Caesaria – Bring My Ears Back

Swinging from the heart of the French underground, Caesaria is a quartet creating electro-pop which refuses to be ignored, certainly on the evidence of new single Bring My Ears Back and their recent EP. Taken from that EP of the same name, the latest offering is a jungle of funk infested rhythms and electronic revelry primed to take ears and hips on a festival of feisty revelry.

Formed in 2013, Caesaria embrace English rock/pop seeded in the eighties. It flavours a new wave/dance funk escapade given an individual yet enjoyably accessible stamp by the quartet of Théo Chaumard, Dénis Donlic, Thomas Fariney, and Louis Arcens. Making a potent and increasing impression with their live prowess since day one, the band released debut EP, Sparks of Visions, in 2015, eclipsing its success with successor Bring My Ears Back.

That EP’s title track reinforces its attention grabbing adventure within its first seconds; buoyant rhythms and inviting melodies, reminding a touch of eighties UK band King Trigger, laying the first invitation. Soon melodies dance as grooves spring around harmonically warm vocals; it all adding to an inescapable lure for body and enjoyment.

As keys swarm enticingly around the senses and the cleverly layered textures of the track, there is certainly a familiar air and touch to things but as mentioned earlier, with an individuality which plays like an old friend with fresh devilment in the heart.

Caesaria and Bring My Ears Back are a proposal no dance floor will be able to resist while equally carrying an indie jangle to spark the appetites of less eagerly mobile enthusiasts; simply an energetic treat for all.

Bring My Ears Back, EP and single are out now.

https://www.facebook.com/wearecaesaria   http://www.caesaria.fr/   https://twitter.com/WEARECAESARIA  https://www.instagram.com/wearecaesaria/

Pete RingMaster 04/08/2016

Copyright RingMaster: MyFreeCopyright

Alphabet Backwards – The Things We Did To Pass The Time EP

British quintet Alphabet Backwards completed their aim to write and record three separate releases in a year without the need of studios or labels with the recent unveiling of The Things We Did To Pass The Time EP. Containing three songs bubbling with the warm and melodically flirtatious sound that the band is becoming increasing renowned for, the release is a fine end to an aim and success which has provided a host of rather irresistible feel good songs.

Consisting of Josh, Steph, Paul, Bob Tom, and James, the Oxford bred Alphabet Backwards have been luring closer and stronger attention for quite some time now, making their first potent mark with a self-titled debut EP in 2009. The trio of EPs, The Superhero in 2010 with The White Russian and British Explorer following the next year, raised the momentum and praise cast the way of the band’s emergence with debut album Little Victories in 2012 putting the band’s fusion of indie and electro pop firmly on the landscape of the UK music scene.

It might be fair to say though that this past threesome of releases starting with Fingertips/Indian Summer, unveiled March 30^th 2015, has raised the profile of the band most of all. The two track offering was fuelled by their most infectious and imaginatively creative adventure yet, subsequently built upon and pushed again by the Book About Foxes EP last September. Now to show that the three releases in a year also meant a continuation of the resourceful and inventive prowess soaking the band’s music, The Things We Did To Pass The Time released the end of this past March has ears joyful and spirits dancing.

Alphabet Backwards weaves a sound which simply puts a smile on the face and though the songs within the new EP might not be their most virulent catchy, each has a new depth in warmth and melodic revelry which ignites the same satisfied smile and thick enjoyment. It opens up with The Glass and straight away has ears fully engaged as the now familiar vocals of the band walk amongst a melodic jangle and jabbing beats. As much as the band’s music entices so does their vocal prowess and expression, male and female tones coming together as alluringly as keys and guitars caress a thicker rhythmic tempting. The song continues to caress and seduce with its flirtatious gait and melodic enterprise, warming ears and imagination perfectly for the rolling canter of Escape Artist.

Straight away the second song reminds a little of eighties band The Woodentops, its flirty rhythms and strolling melodic shuffle matched in magnetic kind by the vocals. That nostalgic feel continues as keys bubble and rhythms take their moment to entice as moments of slim but infectious relaxation break. The song predominantly though is a lively affair and quite superb, emerging the favourite amongst a trio of seriously addictive proposals completed by the vivacious waltz of Television. The last song’s swing is pure pop and its intimate textures almost folkish; a combination which simply lights ears and emotions as guitars and keys swirl and smoulder around more of those captivating vocals.

Alphabet Backwards is proving to be a band that induces real anticipation with every upcoming release; The Things We Did To Pass The Time EP showing exactly why.

The Things We Did To Pass The Time EP is out now via iTunes and other stores.

http://www.alphabetbackwards.net/   https://www.facebook.com/alphabackwards   https://twitter.com/alphabackwards

Pete Ringmaster 19/04/2016

Copyright RingMaster: MyFreeCopyright

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

Kids on Bridges – Something in the Water

With a spicy jangle to its warm melodic invitation, Something in the Water is a song which dares ears to ignore it. The new single from UK trio Kids on Bridges knows it is on to a winner though, safe in the knowledge that its electronic enterprise and vibrant rock ‘n’ roll tenacity has a catchiness even the common cold would envy.

Liverpool based Kids on Bridges consists of Christian Bragg, Daniel Rankin and Andrew Culshaw, a trio which, since emerging in 2014, has supported the likes of Beck, Hot 8, LCD Soundsystem, Soulwax, and Friendly Fires, and been Britain’s only representatives to play alongside Stevie Wonder at the Special Olympics in LA. Add working with New Orleans legend Zigaboo Modeilste and Jennie Vee as well as playing a string of gigs in America marked out by sold out shows at LA’s iconic The Viper Room and Tipitinas in New Orleans, it is fair to say Kids on Bridges is on a lively roll.

The successor to their successful previous single When The Needle Drops, the magnetic Something in the Water is looking to stir things up in 2016 the same way. Straight away keys and guitars cup ears in their respective romancing and jangling, bright pulses and eager beats laying potent bait alongside as emerging melodies and harmonious vocals wrap and dance energetically in ears.

It is a captivating start with something invitingly familiar to it at times; a scent of previous synth pop spiced decades mixing with nineties indie pop boisterousness as the song grows. They are spices which only hint without drawing exact comparisons though, essences which add extra flavour to the electro pop revelry that Kids on Bridges have honed as their own.

Spirit lifting songs always make potent singles and Something in the Water certainly qualifies as a moment of rather enjoyable fun.

Something in the Water is released March 11^th across most online stores.

https://www.facebook.com/KidsOnBridgesMusic    https://twitter.com/Kidsonbridges

Upcoming Live Dates:

16th March – Highbury Garage, London

22nd March – Liverpool, supporting Blancmange, details tbc

1st -3rd April – Threshold Festival, Liverpool

30th April – Polyfest, London

Pete RingMaster 10/03/2016

Copyright RingMaster: MyFreeCopyright

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

The Slow Readers Club – Plant the Seed

If there are any yet to fall into contagious arms of Cavalcade, the second album from UK indie/electronic band The Slow Readers Club, and indeed their rewarding sound then the new single from them is a major nudge in that direction. Taken from the encounter released earlier this year, Plant the Seed is a beacon for the seductively pulsating and captivating adventure of the band’s melodic imagination, and reason alone to take the band’s enthralling and emotively fuelled sound to the heart.

     To be honest virtually the whole of the Manchester quartet’s last album makes itself available as a potent single but for sure Plant the Seed is a rich flame within their fire of enticement. It also adds another confirmation to the quality of songwriting and simply creative imagination the band is renowned and being increasingly acclaimed for. Cavalcade declared The Slow Readers Club as one of not only Manchester’s but the UK most compelling and exciting underground bands; the single just confirms it again.

Plant the Seed opens on a teaser of rhythms alongside a spicy electronic melody, a tempting bait leading to the swiftly emerging vocal tones of keyboardist Aaron Starkie and guitarist Kurtis Starkie, both with their individual prowess wrapping ears in harmonic temptation. It is a rich seduction enjoyably given a just as gripping contrast by the pulsating and throaty lures of James Ryan’s bass and the clippy enterprise of drummer David Whitworth. It all unites with increasing potency as the song strolls through ears with a summery air and a skilfully sculpted range of textures, all thick enticement within the Depeche Mode meets Bronski Beat majesty of the song.

In some ways, Plant the Seed seems to have blossomed again in its own limelight, the single a glorious invitation hard to imagine many ignoring, and The Slow Readers Club, well they continue to leave us smiling with contentment.

Plant the Seed is out now via Scruff of the Neck Records through most online stores.

http://www.theslowreadersclub.co.uk    http://www.facebook.com/theslowreadersclub  https://twitter.com/slowreadersclub

Pete RingMaster 25/11/2015

Copyright RingMaster: MyFreeCopyright

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

BLiNDNESS – Wrapped In Plastic

It may have been a long time coming but the debut album from BLiNDNESS makes time immaterial as it sizzles on the senses from start to finish spreading a dark wave electro pop seduction which is just as likely to snarl and explode with attitude as it is to smoulder and caress. Wrapped In Plastic is a sonically and imaginatively charged incitement, an adrenaline driven helter-skelter of sound and energy that ears and thoughts quickly bask in. The accompanying press release to the album calls it a “rollercoaster ride of beautiful chaos” and that about says it all.

Formed in 2008, BLiNDNESS consists of Beth Rettig (vocals, programming, noise), Emma Quick (bass, noise), and Debbie Smith (guitar, feedback, noise) previously of Curve, Echobelly, and Snowpony. Since emerging the London based band has persistently been an explosive proposition on the Capital’s live scene and beyond. Now it is the turn of Wrapped In Plastic to set the fuse to fresh and major attention, and from its opening proposal it easily leaves ears and appetite seriously engaged.

Serves Me Right is the first protagonist and from an opening sonic lure which has the senses flinching whilst anticipation licks its lips, begins a perpetual transfixing swiftly enhanced by a grizzly bassline. With pulsating electro beats and a scuzzy air to the guitars lining up soon after, the song resonates and enthrals as it broadens its landscape, the warm but steely vocal tones of Rettig riding its thick melodic mesh of sound and intensity to further stretch the captivating start.

   The guitar sculpted Deserving keeps the strong potency going with immediate effect next, fiery flames from the strings of Smith igniting the air as the dark tones of bass and gripping tones of Rettig bring contrast and balance. Pungent beats spark a meaty stride to the slice of fuzzy rock ‘n’ roll, the song emerging like a mix of Garbage and Breeders dug for extra spicing into the originality of BLiNDNESS. Contagious and bracing, the track pushes the album up another gear to a stirring level matched as magnetically and forcibly by Last One Dies. Tenaciously simmering with electronic imagination and brewing a sturdy and bewitching tapestry of melodic and psych rock, the third song simply rumbles and flirts with increasing energy across its vibrant body.

A gentler croon emerges with No One Counts, though as all tracks there is a volatile edge to sound and invention which means unpredictability is as ripe as melodic and fuzz soaked enterprise. The bass of Quick once more adds a delicious shadow rich twang to proceedings whilst melodically and in creative crescendos there is an air of Muse to the fiery encounter, though just one whisper in a few to something ultimately individual to the band.

Both Sunday Morning and Humming Song wrap ears to pleasing effect, the first vocally and melodically with a mellow tone and reflective shimmer. Its rhythmic shuffle adds a kinetic energy and catchiness to its mesmeric busyness whilst its successor initially slips into an even slower and elegant serenade, swimming over the senses and around evocative rhythms, before brewing a dramatic blaze of sonic and emotive intensity then repeating the cycle once again. The theatre and vocal drama of the song is bewitching, and though neither inflames the passions as powerfully as those before them, each leaves a want for more.

It is a hunger quickly fed by the dark textures and atmosphere of Broken. There is an open shoegaze glow to certainly vocal delivery and melodies throughout the album but probably at its most vivacious here, though that is beautifully tempered by the underlying growl of bass and character of the track, and indeed its almost acrid swamp of sonic imagination and ferocity. Hypnotic until its final parting breath, the track is a meditative, almost carnal incitement.

All In One raises the temperature of the album next, its physical presence as mercurial as its invention. BLiNDNESS entangles seventies psychedelic rock and nineties alternative/ electro rock into its resourceful scorching fire, feedback and celestial acidity as always an ever potent presence. The track ignites ears with ease before Confessions ensures a blistering close to the album with its bluesy inferno of intoxicating rock ‘n’ roll. It is an intense and thrilling end to Wrapped In Plastic, a release finishing on a high and sparking the want to go again.

To be particularly picky there is a similarity in certain areas of some songs which threatens to smother the invention and creative adventure specific to each track but close and constant attention covers that, Wrapped In Plastic a release you need to spend time with to reap all its strengths and qualities. BLiNDNESS definitely rewards such focus though with an encounter which leaves ears ringing, bodies sweaty, and satisfaction bloated.

Wrapped In Plastic is available now via Saint Marie Records @ http://saintmarierecords.limitedrun.com/products/553220-blindness-wrapped-in-plastic

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

RingMaster 08/07/2015

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

Masters Of The Radio – Origin of Radio

Masters Of The Radio is another band which tangles nostalgia and new strands of sound into fascinating and highly enticing slices of modern invention. It is an increasing trend it seems, especially within electronic and synth pop, and capable of producing some rather flavoursome and enjoyable propositions such as the UK band’s Origin of Radio EP. We had a striking taster of it with the single Radio Forever, released a few short weeks back, and now get the whole increasingly captivating meal with its four tracks of electro pop drama.

Hailing from Widnes, Masters of the Radio was founded in 2008 by vocalist/writer Paul Ventux. The line-up within the band has changed a few times over the years but this past January saw Ventux enlist new personnel in the creative shapes of bassist Taylor Manwo, drummer Murphy the Destroyer, and keyboardist Mr Darklight. The combination has ignited a spark in the energy and impetus of the band it is fair to say, one fanned by the aforementioned single and now in full flame with Origin of Radio.

The EP opens up with You’ll Never Be Famous, a darkly hued song which from its first breath brings a noir lit landscape to its ambience and emotion. Within that though keys cast melodic warmth and intrigue which feeds both the light and darker elements of the song as rhythms almost prowl around the scenery. They carry no ill intent but certainly offer more depth to the shadows within the song. Despite those shades, it is a vibrant and catchy proposal bred on seeds of bands like OMD and early Human League, and swiftly has feet and imagination wrapped up in its presence.

The magnetic instrumental adventure of The Drive comes next, the steely bass lures of Manwo sparking appetite and imagination first and continually across the piece whilst Giorgio Moroder flavoured keys cast a seductive and lively spatial incitement sure to immerse thoughts whilst the bouncy rhythms will have bodies courting the dancefloor. A flight of melodic temptation with cinematic enticing, the track is a bewitching waltz ripening the passions up for the closing song. Before getting to it though there is the brief interlude of Intermission/Coming of the Light. Whether an introduction or warning, not too sure how to describe it honesty makes us admit it is skipped with most listens from a hunger to get to the enjoyable devilry of Radio Forever.

Like a mix of The The and Paul Haig, the song flirts straight away with an irrepressible melodic smile and an infectiousness to match. As melodies broaden and greater creative colour soaks the twists and vivacious rhythmic shuffle of the song, that early contagion just increases especially in the inescapable call of the chorus. It is a tremendous end to a thoroughly enjoyable release, and still the song which most suggests that Masters Of The Radio has the potential of seeing big horizons come their way ahead.

The Origin of Radio EP is available now

https://www.facebook.com/mastersoftheradio     https://twitter.com/

RingMaster 28/04/2015

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

 

The Slow Readers Club – Cavalcade

After a clutch of increasingly impressive and fascinating singles across last year moving into this, anticipation of Cavalcade, the second album from UK indie rockers The Slow Readers Club was high and excited for a growing sea of fans, including us. Each of the quartet of songs offered was a riveting teaser and evidence of the band’s upcoming release and diversely sculpted sound respectively. Those propositions still shine like flaming beacons as they sit within the walls of Cavalcade but are matched by a collection of new to the ear tracks which simply seduce ears and imagination.

Hailing from Manchester, The Slow Readers Club have been no strangers to acclaim these past months. Their singles have drawn frequent praise and support from fans and media alike whilst their live presence has seen highly successful shows with the likes of Catfish & The Bottlemen, The Struts, Reverend and the Makers, and The Sunshine Underground as well as well-received appearances at Tramlines Festival, Party in the Pines, and the Blackthorn Festival. Journalist and frontman for Goldblade John Robb predicted that 2015 would see The Slow Readers Club breaking through to become one of the most important bands to emerge from Manchester’s music scene in recent years. Everything has backed up his suggestion and certainly Cavalcade has brought the year one of its major triumphs.

     Creating an emotive and cinematically coloured mix of indie and electro pop, The Slow Readers Club has an embracing and immersive sound which places the listener into the scenery and heart of each song’s narrative as if physically there. Instant evidence comes with album opener Start Again. Its opening cauldron of electro temptation is an immediate potent lure, one only intensifying as a throaty bass line links with choppy guitar riffs and the equally magnetic vocals. It comes with an eighties electro pop breath, as most songs, yet creates a suggestive web of new and unique tempting which is best described as B-Movie meets Interpol but is solely The Slow Readers Club. The embracing keys of Aaron Starkie and the imaginative guitar enterprise of Kurtis Starkie weave an inescapable persuasion, their vocals similarly richly alluring though to be fair every aspect of the song is a lingering incitement, the almost dirty tones of James Ryan’s bass and the punchy beats of drummer David Whitworth equally irresistible, and when it is all united what emerges is a sublime piece of pop alchemy.

Impressive as it is though, the song is surpassed by the following I Saw a Ghost, surely the bands best song to date though it is seriously challenged by other tracks on the album. The band’s recent single, it opens with voice and beats casting a swift and dramatic proposal, one caressed by the warm evocative texture of keys. It is not long before the again wonderfully heavy voice of the bass is aligning itself to the lighter hues of guitar, each contrasting and enhancing the other and the evolving proposition. The entrance of the bass also seems to inspire a heftier energy to Whitworth’s swings, creating a captivating merger of light and dark tones and also as a physical persuasion. The track is sensational, once more seemingly bringing differing decades of pop into alignment for a seriously compelling and intoxicating slice of anthemic tempting.

Forever in Your Debt has a darker emotive air to its presence, from its first breath the bass casting a solemn yet inviting tone to the song and continued by the impressive vocal expression and qualities bringing the song’s premise into ears and thoughts. Bubbly guitar and atmospheric keys add to the brewing drama, every twist revealing new shadows and corners to eagerly explore whilst sound wise there is a post punk like essence tempering the potent heat of melodies and hooks.

Three songs in and variety is as open as the connecting prowess of the band’s imagination, the mesmeric Plant the Seed giving further swift proof. Like a blend of Depeche Mode and Bronski Beat, the song is a transfixing croon of dark electro and synth pop, entrancing ears before leading them into an almost visual passage of intimate reflection and radiant persuasion. A track which impresses from the first play and only grows more potent, it is emulated by the melodically and emotionally climatic Days Like This Will Break Your Heart. It is a brooding inventive roar of an encounter which is almost volcanic in its intensity and sonic landscape. Both tracks continue the immense flight of the album perfectly but are put in the shade a touch by the outstanding Don’t Mind. It is one of those serenades which linger with unrelenting persistence, a lively and evocative caress which just connects with situations we have all been through whilst providing an absorbing soundtrack. With a touch of Black/ Colin Vearncombe to its croon, the song is seductive balladry at its most sublime.

The album’s title track is next and needs little time to bewitch as spicy guitar endeavour fuels a feel of The Smiths at its beginning. It’s reserved but potent start soon builds into a thicker and more dramatically hued theatre of emotion and sound where spices of The The and The Associates flirt with the band’s ideation. The track adds to the growing list of the major moments on the album, and there are so many, before making way for Fool for Your Philosophy to reveal its tangy electro enterprise and dark drama. The almost sinister rhythms of Ryan and Whitworth are worth the price of ‘the ticket’ alone, as too the exceptional vocals whilst the vibrant and energetic dance of keys and melodies are a fire in the enthralling darkness of the song.

Both Grace of God and Here in the Hollow hold body and emotions tight, the first a beautiful intensive flirtation with a Frankie Goes To Hollywood charm and vivacity to it whilst its successor, from an enticing simmering start, grows into one glorious anthem of sound and emotion where vocals again are the mighty instigators to the irresistible theatre of the song sculpted by colossal sounds. We mentioned some songs rival I Saw a Ghost for the pinnacle of the band’s songs to date and this is a definite contender.

The enthralling and emotively fuelled Secrets provides an excellent pungent drama next before things are brought to a close by Know the Day Will Come a song which makes a slow and decent enough start but erupts into another creatively incendiary exploration for ears and emotions. It is a thumping end to a quite exceptional album.

Expectations were high because of the band’s previous singles but The Slow Readers Club has surpassed them and themselves with Cavalcade. The bare fact is that it will be astonishing if you find a better rock pop album in 2015 then this modern classic.

Cavalcade is available now, digitally @ https://itunes.apple.com/gb/album/cavalcade/id979245862 and on CD/vinyl via http://theslowreadersclub.bandcamp.com/merch

http://www.theslowreadersclub.co.uk     http://www.facebook.com/theslowreadersclub

RingMaster 14/04/2015

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