K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

The Spitfires – Year Zero

Through their first two albums, it is fair to say that The Spitfires have established themselves as one of the UK’s most enticing emerging bands. Both variously acclaimed releases lured potent attention to the band’s weave of punk, dub, and ska spiced rock, a sound growing by the record to embrace plenty more flavouring and now a fresh captivation within new encounter Year Zero. Their third full-length is the Watford quartet at their most imaginative, bold, and accomplished yet; a release which fuses energetic revelry and melodic enticement with lyrical sharpness.

From our first encounter with debut album Response in 2015, we like most have been unable to avoid offering up comparisons to the early exploits of The Jam, that continuing with its successor A Thousand Times the following year. Again there are times Year Zero embraces that open inspiration as well as essences for us which remind of bands such as Purple Hearts and The Cortinas. They are hues though which add colour to The Spitfires’ increasing individuality which is in rich bloom across the latest inescapable lure of an album.

Remains The Same opens up the release, its initial keyboard tempting thick intimation leading to the track’s spirited heart and web of hooks and lures. Punk and ska entangle as the song bounces along with varying urgency, the lead vocal prowess of guitarist Billy Sullivan for company with his potent tones as ably and infectiously backed by those of bassist Sam Long. The fresh addition of trombone adds to the adventure, its flames adding to the rousing roar inciting ears and attention in swift order.

The outstanding start continues with Front Line, bass and guitars immediately casting their contagious enterprise over ears as the crisp beats of Matt Johnson land and the keys of George Moorhouse flirt. Long’s bass pulsates with an earthy lilt within the virulence as Sullivan’s vocals once again easily entice. As with its predecessor, there is familiarity and catchiness to the song which grabs body and appetite but coming with an individuality which in turn switches on the imagination.

Next up Over And Over Again just as quickly and skilfully has the body bouncing and listener participation enrolled, its indie meets a Madness-esque scent joyous incitement becoming bigger, bolder, and more involving by the second. Contagion comes in various designs and strengths, the track pretty much one unstoppable infestation of energy and creative invention as too in its own unique style is Something Worth Fighting For. Swinging along on with a reggae nurtured gait as currents of dub bred enticement shimmer, the track effortlessly got under the skin in moments only increasing its hold as vocal, melodic virulence, and the band’s united craft colluded.

Further into the album you go greater adventure rewards, the following By My Side an enthralling piano led ballad with the guest vocals of Emily Capell pure radiance within the song’s own creative glow while Move On is a compelling dub lined brew of magnetism akin to Ruts and The Redskins meets Dub Pistols.

There is no avoiding giving a strong hint of next up Sick Of Hanging Around by comparing it to Paul Weller and co but again though it is a track which foremost is The Spitfires alone; the spicy blasts of trombone and the suggestive caress of keys a big part in ensuring its individual character in sound and imagination is forefront. As strong as its presence and the enjoyment felt is, the track is quickly and firmly eclipsed by The New Age. A boisterous punk and indie pop bred stroll with a power pop lining and dub ska underbelly, the outstanding track is glorious a call to feet, energy, and to arms.

The final pair of the album’s title track and Dreamland completes the release; the first unveiling a Ruts DC like saunter enveloping the senses like a celestial sunspot and its successor with the same infectious seduction in many ways echoing its title, a luminous melodic trespass on the state of society today.

More impressive and addictive by the listen, Year Zero is the coming of age of The Spitfires’ song writing and sound but with still plenty more to offer and explore in its evolution ahead. The world might be spiralling out of control but it is inspiring some striking reactions as this.

Year Zero is out now through Hatch Records; available @ https://thespitfires.tmstor.es/and most online stores.

Upcoming Live Dates:

Fri 05 Oct – Southend, Chinnerys

Sat 06 Oct – Norwich, Arts Centre

Fri 02 Nov – Dover, Booking Hall

Sat 03 Nov – Brighton, Patterns

Fri 09 Nov – Leamington Spa, Zephyr Lounge

Sat 10 Nov – London, Islington Assembly Hall

Thu 15 Nov – Birmingham, Hare & Hounds

Fri 16 Nov – Glasgow, Broadcast

Sat 17 Nov – Edinburgh, Mash House

Fri 23 Nov – Bristol, Fiddlers

Sat 24 Nov – Exeter, Cavern

Thu 29 Nov – Newcastle, Cluny

Fri 30 Nov – Carlisle, Old Fire Station

Fri 07 Dec – Leeds, Hi Fi Club

Sat 08 Dec – Northampton, Roadmender

http://www.thespitfires.org/   https://www.facebook.com/TheSpitfiresUk/   https://twitter.com/thespitfiresuk

Pete RingMaster 02/08/2018

Copyright RingMaster: MyFreeCopyright

Johnny Kowalski and the Sexy Weirdos – European English

Photo Credit: Kat Bennett

Like for everyone, there are a few bands which spark a moment of pure excitement when news of a new release is in the air and for us one is Johnny Kowalski and the Sexy Weirdos. Reasons why can be found in previous album Kill The Beast alone, “a wonderful deranged waltz of unpredictable adventure” but it has to be said are even more imposingly obvious within its successor European English. The album boisterously lives up to its name from start to finish, offering a skilfully crafted diverse and bold bedlam of continental flavourings within an eccentricity of sound which only we Brits can imagine. The result, a carnival of irresistible punk ‘n’ folk ‘n’ roll which has body and spirit relentlessly bouncing.

After the release of their outstanding last album, Johnny Kowalski and The Sexy Weirdos descended on Europe on a five week tour which saw the band “almost fighting children in Paris, a 14 hour van journey from Orleans to the French Mediterranean, and having bought cannabis from a police officer, the band squatted in a football club near Milan.” That was followed up by a weekend of spontaneous gigs with antifascists in Verona and dates in Trieste, Slovenia and Austria before arriving in Josefov where the majority of the new album was written, the band inspired by the Austro-Hungarian fortress town sparsely populated by Romani gypsies and its artists. Whatever the town had, it has bred a new wind in the rousing imagination bred exploits of the band and a sound which has always been original but has found true uniqueness within European English.

Welcoming the guest talents of Tamar ‘Juggernaut’ Bedward [Malarkey], Katie Stevens [Bonfire Radicals], Smut Rahkra [The Tenbags] and Anne Marie Allen across the release, the Birmingham based quintet open up the album with Megahorse. Instantly the bow of violinist John-Joe Murray is enticingly scything across strings into the imagination as Johnny Kowalski’s distinctive tones stroll, the darker tones of his guitar and Chris Yates’ bass lurking alongside as beats jab and tempt. It is a seriously inviting prelude to a lively gypsy folk romp driven by the flirtatious rhythms of drummer Matthew Osborne and the percussive tenacity of Illias Lintzos. This in turn leads to an evolving landscape of inventive sound and unpredictability never giving the body a moment to relax or attention to wander.

It is a forcibly excitable and thrilling start swiftly matched by the creative drama of Relative Rudeboy. Like a punk infused fusion of Mano Negra and Les Négresses Vertes with the grumpy rascality of the bass at its core, the song soon has hips swinging and emotions growling in league with its own attitude fuelled multi-flavoured stroll. There is no escaping its addictiveness or physical manipulation of body and spirit, the brass craft of Katie Stevens fuelling the fires, a tempting just as potent within the Balkan swing of next up Serbian Rhumba. It is a sultry flirtation on the ear, an evocative serenade with instinctive catchiness around the punk scented delivery of Kowalski.

The Sicilian Stallion is a celebratory canter mixing Celtic and Romany spices with Latin breeding in its instrumental celebration; quite simply two minutes plus of instinctive pleasure before Minor Calamities courts its own equally rich persuasion with a dark rhumba of musical and rhythmic theatre. As the tracks before it, another individual hue to the whole creative canvas of European English grabs ears and appetite; its body and tone a darker, more intense but no less infectious proposition.

In pretty much nothing but emerging favourites, Didn’t Find The Money puts its imaginative head above the firing line with compelling devilment and creative mischief. With the body instantly popping to its rapacious exploits, vocal chords swiftly locked in its virulent chorus, the song strolls along with a punk meets folk meets indie rock swagger, all unleashed with flirtatious dexterity.

The quite stunning Raggadub follows; its adventure a web of styles and sounds within a dub bred echo of invention. At times it vibrates with ripples of Ruts DC, in other moments flirts with Morcheeba-esque seductions, or snarls with King Prawn punkiness as a host of vocalists join the rapacious party; all the time increasing its hold on ears and lustful satisfaction.

The instrumental dance of Matthew Matthew provides a robust adventure of sound and international flavours, a piece which manages to simultaneously be fiery and smoulderingly seductive as rhythms cast a kinetic incitement, before Juniper brings a quite delicious recipe of temptation which teases and taunts like a blend of The Specials, Gogol Bordello, and Russkaja.

Its inescapable tempestuous virulence is followed by the instrumental elegance and grace of closing track Chinese Icicles. A melodic bloom in an initial alluring calm, the piece builds into a robustly dynamic yet still radiantly melodic saunter through scenic suggestion and oriental hues with rock edginess for company.  Eventually Kowalski’s vocals join the adventure bringing another breeze of boisterous and rowdy enterprise to the compelling end of one mighty release.

As we said earlier, every upcoming Johnny Kowalski and the Sexy Weirdos encounter brings an elevated anticipation which European English rewards tenfold. It has the body bouncing and spirit racing; what more would you want?

European English is available now @ https://sexyweirdos.bandcamp.com/album/european-english

European English Upcoming Tour Dates

21/10/17 – The Earl [Worcester]

28/10/17 – Vegan Fair [Wolverhampton]

04/11/17 – Karns Bar [Hinckley]

17/11/17 – Cafe Rene [Gloucester]

01/12/17 – Rumpus [London]

23/12/17 – Secret Location [Birmingham]

https://www.facebook.com/sexyweirdos/

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

 

 

And the Wasters – State Of Repair

The State Of Repair EP is the first offering since UK band Will Tun and the Wasters became simply And the Wasters last year. The change seems to have sparked a new fresh swing and adventure to their sound too; the band’s new release a vibrantly infectious romp with lyrical insight and worldly reflection in tow. It is ripe with the fusion of ska, folk, and punk with dub and Latin overtones the band has also seen acclaim for, but in their boldest most rounded and adventurous proposal yet.

Already with a clutch of well-received releases and a fine reputation for their live antics under their belts, And the Wasters followed their moniker change in 2016 with attention grabbing main stage appearances at festivals such as Bearded Theory and Boomtown Fair, an extensive Europe tour, and now with the name your own price release of State Of Repair.

It is a celebration of cosmopolitan sound with attitude and a snarl in its heart as songs reflect on the “sense of sadness, anxiety and uncertainty faced in the modern world, while also promoting an empowering message of solidarity, friendship and collective action.” As suggested, it also finds the band involve their broadest wealth of flavours and imagination yet for a rousing and infectious escapade sure to edge And the Wasters closer to major attention.

The septet of Dan Kemp, Ivo Johansen, Jared Dyer, Celeste Cantor-Stephens, Danny Epstein, Jack Kitchen and Jo Dobraszczyk, who we truly thank for bringing the EP to our attention, gets things stomping with opener Lion’s Share. Vocals and melody tempts ears first, their warm invitation soon joined by boisterous rhythms and strolling riffs as brass and the alluring charms of Dobraszczyk’s accordion flirt. As swiftly as the sounds engage ears, the track’s swing has feet shuffling and hips grooving, its individual ska/punk mixed proposal carrying essences of bands like Faintest Idea, By The Rivers, and Gogol Bordello to great effect.

It is a stirring start straight away matched by the dynamic throes of Small Victories. In some ways the song is a mellower proposition than its predecessor yet has a rivalling bounce and lively passion leaving exhausted pleasure in its wake. There is a touch of French band Les Négresses Vertes to the swagger and flavouring of the track but equally its punk edge hints at the likes of Operation Ivy and Sonic Boom Six; more evidence of the new diversity in the band’s sound.

Thoughts of the Paris outfit are prompted again with Reduce, Reuse, Rebel, especially as it enters with a captivating dance of accordion spun melody. Diversity of vocal aggravation and incitement is a potent temper to the charm of the sounds gaily strolling around them, attitude and beauty uniting in a magnetic collusion. Unpredictability is also a ripe trait; the unexpected slip into sombre calm with the siren-esque lures of a trumpet for company wrong-footing but an enjoyable lead into the folk bred canter which has body and spirit launched with zeal once again, rowdy punk intent subsequently to the fore.

Bound as One is another kaleidoscope of sound and texture, a boisterous stroll with the heart and liveliness of a carnival as voice and word call on unity. It is a captivating close to an increasingly rewarding and enticing release; though State Of Repair actually ends with the two minute sway and pulsing of Intro Dub which you wonder might have been rewarded with better attention if placed earlier within the EP, as the urge at the end of its fourth song is primarily to leap back to its first.

And the Wasters are ready to breach the biggest spotlights with a sound which, as the thoroughly pleasurable State Of Repair suggests, is blossoming into something rather special.

State Of Repair is available now @ https://andthewasters.bandcamp.com/album/state-of-repair-and-the-wasters as a free/ pay as you feel download.

https://www.facebook.com/willtunandthewasters

Pete RingMaster 15/03/2017

Copyright RingMaster: MyFreeCopyright

My Baby – Shamanaid

Pic Bart Heemskerk

Pic Bart Heemskerk

A few weeks back, preparing to be stirred up by the ever compelling dishevelled gentleman of blues, Seasick Steve at London Apollo Hammersmith, a majestic and fiery blues hex descended on ears and emotions in the shape of My Baby. Hailing from the Netherlands, the trio of Cato van Dyck, Joost (Sheik) van Dyck, and Daniel (Da Freez) Johnston were the announced support but unexpected intoxication infesting body and imagination with their delta blues seeded, rousing funk fuelled prowess. Fair to say My Baby rocked the walls and all between that night and sparked hungry attention on their just as recently released second album, Shamanaid. It has proven to be a proposition which more than lives up to the promise and anticipation bred through the forty minutes or so of their company that evening whilst revealing much more of the depth and adventure in the My Baby sound.

With its members bred in a Dutch and New Zealand climate, My Baby came together with a mutual lust for “fingerpickin’ guitars, voodoo, roots, funk, gospel and Southern swampy blues”. 2013 saw the release of debut album My Baby Loves Voodoo! via Embrace Recordings, its emergence greedily received and devoured and the spark to a global tour and shows from Texas to Tokyo, London to Lichtenvoorde, and Vienna to Wellington. My Baby also found itself embraced by radio stations and invited to support Henny Vrienten, as well as play on his latest release. The recent tour with Seasick Steve has enveloped the unveiling of Shamanaid, My Baby nudging the broadest fevered attention yet for their psyche inciting sound through said live adventure and even more potently with the provocative shamanic lures of the album.

The exceptional Seeing Red sets the spellbinding experience in motion, its first touch enslaving bait alone as dulled but pungent beats escort a spicy strum of guitar. Their combined lure embraces the magnetic tones of Cato next; her delivery and syllables dancing on the strands of rhythmic and acoustic coaxing like a temptress. The repetitious core of the song proceeds to bounce like a metronome inside ears and head, trapping both as melodies flirt with thoughts through their picturesque craft. The Louisiana air of the band’s sound is just as spicy as the enterprise if breeds, the song increasingly binding the listener in inescapable charm and seduction whilst it’s infectious shuffle, well that has the body enthralled from its first moment.

01_front_digipack_Reputation Radio/RingMaster Review   The thrilling start is matched by the calmer but sultrier melodic waters of Meet Me At The Wishing Well. From the first moment a bewitching hook shines from within another minimalistic but pungent rhythmic and riffs lined stroll. Whereas live the band roared like a lioness, the record sees My Baby explore more their acoustic imagination and skills, the second song a radiant affair for ears and emotions. The shimmer of sound and richness of vocals make for a reflective hug which has body swerves and foot taps as eager as ears and thoughts are at the hands of the lyrical and vocal painting.

Variety and potency is kept ablaze by Uprising next, its blues flaming and dub infused tenacity an incendiary proposal which whether the song swims on a melodic breeze or erupts in an impassioned furnace, only intensifies and incites with blues alchemy. The track has been a thick lure into the album, an easy to see success such the unstoppable and fierce mesmerism on ears and emotions fuelling every aspect and twist of its triumph.

A mellower but no less tempting kiss comes next with The Doors Of Your Mind, its smouldering air and reflective blend of words and vocals a tantalising croon which simply slips under the skin. Offering more evidence that My Baby is as skilled and poetic laying a gentle evocative hand on ears as they are stirring up blood and energy, the song makes way for the similarly delicate Mary Morgan. There is a livelier vivacity to the richly hued encounter but matches its predecessor in vocal adventure as well as brewing a melodic tonic as colourful as the lyrical tale exposed by Cato.

Remedy flirts with an initial spatial coaxing next, rhythms adding alluring shadows as Cato’s harmonies inflame the air. Eventually a slight but definite tribalistic tenacity merges with a fascinating web of blues expression created by guitars; the slide version a lip smacking tangy seducing against the darker hues of bass and the ever anthemic rhythms. There is an intensive varying of styles and persuasion across the album, far more than found in the band’s first full-length; all songs making fascinating and empowering propositions, and especially here providing an unrelenting lifting of spirit and energy for the listener before the poetic elegance of Hidden From Time lies down beside ears and envelops them in its beauty.

The rhythmic saunter and sonic temptation of 6X2 slips in next, voice and guitar entwining with a blend of gospel and blues rooted serenading. As ever there is an edge to it all though, a raw and uncorrupted essence taken from the roots of all flavours woven into song and album. Once again musical hypnotism is at work as, like all songs within Shamanaid, it removes the listener from the real world for an instant or two before handing them over to the just as potent escape of Marching. With a relaxed but inescapable swing and an anthemic might to its seductive chorus, the track is a puppeteer to body and soul, only releasing its lingering grip when the closing Panggajo brings its worldly mystique and spirit to arrest ears and imagination.

The song is an enchanting end to a treat of an encounter more than living up to hopes seeded seeing My Baby live. Shamanaid does not have the fierce roar and volatile energy of their live show but ventures into a just as thrilling and gripping acoustic/melody exploration. It also shows a big leap in sound and imagination from its highly pleasing predecessor. My Baby is aural voodoo indeed with the sweetest toxicity.

Shamanaid is out now via Embrace Recordings @ https://mybaby.bandcamp.com/album/shamanaid

http://www.mybabywashere.com https://www.facebook.com/MYBABYMUSIC

RingMaster 11/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

https://www.youtube.com/watch?v=LkXLLpT2OSY&feature=youtu.be&a

The Skints – FM

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There are numerous and varying essences which make a great record, elements which create an escape or certainly a potent diversion from everyday issues and drudgery. There are some which go even further, capturing the imagination as forcibly as ears and emotions whilst taking the listener into a landscape that is familiar in some and many ways to their own personal life’s scenery. These are the standout moments in music and FM is without doubt one of those. The third album from UK reggae/dub quartet The Skints, the release is a fascinating and seriously thrilling adventure, an encounter from the band drawing on their own personal pleasures growing up and in turn connecting with the listener’s. FM is an inescapable thrill fuelled by fun, fierce enterprise, and ridiculously contagious imagination…oh there are some rather bewitching sounds involved too.

Following on from their previous acclaimed albums, Breathe. Build. Believe. and Part & Parcel, of 2009 and 2012 respectively, FM is a tantalising proposition which in some ways can be described as a concept album. The release from the East London quartet of Jon Doyle (bass), Marcia Richards (keys/sax/flute/melodica/vocals), Jamie Kyriakides (drums/vocals), and Josh Waters Rudge (guitar/vocals), takes the listener into the heart of an imaginary London pirate radio station, The Big FM / Frequency Murderation, 103.Skints. Across its length we are entertained by four radio shows with the DJ Mr Versatile Breakfast Show, the alter-ego of Tippa Irie, setting the album’s broadcast off. The release is a tribute to the radio culture the band and indeed we have all loved as music fans, whatever our tastes, an ‘education’ and experience arguably lost in the modern internet age. FM is quite simply spellbinding in premise and invention, the songs finding The Skints at another creative plateau yet unafraid to give a nod to their early inspirations and own rawer sound whilst weaving diverse tapestries from roots reggae, dub, rocksteady, punk, Motown, grime, garage, and soul plus much more.

FM is summer in one excitable embrace and instantly steals ears and passion with This Town which follows the opening Breakfast Show skit. Featuring Tippa Irie and Horseman, the song is an immediate seduction. Vocals caress ears as guitar and pulses stroke with equally engaging intrigue. It is potent bait swiftly given greater colour by the irresistible tones of Marcia Richards. The image001song has attention and appetite instantly in its hands right away as a skittish air only adds to its compelling aural smile. London life has never been so warmly and magnetically shown but it is just the start. Both guests add their distinctive and captivating vocal adventures to the invigorating stroll, it all leading to a croon of a chorus which surely no one can resist. The track is spellbinding leaving a huge grin on heart and face and pleasure ready for what is to follow.

In The Night steps in next, its melodies and harmonies gliding over the senses, serenading ears with aural poetry. Elegant and reflective, the song also shows a darker yet unthreatening side, Horseman again adding his rich deep tones as energies brew heavier attitude around him. Imagine By The Rivers meets The Clash and you get a sense of the great contrasts colluding in beauty, though admittedly not the real uniqueness of the offering. Its mesmeric elegance is followed by Come To You, a summery waltz in ears with Richards as vocally enchanting as the pop bred melodies and steamy prods of keys and guitar. You can easily visualise or imagine a video of the song such its cinematic air, for us the singer spreading her melodic romance from the open carriage of a London park situated steam train, its wheels dancing around a track in the sultry heat of summer.

The excellent My War brings a darker edge to the release, the song a cover of the Black Flag track. It is still a fascinating melodically enhanced invitation but has a snarl to its voice and attitude lined swing that breeds an additional intriguing edge to the provocative narrative and shadows. The track is the end of the first show, Dancehall Dilemmas with Dr. Ranking Pegasus (aka. Horseman) opening up the stations next clutch of offerings. Featuring a ‘call from listener Danny’ it evolves into the excellent Friends & Business, another song with an addictive swagger and punchy rhythmic enticing commanding feet and passions with consummate ease. Ska bred with a soulful nature to its heart and vocals, the track also has a mischievous almost vaudeville moment which only adds to the addiction spawned by the slice of rock pop.

Both the feisty sway and swing of Where Did You Go? and the more serious presence of Tazer Beam keeps album and listener aflame with invention and pleasure. The first is yet another call of the summer with intimate melodies and irresistible rhythmic and percussive lures courted by bewitching vocal prowess across the band. As with many songs by The Skints, you feel you know the proposition ahead of ears yet everything about it is fresh and unpredictable, a skill sparking greater lustful reactions. The second of the two songs, explores a darker and grittier premise, looking at gun and associated violence on both sides of street culture. Tippa Irie returns to bring his pungent style to the immersive tones of song and band, contrasts again sublimely crafted in sound and lyrical expression by the band.

After the melodic spell of The Forest For The Trees, sorcery of vocals from across the band kissing ears as words and reggae honed strokes work on the imagination, the Grime Hour With Rivz (aka MC Rival) welcomes Eyes In The Back Of My Head. Also featuring the ‘DJ’, the track almost prowls ears, the hip hop incitement of Rival an alluring and compelling protagonist against the similarly imposing sounds surrounding his spits. Tempering it though, keys and vocals from the band bring their own smouldering seduction; whilst seemingly inspired by the tense streets being explored, the guitar reveals noir lit drama in its creative designs. The track gets under the skin, constantly evoking thoughts and emotions before Got No Say provides its own distinctive and individual flirtation of eagerly simmering keys, siren-esque melodies, and another thrilling and adventurous vocal union. In many ways the song might be the most pop of them all on FM, though as ever it never allows itself to settle into one singular premise of sound.

DJ Mr. Versatile Evening Session is the final show of the broadcast and gives us the mouth-watering beauty of Tomorrow. The song epitomises everything impressive about The Skints. Songwriting alone as enchanting and immersive as the melodies and imagination fuelling every slice of ingenuity held within FM. We have obviously repeatedly mentioned the thrilling melodies and harmonies which ignite songs, but have to also point out the dark throbbing lines cast by Doyle’s bass, the instrument and its dramatic strings perpetually casting additional theatre within the tracks.

It is a masterful end to a stunning release. The band’s previous albums were the mark of a band persistently finding new heights and depths in its sound and invention. Now FM is yet another landmark for not only The Skints but indeed reggae seeded ingenuity as a whole.

FM is available from March 9th via Easy Star Records @ http://easystarrecords.shop.musictoday.com/Dept.aspx?cp=115_68927 and digitally https://itunes.apple.com/gb/album/fm/id962280939

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

RingMaster 09/03/2015

Copyright RingMaster: MyFreeCopyright

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

G.R.I.M – Answers

GRIM

Having laid down their web of devilish temptation with the Sounds Like These EP, UK experimental rockers G.R.I.M return to increase the irresistible toxicity of their mouthwatering revelry with new single Answers. Again the Manchester hailing quartet twists the essences of numerous styles into their own unique and virulently compelling contagion as the single builds on their striking debut. Creating a stronger and more startling canvas of sound upon which the band sets free a riotous maelstrom of anthemic rhythms, imposing textures, and a psychotically charming inventive seductive, the track is a demon puppeteer to feet and psyche. It unleashes merciless bait throughout, a tempting which holds more unpredictable turns and deranged enterprise than to be found in the dark corridors of bedlam, a proposition which just inspires similarly raucous reactions

Formed in 2011 Great Riddims In Mind, better known as G.R.I.M, took little time in recruiting a fervour soaked local following with their fusion of styles such as dubstep, hip hop, dub, metal, and drum and bass to their sizzling noise rock core. To be fair any labelling is redundant when the foursome of vocalist Lance Hargreaves, guitarist James Glenn, bassist Nathan Larkin, and drummer Kyle Larkin cast their creative net of intensive rhythms, scorching guitar blazes, and vocal chants, and that is just simplifying their songwriting. With a serious reputation for thrilling live performances around their home city across renowned venues such as DryLive, Roadhouse, Sound Control, Antwerp Mansion, and Retrobar, the band certainly raised potent attention with their first release but it is in the outstanding Answers where you feel the trigger to wider recognition lies.

The single opens with a restrained stroking of guitar which is soon aligned to pumping beats and coaxing vocals. It is a skittish recruitment Answersof attention and appetite, sounding out the senses ready for the imminent expulsion of wantonly swinging grooves and wildly adventurous beats ridden by feistily enthused vocals. In full flight the track twists and flirts like a rapacious lap dancer as melodic toxins and hypnotic rhythms veining and puncturing the swerving rampancy. Playing like a meshuga planted by a union of Hadouken!, Lazy Habits, and Great Imitation with the extra relish of Swound!, the track soon has passions enslaved but it is only the start as it swoops into an atmospheric deviation, glorious orchestrated flames reaching to the sky as a Shrikes like disorientation and experimentation works on the senses. That exploration then evolves into a hip hop shaped lunacy, the song lifting its knees to its creative chin to wrong foot assumptions before moving once more into a delicious Mike Patton like invention.

The song continues to entwine those characters whilst adding new aural voices across its riveting climactic body, all the time sending waves of contagion and anthemic fuel into the passions. Seemingly increasing its thumping stride and urgency as it nears its conclusion, Answers is a predatory enticement with cracked intentions and irresistible weaponry which not only realises the promise suggested by the band’s last EP but uncages even greater potential for their sounds and an impending spotlight coated stature which you just know G.R.I.M will be exploiting ahead.

The single also comes with an equally dramatic and thrilling video directed by Joshua Leo Dorfman and produced by G.R.I.M and Fallout Productions. It brings its own enthralling premise and larger than life colour to the song, its story and cast as dynamic and energetically agitated as the thrilling song itself.

G.R.I.M is one of Britain’s most exhilarating and exhaustingly inventive secrets though Answers might just make that a soon to be well recognised mystery.

Check out the Answers video @ https://www.youtube.com/watch?v=k13smeVyrLw

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https://twitter.com/GRiManchester

10/10

RingMaster 07/05/2014

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Jago – The Wicked Try

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Though it was released mid-December we would be failing if we did not give you the heads-up about the debut single from UK vocalist/producer Jago. The Wicked Try is a simply scintillating anthemic slice of dub/reggae alchemy, a rapture inducing waltz of melodic endeavour and creative swagger which leads the ears and imagination down a path of insatiable aural seduction. Already renowned for his work as one half of production duo Hylu & Jago, the artist steps forward alone as a magnetic proposition in his own right.

      Also one of the vocalists of the brilliant reggae band Onlyjoe, it seems fair to say that Jago shines in everything he puts his undoubted talents into right now and his first single is no exception. Released via Hundred Years, only the second release since the label recently formed with the first the debut Galak Spiritual EP, the single also features contributions from Ghost Writerz (the acclaimed duo of Harry ‘Sleepy Time Ghost’ Metcalfe and Jason ‘Jimmy Screech’ Bradshaw), Junior Dangerous, and Serocee, all bringing an expertise and individuality which adds extra spice to the tantalising.

     Produced by one of Britain’s most inventive producers The Sea, The Wicked Try is pure undiluted temptation from first note to last. The song takes little time in charming the ears, a rasping breath making way for a teasing percussive nod and a dub infused brassy sound from keys which dance around and seduce the imagination like an over flirty lap dancer whilst he vocals equally lay down a vibrant charm offensive. It is not long before the epidemically infectious chorus makes its appearance as the rhythms and keys simultaneously trifle with the affections. Strolling along its course with insatiable and skilled revelry, the subsequent cast of vocals exploit the already bred ardour from the emotions with virulent ease. The track just does no wrong, every aspect and tempter irrepressible persuasions as The Wicked Try courts the imagination and leaves a long term persuasion in its wake.

     The track alone would have made the most compelling purchase but it comes with a pulsating dubbed out hip hop mix from DJ Vadim and a rich dub version, both forcibly attractive alternatives to the original but truthfully they cannot steal the passions from their first infatuation. Released digitally and as a 12” vinyl The Wicked Try though released a couple of weeks before the close of 2013 is really this year’s first essential single, a song to set new standards and claim a love affair with the passions.

https://www.facebook.com/hyluandjago

https://www.facebook.com/hundredyearsrecords

10/10

RingMaster 09/01/2014

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https://soundcloud.com/hundredyears/jago-feat-ghost-writerz-jnr-3?in=hundredyears/sets/jago-the-wicked-try-previews#t=0:00

Semitt Falls – I Know Bear Heads

semitt falls pic

Like a great many we were impressed and excited by Monkey See, Monkey Do Doo, the debut album from UK band Semitt Falls. It was an unpredictable and inventive twisting of flavours and imagination which marked out a band with the potential to rise to major things. It also set a high benchmark for the band to follow but for the only time they meet expectations the Stockport quartet easily take that plateau and lose it in the wake of their scintillating new EP I Know Bear Heads. The four track release is a tremendous weave of captivating invention and busily flavoured enterprise which makes the earlier album look like mere foreplay to the main event. Fusing electro metal with more of its muscular cousins and then aligning them with a breath-taking web of genres such as drum and bass, hip-hop, dub, reggae, and dubstep, the band conjures a kaleidoscope of sound which tantalises and seduces whilst sparking a riot in the passions.

Semitt Falls was formed in 2012 by Paul Kendrick (guitar, vocals and programming) and Jay Kane (vocals, synths) after the demise of their previous band Halt Under Heavy Fire. Linking up with ex-Fortune Favours Nothing member Danny Houghton (drums) who since the EP release has left the band, and subsequently ex- Son of Shinobi Craig Gilroy (bass , vocals) after a few line-up changes, the quartet evolved an initially post-hardcore sound into a more electronic rock sculpted persuasion, a sound which has continued to move and change with every song and release. The release of Monkey See, Monkey Do Doo in May of last year thrust the band into a wider focus of attention with its intensive diversity and mouthwatering adventure but as mentioned it now seems just an appetiser for greater things from the band, a mightier exploration starting to confidently flex its muscle and invention upon I Know Bear Heads. With a line-up for the EP seeing bassist Sidge Rushton replacing the departed Gilroy, Semitt Falls have unveiled a riotous temptation which just will not take no for an answer.

The EP seizes ears, imagination, and passion right away with opener FIRE!FIRE!FIRE!, a track also featuring G.R.I.M. Folderfrontman Lance Hargreaves. Funnelling through a distantly starting corridor, riffs and vocals emerge in a flood of energy and transfixing sonic confrontation. Once fully exposed and immediately into its rampant stride the song sees mixed vocal squalls igniting the senses whilst resourceful riffery and a rhythmic cage sculpt compelling narratives to secure a swiftly brewed appetite for the song’s presence. Ripe with swipes of hip hop vocals, dubstep conjuring, and a metal bred antagonism the track is an irresistible rampage merging the electronic addictiveness of Pendulum with the punk metal of The Prodigy and Skindred. It is a thrilling introduction to the release breeding a keen hunger and greed for what is to come.

The following We Be Dinosaur takes little time in offering something different, a quality repeated from their previous album, every song a unique and individual character and proposition to the next. Opening with an evocative electronic caress with shards of crystalline causticity, the track at first has an Enter Shikari like coaxing to its offering though it is soon evolved into a stomp of ska and reggae fusion guided by excellent darker vocals and a delicious trombone croon from Rushton and Andy Jones. Adding some punk rapaciousness and electronic teasing to the impressive spread of vocals and exhilarating invention, the track roams and incites the passions like a mix of King Prawn, Hadouken, and Daft Punk with adding essences of Dizraeli and the Small Gods. It a glorious landscape of pleasure and imagination which takes the impressive start of the release up another notch or two in thought and creative wantonness.

The title track brings a less urgent presence to tempt the senses, vocals and guitars showing a more deliberate restraint to their enticement which the keys and vocals wrap in an evocation of sound and absorbing soak of emotion. With samples also adding their unique touch to the flowing musical narrative it is a strong and engaging encounter but one just failing to match the heady heights and quality of its predecessors. Nevertheless the song embraces focus and appetite tightly warming them up for the closing exploits of Global Warning. The final track retains the smouldering charms of the previous song whilst inviting the more predacious energy and snarl of the first two tracks, the result another incitement to launch a fresh breath of ardour for band and release even if again despite its glowing elegance and magnetic craft it just misses hitting those early plateaus.

Immediately a gripping and entrancing tempest of imaginative excitement, the EP just gets better and stronger with every traverse of its easily impressive body. Semitt Falls has all the potential and promise to be the next big thing in electro rock experimentation, something rigorously confirmed by I Know Bear Heads.

http://www.semittfalls.com

Get the I Know Bear Heads EP as a buy now name your price at http://semittfalls.bandcamp.com/album/i-know-bear-heads-ep

9/10

RingMaster 17/12/2013

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Ruts DC – Rhythm Collision Volume 2

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For a great many of us the best punk band in the history of the genre was The Ruts, a band which fused raw street life and sound with addictive bass heavy dub and reggae. From day one they were a formidable and inciting presence cut short by the passing of frontman Malcolm Owen in 1980 aged 26. The history of the band up to that point is well documented within punk and rock, the music still igniting fires and lingering with relish and provocation year after year in many ways, and the same can be said of the band since, though the release of the new Ruts DC album Rhythm Collision Volume 2 equally highlights the large gap in music left by their absence for the last three decades.

Absence is a little misleading though as drummer Dave Ruffy and bassist John ‘Segs’ Jennings have certainly continued to inspire and leave a strong imprint on music, both playing live in numerous bands and with their impressive production skills which has led the pair to be tagged as Europe’s Sly and Robbie. It has been a long period for time to bare since the remaining members of The Ruts after the tragic death of Owen, released the albums Animal Now and Rhythm Collision as Ruts DC in 1981 and ’82 respectively, and an even bigger miss for music once Jennings, Ruffy, and guitarist Paul Fox called it a day a year after their last album. Their reunion in 2007 to play a benefit gig for Fox who had been diagnosed with lung cancer, and sadly died later the same year, ignited all the dormant passions with the show, an event which saw the likes of The Damned, Misty In Roots, UK Subs, Tom Robinson, and John Otway supporting and Henry Rollins taking over the vocal presence for the band, being declared as “the best punk gig of all time” by the Times.

This led to the band to reuniting with Neil Fraser aka Mad Professor who worked with the band on Rhythm Collision in the studio for an impromptu session which then led to another day of guest vocalists and musicians bringing their talent to the now vibrant project. Ruffy has said about the recording, “The album really came together by a series of fortunate events, before we knew it we were back in the studio for The Great Day of Vocals – Segs, Ngoni (aka Delbert McKay, Misty’s guitarist/vocalist), gifted lyricist Aynzli Jones, Brixton lyrics man Tenor Fly and Rob Love, frontman with Alabama 3 all turned up, tuned in and came up with the goods. Nothing was pre-conceived or planned.

Due to hectic schedules the proposed plan to get Mad Professor to do the final mix was an unavailable option the pair turned to Brighton producer Prince Fatty aka Mark Pelanconi. With everything in place and as it emerges beautifully finished, Rhythm Collision Vol.2 stepped forward and without any hesitation can be announced as one of the finest most exhilarating albums to grace and ignite the passions in a long time. The rhythmic heart of the album shows Ruffy and Jennings have lost none of their majestic power and provocative resonance whilst creatively they lay bench mark after benchmark for bands and artists to be inspired by within reggae, dub, punk, music.

As soon as the brilliant Mighty Soldier idles up to the ear with a warm ambience and joyful tease there is a fire smouldering within the ear, the throaty bass lure vibrant yet shadowed whilst the vocals of Tenor Fly shape thoughts with style and slight mischief within the seductive harmonies. It is a mild paced romp, a pulsating evocative persistence which leaves feet, voice, and passion eager to add their collaboration to the sultry dance, the brass flames bringing further irresistible temptation. Throughout the space synths of Steve Jones tease and add sweet devilry to the encounter whilst the keys of Seamus Beaghen provide a caress and firm push which leads to greater ardour for the stunning start whilst the guitar niggle is incendiary within the whole impressive blaze.

Through the likes of the sky travelling soundscape of Mix Up featuring Molara Awen on vocals, the white hot persuasion of One Step and Smiling Culture, the release grips tighter on the senses and emotions. The second of the trio resonates through thought and synapse whilst its touch is like a seductive walk over hot coals, a track to be taken gently, devoured thoughtfully, and enjoyed addictively, whilst the third, a song based on the death of Smiley Culture, is a deeply evocative and beautifully sweltering fascination of intent and sound with the vocals of Aynzli Jones and Rob Love riveting. At this point the album has already left a full rapture for its presence at play and goes on to only reinforce its potency with each track.

The oscillating atmosphere of Technology with its impossibly contagious brass call and the bone trembling sirenesque bass inducement of Jennings, which pushes the boundaries of Sun & The Stars to their delicious limits, evoke further imagination and hunger whilst the mesmeric caress of London Dub featuring Smokes (William Simon) is instant captivation, a welcome submergence in a soak of roasting ambience and equally fervid breath.

For personal tastes the first half of the album steals the show with its insatiable energy and invention but as the songs just mentioned and the likes of the thrilling dub heaven Heavyweight Style and The Road unveil their imperious charms there is no loss of lustful hunger and pleasure across the whole album. Featuring the blissful voice of Jessica Mcintyre, The Road is another glorious torrid slice of beauty veined by pulsating shadows from that irresistible bass lure of Jennings, a final triumph on the album though the two dub-core mixes of Technology and Soldier which do finally close the album are no fillers either.

With further contributions from guitarist Leigh Heggarty and vocals from Ngoni Mukai and Aurora Dawn in the mixing pot, the Sosumi Recording released Rhythm Collision Volume 2 is an unbridled treat, a collaboration extraordinaire which leaves the body, soul, and world a better place.

www.theruts.co.uk

10/10

RingMaster 13/05/2013

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