Beware! Monsters – Friend or Faux

beware-monsters-friend-or-faux-cover_RingMasterReview

An invigorating kaleidoscope of sound amid rousing creative dramatics, Friend or Faux is the debut album from British outfit Beware! Monsters. It is an encounter bred on a fusion of electro infused rock ‘n’ roll, rap, drum ‘n’ bass, and dubstep; like a fusion of Hadouken!, G.R.I.M, and Abandon All Ships but swiftly finding its own character in a provocatively fun album with a snarl in its heart and lyrical suggestiveness.

There is also a more than light touch of Semitt Falls to the Manchester band’s proposal which is no surprise as Beware! Monsters features former members of that band in guitarist Paul Kendrick and bassist Sidge Rushton. In fact vocalist Jay Kane was also one of the founders of the unpredictably inventive Semitt Falls, linking up once more with former band mates and newcomer in drummer Corentin Neyran for a new adventure in 2016. Beware! Monsters swiftly found eager appetites devouring their boisterous sound live and subsequently with Friend or Faux and its enjoyably intrusive and bold sixteen track proposal.

Book ended and broken up with ‘skits’ of evocative aural suggestion, the album starts proper with Make Wubz Not War and a deliciously heavy bassline with funk in its heart. As electronic and guitar cast essences attach themselves, the irresistible coaxing leads ears into a lively stroll abound with rock bred devilment and electro enterprise. With Kane’s rapping an equally persuasive motion in the thrilling scheme of things, the song sparks thoughts of previously mentioned Londoners Hadouken! and fellow Mancunians G.R.I.M but as also suggested earlier shows plenty to forge its own identity.

A mightily anthemic trespass on body and imagination, the great start continues with Truth, a milder mannered encounter sound wise but with a bite to its words and an underlying defiance to its intent as melodies seduce and rhythms bounce. Rushton’s bass again is an imposing treat more than matched by the frantic urges of the electronic antics around it and Neyran’s tenacious beats.

A wonderful nagging quality is shared by Kendrick’s guitar in the following Higher, its riffs and grooves a magnetic persistence supported by funk fuelled rhythms and an instinctive catchiness brewed in quick time by the aligning of individual revelry. With a touch of Axis Mundi to its body, the fiercely enjoyable track is followed and eclipsed by Beware of the Monsters, a pop rock scented affair with classical strains in its melodic endeavour and rapacity to its captivation loaded rock ‘n’ roll; it ultimately a resourceful carnival with the snappy raps of Kane as its side show barker.

The brief Project Dystopia is a similarly alluring affair at ease either snarling or roaming through ears in a reggae graced haze before making way for the punchy dynamics of A Long Way From Home, a track epitomising the album in the diversity of styles and textures employed in its imaginative carousel. Though it lacks the same spark as its predecessors for personal ears, the song is a compelling and skilfully woven proposition before the short almost gothic lure of In Ravens We Trust pulls intrigue into the waiting drama of We Are The 48. The track is another rock heavy slice of goodness with a predatory edge to its rhythms and vocals amidst the entwining of fiery grooves and smouldering melodies.

The Messengers of Deception rumbles and grumbles next without skimping on veins of seductive melodic enticement and its own distinct web of rousing creative espionage while No False Idol smoulders around another earthy bassline as an Enter Shikari meets Electric Six escapade blossoms into something fiercely unique and explosive to Beware! Monsters.

The cosmic toned A Revolution in Progress stirs the senses and emotions next, its intimate yet worldly challenge a tempestuous blend of rock and metal as at ease gently caressing involvement as forcibly stirring it up, all with a craft and invention which sets another certain highlight within Friend or Faux.

Closing with The Haunting is Over, a short evocative instrumental, Friend or Faux is one of those striking debuts which lingers in ears and thoughts long pass its presence. Certainly some tracks surpass others but from its first eventful second through to its suggestive last, the album is an impressive introduction to a band already outshining its member’s previous successes.

Friend or Faux is out now @ https://bewaremonsters.bandcamp.com/releases

https://www.facebook.com/bewaremonstersuk/

Pete RingMaster 11/01/2017

Copyright RingMaster: MyFreeCopyright

G.R.I.M – Progtronic EP

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Provocateurs already renowned for leading the body and imagination into diverse and adventurous stomps soaked in a lyrical fervour and experimental voracity, UK band Great Riddims In Mind have nurtured a new steel and maturity in their explorations. It is a growth which provides a rich core to the band’s new Progtronic EP, an evolution as potent and gripping as their increasingly addictive sound. The upcoming release reaps all of the mouth-watering and riveting essences of its predecessors but develops them with the band’s most composed and striking ingenuity yet. Already a relentlessly inventive and incendiary proposition, the band has sculpted in the shape of Progtronic, a creative tempest where intrusive unpredictability, uncompromising imagination, and raw passion are an unrelenting norm.

Better known as G.R.I.M, the Manchester quartet began in 2011 and were soon stirring up attention and appetites locally with their raw and fiery fusion of dubstep, hip hop, rock, drum and bass, and plenty more. A wider spotlight was switched on by the release of the Sounds Like These EP last year, the acclaimed debut reinforcing the already potent reputation the band has earned for their live performances in their home city and beyond. Earlier this year the single Answers was uncaged, the track with its maelstrom of textures and bordering on psychotic invention strikingly hinting at the new step in the band’s evolution, something the new EP confirms and stretches even further.

Opener G.R.I.Mtro throbs with electro resonance in its first breath, the second bringing in an equally pulsating lure of vocals as synths expand their hues and beats darken their persuasion. It is a gentle but imposing entrance, the band almost leering into the imagination whilst holding a whisper of belligerence in every note and syllable shared. The track meanders from this point as if searching for its switch, which when found sparks a still restrained but strikingly colourful stroll, the rhythms of drummer Kyle Larkin a low key stalking alongside similarly predacious lines from bassist Nathan Larkin. Vocalist Lance Hargreaves dances mischievously over this web with the guitar of James Glenn almost egging on his revelry as synths flirt with magnetic and sinister persuasion. Though suggested the song never explodes; its tension simmering forcibly in voice and sound but holding check for the main, before evolving into the following Grill Me.

The second track emerges with a similar melodic tempting and structural baiting but is soon binding ears and thoughts with the impressive vocal prowess of Hargreaves and the sonic adventure brewing up in the rest of the band. There is aprogtronic gig poster1 sense of bands like Hadouken and the now demised Janice Graham Band, but whereas on the first EP these were loud comparisons they are mere spices for reference in the new vat of creativity and originality fuelling Progtronic. Badgering and seducing senses as well as thoughts with its bubbling tenacity and inventively lively canvas, the fascinating proposition whips up the appetite into a hungry greed ready for the outstanding Terrorisms, a lyrical and musically striking track which sways with seductive and rugged elements simultaneously. As with the previous pair of songs, there is a control to the intensity and urgency which embraces the frantic and deranged creative fervour of previous releases, but channels it into a just as invigorating and fascinating success and protagonist. Thickening its climate with funk and jazz seeded winds, the track enthrals and sparks the imagination with sublime ease, whilst ears and emotions are immersed in a perpetual and thrilling tantalising.

There had to be an outbreak of unbridled devilry at some point on the EP, and they come with the final two tracks. Metanoia comes first, its entrance also calm but within a tempestuous climate of stormy emotion. Vocals and bass riffs find a home in ska and hip hop planted fields whilst the caustic rub of guitars and keys provide an early agitation and inflammatory air to the building inflamed passion of the song. A midway breather of just a single melody and vocal is the spark to a flirtatious and reggae bred striding, this in turn firing up further the vocal melodies and pulsating adventure of the scintillating offering. A moment in time that surely nobody can resist, it has feet and moves soon enlisted and lurching with the pulse and temptation of its presence.

Final track Him Without Sin is an immediate blaze of vocal rapping and sizzling sonic endeavour which in turn brings in a ridiculously contagious swagger of riffs and hooks, all diversely spiced and virulently enticing. That earlier mentioned frenzy within the band is a rampant toxicity in the song but again under a precise and impressive measure. It does not stop it, as all tracks, being irrepressibly anthemic and ferociously incendiary but allows the just as hard hitting lyrical commentaries to firmly place their potent grips too.

Another ravenous treat, Progtronic is a new turn in the emergence and sound of G.R.I.M, a milestone on their increasingly certain and creatively inflammatory ascent.

The Progtronic EP is released on December 2nd.

G.R.I.M will be holding the EP launch party @ Joshua Brooks in Manchester on December 2nd with sets from special guest MC’s, and supported by Eyes Like Twenty

For more info check out the band’s official website @ http://greatrhythmsinmind.wix.com/grim

RingMaster 21/11/2014

Copyright RingMaster: MyFreeCopyright

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

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Manumit – Digital & Hostile

Manumit Online Promo Shot

Creating a sound which is fresh and striking whilst employing a wealth of familiar essences from a healthy array of genres, Welsh solo artist Manumit follows up the success of and acclaim for his previous singles and EPs with debut album Digital & Hostile. It is an enthralling proposition which entangles rich elements of heavy rock and electronic invention with equally potent strains of amongst many dubstep, drum n bass, and post hardcore. Released via Lost Generation Records, Digital & Hostile is a thoroughly compelling proposition which ebbs and flows a touch in its still success but never submits to predictability whilst exciting ears.

Brought to life in 2012, the Bridgend, South Wales hailing project took little time in grabbing attention and keen recognition. Manumit’s first EP F**k Genres, Love Music soon woke a hunger in fans and potent interest from the underground media upwards for his sound whilst the music video for the track Walk Away soon become a centre of attention on the likes of Scuzz TV. Subsequent singles and videos emulated that early success and bred a stronger anticipation for the band’s first full-length. Bringing those earlier singles together with a host of new songs, Digital & Hostile is a ten track adventure which from start to finish intrigues and flirts with the imagination.

The release makes a gentle opening with the intro of Sacrifice, a guitar making a lone evocative coaxing within a colder atmospheric drift of sonic whispers. It is a thoroughly engaging start to the track soon making an even stronger seduction with the excellent vocals of Manumit. The song simmers in the warmth of melodic rock at this point with a folk lilt to the vocals and melodies yet all the time in the background you sense something is brewing and moving towards the foreground of the song. It arrives in a fiery blaze of electro rock, Pendulum immediately coming to mind as the track bristles and rages within the pulsating embrace of its electronic invention. It stops itself from being a replica of existing propositions though with the continuing of the excellent melodic rock enterprise unveiled earlier in the song and the great vocals which also employ post hardcore antagonism in their delivery.

The track is a strong and appetite sparking start which the following Walk Away easily continues. It also opens with a gentle emotive stroking, a piano this time casting its melodic beauty over ears and imagination swiftly joined by the Manumit Cover Artworkagain deeply impressive vocals. There is a touch of Coheed and Cambria to the start and it too is brought into an electro maelstrom of temptation though with a stronger lilt to the heavier rock side of the track this time. Vocal squalls add to the wide texture of the song whilst the aligning electronic endeavour brings a mesh of Nine Inch Nails meets Skrillex to its striding triumph. As with its predecessor, it does feel like the track is one spark too short in its fire, never exploding into the rigorous tempest you expect and hope but it does not stop either from making a thoroughly enjoyable and impressive start to the album.

Do The Right Thing also glides in gracefully, its exotic tempting on an electronic breeze almost Peter Gabriel like. In no time it erupts with raw emotionally charged vocals within a thick and inventive weave of electronic incitement, all veined with heavier rock riffs and rhythmic provocation. Vocally the song is as superb as those before and after, the strength and expression of Manumit a striking given success across the album, whilst the expectations evading twists of the song and the classical elegance of keys within the bustling sonic storm is at times bewitching. It is another very potent proposition for the main matched by both Everything Changes and When I’m Gone. The first of the two is a flowing persuasion of electro rock with plenty of tenacious essences from both sides of that mix in its evocative stroll whilst the second is a gentler but no less busy croon of emotive keys and electro radiance splintered by an array of punchy beats and incendiary guitar designs. Maybe the least impressive track so far it nevertheless is an infectiously captivating song showing the strength of the album.

Another diverse twist comes with the album through the magnetic balladry of Your Body Giving Up. Fronted by the glorious and seductive tones of Tanyth Roberts, the song is a sultry flame of atmospheric tension, melodic drama, and electronic intrigue which makes more of a lingering impression and success than an upfront persuasion but emerges as one of the most riveting songs on the album. Its enslaving provocative charm is followed by the energetic stomp of Can You Hear Us? From a nintendo-esque opening, the song bursts into a rampant charge of electronic and heavy rock tenacity, merging the electro punk roar of a Jensen with the more mischievous virulence of a Hadouken or Axis Mundi. It is an irresistible contagion which is as antagonistic as it is anthemic, and the best track on the release.

The raging urgency continues in Abuse Of Power, its raw challenge lyrically and musically tempered by the melodic vocals and electronic designs which seduce the imagination as much as the quarrelsome textures and hardcore tones within the proposition. Elegant keys also add to the drama and though the track does not grip as many others, it is still a masterful persuasion before making way for The Passing Of Nothing. It is a track which starts much like the opening pair on the album, from its delicious harmonic and melodic initial touch evolving into an electronic and vocal blaze around a stirring sinew sculpted slice of rock. You are never too far from thoughts of Pendulum with many songs but with the numerous other flavours flowing through them, here a Spineshank like industrial metal spicing at play, Manumit takes every song into a distinctive corner.

Closed by the transfixing Afterflow which from a underwhelming start emerges as another engrossing incitement, thanks predominantly to Manumit’s fine vocals and a steely anger to the song’s body, Digital & Hostile is a formidable and richly pleasing release. Whether it is as intrusive and raucous enough to match its undoubted potential is one for the individual but Manumit has shown himself with the album, to be one of Britain’s more creatively dynamic and exciting prospects.

Digital & Hostile is available via Lost Generation Records on 1st September @ https://itunes.apple.com/gb/album/digital-hostile/id883699098 and other online stores.

https://www.facebook.com/manumitofficial

Live Band line-up: ( Manumit – Vocals/guitar/keys/samples;Skullfunk – Vocals/MC;Larusso – Guitars, Bandit – Drums.

8.5/10

RingMaster 01/09/2014

Copyright RingMaster: MyFreeCopyright

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

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MANUMIT goes ‘Digital & Hostile’, from 1st September‏

Manumit Online Promo Shot

Welsh solo artist Manumit is poised to unveil his explosive debut album, Digital & Hostile on 1st September, through Lost Generation Records, a release which be an anthem for anyone looking for originality.

In an increasingly over saturated market, every fan, record label, radio station, music channel and magazine are screaming for something new. Manumit is certainly that. Spawned in 2012 and coming at you from Bridgend, South Wales (home to the likes of Bullet For My Valentine and Funeral For A Friend), Manumit has strived to bond genres whilst sculpting  genuinely distinctive songs that pull you in from their first breath.  Taking from a plethora of influences, ranging from Alexisonfire and Paramore, to Nine Inch Nails, Pendulum and Nero, whilst drawing from the fundamentals of dubstep, drum n bass, and electro and fusing them with cutting edge rock, metal, and post-hardcore, Manumit has amassed a sound that packs pulsating rock riffs with thoughtful melodic vocal and synth vocal work, all broken up by brutal digital breakdowns. The end result is an original onslaught of contagious, anthemic tracks that are loaded throughout with intricate dynamics.

Mamumit hit the ground running with the release of both his debut EP ‘F**k Genres, Love Music’ and his first music video for the track ‘Walk Away’; people across the world couldn’t help but take note. Turning industry heads, ‘Walk Away’ made it to the Top 10 Fresh New Videos on Scuzz TV, coming in at No. 2 ahead of Bullet For My Valentine, Biffy Clyro and Limp Bizkit, among others. Following this, Manumit went on to release two other singles and videos for ‘Can You Hear Us?’ and ‘Afterglow’, all of which were extremely well-received and also featured on Scuzz TV.

On September 1st 2014, Manumit will nationally unveil his hugely anticipated debut album ‘Digital & Hostile’ through independent imprint ‘Lost Generation Records’. A DVD featuring all music videos, interviews and live performances is also available alongside the album, which consists of ten killer slabs stemming from past singles ‘Walk Away’, ‘Can You Hear Us?’ and Afterglow’, as well as seven new tracks. The album takes you on a breathtaking and formidable journey, and it’s destined to break Manumit into the national sphere.

– MANUMIT RELEASES ‘DIGITAL & HOSTILE’ OUT ON MONDAY 1st SEPTEMBER THROUGH ALL GOOD STORES –

Manumit Cover Artwork

https://www.facebook.com/manumitofficial    https://www.youtube.com/manumitofficial

Across The Swarm – Self Titled

ATS photo by Gianvito Greco

Hailing from Bologna, Italian extreme metallers Across The Swarm are an emerging force destined to great and major things if their self-titled debut EP is anything to go by. Consisting of five fascinatingly inventive and irresistibly brutal tracks entwining everything from groove and nu-metal, hard core and drum and bass into their persistently evolving and violating landscapes of sound, the release is a towering and gripping onslaught of intrigue drenched ferocity. It is a startling entrance by the band, one clad in an invigorating unpredictability and exhaustive experimental attitude which is seemingly rare to absent in a great many new bands.

Formed in 2013 out of Lacerater, which released a series of demos itself, Across The Swarm set about working on their first release last December. Recording it at Sliver Studios, the quartet of vocalist Francesco A. Flagiello, guitarists Luca Sammartino and Marco Lambertini, and drummer Riccardo Grechi brought in NK and Sygo from Hallucinator for the DnB samples as well as Simone Bertozzi (The Modern Age Slavery, Mnemic) to provide bass for the recordings. The result is the exhilarating torrent of ideation and voracious sound found on their self-titled introduction, a proposition inflaming ears and imagination right through to hungry passions.

     Hang Out is the first pestilential treat, a grievous rhythmic assault and similarly bred riffs flying at the senses within the first second. It is already more than a straight forward confrontation as varied vicious vocal squalls alongside across-the-swarm-300x300vitriolic grooves wreak havoc with toxic intent and craft, whilst the unpredictable drumming of Grechi disorientates as it impresses. The track is from start to finish incendiary to the imagination, torrentially blasting and irrepressibly seducing with mouth-watering enterprise and striking ingenuity as in its successor Just Bodies. Once again first touch is as barbarous as it is heavy, beats and riffs churning up the senses for bass and guitars to offload a venomous bait which itself twists with a breath-taking ideation. Swinging temptation of drum n bass bred invention soon adds its weight to the suasion, though its brief entrance is soon lost under an avalanche of rhythmic hostility and rigorously intensive grooving. Raw and uncompromising yet precise and deliberately structured in its creative fury, the track consumes an already keen appetite for the release with its staggering endeavour, the smile on the face at its departure the sure sign of something special.

That grin is never far away from the EP to be fair, reprising its joy with Cynical Eyes and beaming even more loudly with the outstanding Formless Wreck. The first of the two is sonic and rhythmic savagery driven by vocal and creative predation. The track starts in a rage and boils up into a carnivorous rabidity yet from its first caustic touch it unleashes waves and veins of acidic grooves and invention sculpted twists which enslave the imagination. It is a contagious tempest of malevolent beauty matched and exceeded by the second of the two, bass and guitars coaxing and licking ears with invention beneath a scourging wind of sound before that previously only glancing bait of drum n bass makes a more thrilling and provocative presence on the release. At any point on the EP it is hard to find true comparisons to suggest and here especially difficult, yet essences of The Browning, Bloodsimple, and Dark Tranquillity is some kind of clue.

The release closes with the virulently compelling Like Water, a hellacious inventively twisted slab of extreme maliciousness cast with technical rapaciousness and imagination bred toxicity. It is a colossal closing to an immense and enthralling incitement. Across The Swarm has uncaged one of the best metal debuts certainly this year and last whilst suggesting a potential which if it comes to bear, and you dare not doubt it, could see the Italians setting new levels and templates for extreme storms ahead.

Across The Swarm is available now @ http://acrosstheswarm.bandcamp.com/album/across-the-swarm

https://www.facebook.com/acrosstheswarm

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

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

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Lazytalk – Just A Ride

 

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    When the body is turned into an eager puppet you know you are in the hands of something special and that is exactly what the new single from UK rockers Lazytalk is. Just A Ride is an insatiable stomp fusing the richest essences of indie, ska, and punk with plenty of other variously seeded excitement like drum ‘n’ bass. It draws in ears and imagination from its opening note, never relinquishing its contagious grip until the final vivacious second.

      Lazytalk was formed in 2011 and it seems was soon raising up the passions from a loyal following with their resourcefully inventive sound. Exhilarating venues and audiences across London and the UK ever since their debut day, which has included supporting Babyshambles on their UK tour, the band drew strong responses with their debut EP, the Gordon Raphael produced Luzaville. The new single follows the release of the excellent track Memories which came out as a free download a couple of months ago, and treats ears and imagination to their finest irrepressible slice of revelry yet.

Just A Ride opens with jangling guitar strokes which immediately suggests an Arctic Monkeys like bred adventure ahead. The joining rhythmic bait of Tag Ara soon accelerates the already brewing appetite for the song, impressively aided by the vocal beckoning of Piers Robinson. It is a tremendous temptation which explodes to another plateau once the bass darkens its tone whilst the guitar of Jack Wilson aligned to the keys of Joshua Culter, scythe across and thicken respectively. the riveting dance of the encounter. There is a definite eighties new wave swagger to the more angular aspects of the adventure, one which slips seamlessly beside the gently stabbing ska enticement and the fiery and infectious weave of melodies. The rhythmic cage of Sam Woodward keeps the vivacious energy and irresistible mischief of the song encased in a controlling body but one which allows devilry like the pleasing sax croons from Culter and the raw vocal harmonies to play and add their engaging hues to the scintillating and wonderfully exhausting romp.

      Lazytalk is one of those bands you just sell your soul to, well we did as once Just A Ride placed its hand on ears and passions there was just no escape. If is safe to say that we will not be alone in offering up our submission and doing it time and time again as the band realises the rest of their potential and rises to the loftiest heights of attention and ardour in the UK music scene.

Home

10/10

RingMaster 23/03/2014

Copyright RingMaster: MyFreeCopyright

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The Correspondents – Puppet Loosely Strung

 

The Correspondents pic

     …And the treats of 2014 just keep coming; in a year already endowed with some of the finest releases and debuts, Puppet Loosely Strung just might be the best of all so far. A masterful aural tapestry of sonic magnificence and unbridled imagination, the first album from UK band The Correspondents is simply stunning and quite irresistible. The creation of London based duo, producer Chucks and singer Mr Bruce, the album is a weave of intrigue, adventure, and diversity showing exactly why for the last few years the band has been drawing fevered attention and adoration for their live performances. Reaping the glories of everything from dance music to jazz, blues to electro and drum ‘n’ bass for a pop soaked exploration unique to themselves, The Correspondents is one of those bewitchments everyone needs in their lives.

    Mr Bruce and Chucks came together as The Correspondents in 2007, two South London artists taking as little as two years to find themselves playing main stages across numerous festivals. The years since their emergence has seen the band touring with the appetite of a hungry predator, small and large audiences constantly enthralled and enamoured by their invention driven sound and the band acclaimed as The Telegraph’s Top Ten Glastonbury Highlights two years in a row. With one EP, What’s Happened to Soho?, the only recorded offering until now, the band has impressively sparked a greedy appetite towards them, one which will soar as Puppet Loosely Strung seduces and provokes with its stunning radiance. Bringing in well-loved and established songs from their live set and a new breed of introspective emotive tracks, the release is the ultimate crossover album, one forging and sculpting a realm all of its very own and one sure to inspire hearts and numerous other upcoming bands.

     The self-produced, recorded, and released Puppet Loosely Strung, digs deep in the heart of its recipients from the first song The Correspondents - Puppet Loosely Strungand never relinquishes its seduction thereafter. Opener What Did I Do? initially croons the ears, the exceptional voice of Mr Bruce serenading thoughts as keys caress his presence before beats add their mildly skittish suasion to the emerging stroll. Within seconds the track is a full captivation turning into a virulent lure as its unpredictable and mischievous enterprise skirts the reflective grace of the vocals. It is a delicious sway of ingenious sound and loving imagination which whirls senses and thoughts around like an evocative carousel of thoughtful temptation.

     The striking start is soon taken to another plateau with the first single from the album, Fear And Delight. A dramatic shadowed coaxing of keys makes a mysterious entrance which moves into a feisty romp of indie rock and electronic temptation. If the first track was virulent, the second song is an epidemic, infectiousness rampaging with lustful energy and sound as the pair merge dub into drum and bass with a ska kissed melodic ingenuity. Not for the last time The Correspondents remind of little known and even quicker forgotten eighties band Zanti Misfits, the swing and quirky balance of the track the spark for thoughts. The song is pure musical alchemy, a classic stomp with irresistibly lingering bait which the rest of the album has to try and make you forget, which it soon manages with the next up Give You Better. The song lyrically is almost the warped mirror image/alternative guise to the plaintive narrative of its predecessor, even emerging from the same melodic stroke before casting is own personal persuasion. Once again the keys paint a dark drama to proceedings before the vibrant and magnetic saunter of the song brings a tempering light to the blues pleading hues of the song. As the previous tracks the urge to join in with limbs and voice to the creative trespass of the passions is impossible to resist, the already broad grin on the face and imagination now connecting ears.

    The seductive shuffle of Kind Of Love next licks temptingly over the senses, its jazz bred almost easy listening leaning call leading the senses into an electronic elegance before the instrumental skit of In The Meantime brings a cinematically emotive breather to the dance of the release. It’s enjoyable if slightly underwhelming presence in the larger scheme of things is succeeded by Devil’s Lighthouse, a song which encloses the listener in a melody rich sonic exploration which simply brings another flush of ardour towards the album. Restrained yet brisk in its step, the track pushes shadows into the arms of warm ambition and hope for another pinnacle in the continuously lofty range of majesty.

   Both Well Measured Vice and The Last Time leave a spellbound state over ears and thoughts, the first another upbeat romp with provocative colour to its melodies and vocals playing within a rhythmic and pulsating courting. The song designs riveting adventures within its fluid waltz to easily transfix whilst its successor s offers the most potent seduction with its XTC like eccentricity and occasional Andy Partridge flavoured twist in the vocals. The song is one of the few happy to simply walk around the senses and coat them with a thick breeze of varied inventive whispers before making way for the dance floor spawned Back Again. Even if missing the benchmark set, the track is another drawing a mesmeric rapture which simply draws you in without reserve, its rhythmic tantalising as potent as its melodic fascination.

    The album’s title track lays a haunted ambience around the imagination as the song and Mr Bruce explain their feelings and thoughts respectively, the song a smouldering and sultry flight into observational and inward reflection to which the keys place compelling embers and imagination shaping sparks. The enchanting journey is matched and surpassed by the latest single, the brilliant Alarm Call. Released with a video to raise awareness and funds for The Epilepsy Society, there is a definite Julian Cope feel to the song vocally, emotionally, and exploratory; it’s pulsating contagion aligned to evocative textures and thoughts pure addictiveness.

     Closing with Some Nights, another impossible catchy and passion securing musical rap of peerless prowess and excited imagination, Puppet Loosely Strung is just sensational. It is a quite brilliant investigation of lost loves, dark relationships, and shadowed reflections all wrapped up in one of the most extraordinary sirenesque designs of sound and spirit. The Correspondents is our new lust and we suggest you make them yours too.

https://www.facebook.com/TheCorrespondents

10/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

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

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