of vocalist Jody Gadsden, guitarist Barney JC, drummer David Roman, and Simon Neilson on keys, since that first single have inspired interest from the likes of Radcliffe and Maconie, Shaun Keaveny, Bob Harris, and across  the media generally as well as gaining an ardent fan base with their successful monthly live night PUNCH around London venues. The new release will only energise this rise further, its presence sure to draw nothing less than impressed responses.

Released through O/R Records, Control opens with simply shuffling rhythms and piano, well when we say simply it is an immediately atmosphere and emotive entrance soon elevated by the quite stunning voice of Gadsen, his expressive and stirring tones impossible not to be drawn in by. From the attention grabbing potent start the song spreads its warm yet tense arms with flowing harmonies and inciteful melodic caresses. The track has an underlying energy and passion to it which just sweeps one up into the bordering on fiery atmosphere, the gently coaxing beauty soaked in immersive passion and soaring grandeur. Some songs are epic in massive overwhelming soundscapes, Control is epic from its heart and the wonderful vocals and rich sounds which combine for a towering wash of expression and feeling which just envelopes and soaks the senses.

Produced by Danton Supple, Control is quite magnificent; a song all should step into the heart of as we wait for their debut album with high anticipation.

https://www.facebook.com/Autoheart

RingMaster 03/11/2012

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