Amycanbe – Wolf

If like us you missed it at the time of release, Wolf is the latest album from Italian outfit Amycanbe which is well worth taking time out to go explore.  Creating a magnetic blend of electronic/indie pop and shoegaze/trip hop, the Cervia hailing quartet mesmerise the senses and imagination with their third full-length, its music a potent seduction led by the temptress tones of vocalist Francesca Amati.

Formed in 2002 by drummer/keyboardist Marco Trinchillo and guitarist/bassist/keyboardist Mattia Mercuriali, Amycanbe became a quartet three years later with the addition of Amati and Paolo Gradari. The years since has seen the release of debut album, Being A Grown-Up Sure Is Complicated in 2007, its successor Mountain Whales in 2011, and Wolf two years ago with keyboardist and album producer Mattia Dallara now alongside Amati, Mercuriali, and Trinchillo.

Swiftly it is easy to understand why Wolf was well-received upon its release, the album from opener Grano a truly magnetic affair with moments which spark a rapturous response in a continual appetite for its sounds and presence. The first track smoulders on the ears straight away, keys and the harmonious lure of Amati a spatial kiss as electronic shooting stars fly. Hitting its optimistic stride, the song radiates warmth and temptation, slowly rising from its enticing slumber as an increasing energy infects its passing minutes though enjoyably it never catches truly aflame at any point instead continuing to tease and seduce with Amati heading the affair.

The following I Pay brings a familiar if undefined air to its craft and character; warmly hugging like an old friend with fresh revelations to share. As in the first, country rock seeded melodies entice and similarly bred breezes blow across its landscape, a bounty of imagination which increasingly evolves with unpredictable hues and twists before the more sinewy rock attributes of Where From cluster around the ever enthralling presence of Amati. With keys aligning darker groans alongside melody rich sighs under a web of guitar nurtured suggestion, the song grips attention even if not quite finding the ultimate sparks of its predecessors.

Fighting opens up with the minimalistic charm of Young Marble Giants before blossoming into a rousing yet still nicely reserved proposal with an eighties new wave air wrapped around the inspiring rise of keys bred strings. A track which grows to its glory over numerous pleasing listens rather than making an instant impact, it soon has the imagination aflame while 5 Is The Number easily captivates with a cosmopolitan yet intimate sway as great drama infests its bass and a matching adventure in its overall invention. As pleasing and striking as both are, they are eclipsed by Wolves and its creative theatre which has a touch of The Cellophane Flowers to it.

Through the deep pulse and electronic hum of the imaginatively eventful White Slide and the subsequent subtle melodrama of Bring Back The Grace, band and album simply hold ears like warm sirens while Febbraio smoulders in the same with a jazzy grace and salubrious flirtation as a slumberous atmosphere wraps wintery arms around the senses. Each leave pleasure in their vibrant wake before Queens steals best track honours with its glorious croon and an increasing roar reminding of bands such as Belly and Throwing Muses. The track is superb and only gets more potent over time to seal its status within the album.

Closing with the sultry instrumental of Orata and its swimming melodies within surf/psych rock shimmers, Wolf captivates with growing strength and tenacity as new depths are revealed with subsequent listens. It is not a brand new album but one those who love to be seduced by their music should seriously think about slipping into.

Wolf can be streamed and bought @ https://amycanbe1.bandcamp.com/album/wolf while you can check out our interview with Francesca Amati @ https://ringmasterreviewintroduces.wordpress.com/2017/03/28/the-lure-of-the-moon-and-serenades-exploring-amycanbe-with-vocalist-francesca-amati/

http://amycanbe.it/    https://www.facebook.com/Amycanbe/

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

Ed Zealous – Wired

    ed zealous pic

    Unveiled on the back of three singles which certainly raised an eager appetite for its appearance, Wired the debut album from electronic pop band Ed Zealous easily confirms and reinforces all the promise and radiant enterprise brought from those early releases. The February 3rd released ten track album is a feisty adventure of energetic electro/ dance enterprise and guitar crafted indie pop, a record soaked in a busy sound seemingly seeded in eighties electronic endeavour yet constantly taunting and careering thrillingly through the ear with a modern rock rapaciousness. Arguably the sound of the Belfast quartet is not breaking in new ground to explore but there are few others striding confidently down the same interpretative path of already discovered invention as this richly promising and powerfully enjoyable band.

     Consisting of vocalist Steve McAvoy, guitarist Andrew Wilson, bassist Pete Lloyd, and drummer Paul Irwin, Ed Zealous as mentioned has stirred up very potent attention and anticipation for their album through the trio of singles released in 2013. One by one Medicines, Thanks A Million, and Telepaths have washed creative juices around the passions to breed a hunger for Wired, an appetite the album feeds with ease and more. Forging emotively fuelled synths with fiery guitar temptation within a rhythmic punch which never relinquishes its addictive bait whilst drawing on influences which come from the likes of David Bowie, Talking Heads, Pulp, and TV On The Radio the band look set to make 2014, like the last, another year to mark a rapid ascent in their striking emergence. Predominantly recorded with engineer Rocky O’Reilly with additional production by Eliot James (Bloc Party, Noah and The Whale and Does It Offend You, Yeah?), Wired is an exhaustive magnetic party of creative rampancy and contagious adventure; not necessarily ripe with pure originality but undeniably bulging with excitement and riveting imagination.

     As soon as the opening suspenseful drama of 147 hits the ear you sense there is something special brewing. Synths lure in the 400573_10152084633124304_1585922415_nimagination right away before the song settles into a mellow yet intensive persuasion with thumping rhythms and moody dark tones puncturing the electronic wash. It is an instantly engaging and provocative encounter but one which goes more directly for the passions once the guitars and bass temptation strides and erupts across the song around the expressive enjoyable vocals of McAvoy. At times unashamedly anthemic and constantly stirring up the imagination with a melodic craft which helps fuel an already hungry appetite for the release, the track is an urgently persuasive introduction to the album setting a high bar for it to maintain.

     Something it definitely does with the following Thanks A Million, the one song on the album recorded with producer Rich Jackson. As soon as its initial melodic narrative wraps around the ear followed by a lush groove, there is a familiarity to the song which only pleases and takes thoughts to eighties electronic pop essences. A definite Thomas Dolby feel emerges with the senses wrapping synth imagination yet equally you are reminded of the current sounds of James Cook and Does It Offend You, Yeah? whilst the track sculpts its own identity to devour eagerly. A track which manages to impress immediately and also slow burn its way deeper into the emotions over time through its big bruising bass tones and gripping melodic coaxing, it is dark temptation immersing the ears in a sizzling evocative wash.

    The devilishly infectious Medicines steps up next to deepen the lure of the album, its Blancmange like electro pop excitement and bordering on wanton energy insatiably seductive whilst the infection clad chorus and vocal call only grips satisfaction tighter for a lingering and compulsively addictive encounter. Recent single Telepaths breathes the same contagion as its predecessor, guitar and synths driven by outstanding vocals luring senses and feet to a feverish submission for the raucous electro rock party. Both tracks continue the high range of peaks established by the album and light the fuse to even greater suspicions as to how good and successful Ed Zealous could become.

     I Will Destroy You is a perfectly placed track, its melodramatic and emotive textures aligned to a slower gaited temptation exploring new depths and enterprise within the band and their songwriting. Though not as immediate to persuade as those before, the song enslaves keen attention for its thoughtful shape and evocative hues and allows a breath to be taken whilst it’s subtle and inventive majesty works its way into the imagination. The following Talk With Your Hands also takes time but with its David Byrne like creative swagger and heavy rhythmic caging it also secures full satisfaction and hungry attention over numerous exploits.

     There is something infuriately familiar to the start of Diamonds For Eyes yet it evades definition even after plenty of adventures with the dancefloor hugging track whilst These Words reaps those eighties influences yet again as its magnetic body inspires thoughts of China Crisis. Both songs stretch and add to the fascination of Wired with skill and mischievous flair before making way for the outstanding Videohead, a track which emerges as the favourite here. Adding an electro punk element to its fuzzy electronic flaming, the song is like a mix of Calling All Astronauts, B-Movie, and at times the John Foxx led Ultravox, the band again bringing a touch of nostalgia into a more aggressive modern exertion and invention. It is an enthralling and addiction causing maelstrom of ideas and sonic sculpting brewed into a contagious provocation of epidemic proportions.

    Completed by the funk ripped It’s Only The End, a song which you feel would ignite the dancefloor of any era such its blend of irrepressible decade crossing melodies and electronic virulence, Wired is an exceptional first album from Ed Zealous, one which impresses right away and only increases its strengths and stature over time. This is a band you can see creating new boundaries for electronic pop ahead and becoming a well-worn name over time.

http://edzealous.com/

https://www.facebook.com/pages/Ed-Zealous/89457839303

9/10

RingMaster 06/01/2014

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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Naked Lunch – Glow

NKDLUNCH_GLOW

UK electric rock provocateurs Naked Lunch continue their impressive return with another delicious temptation of electronic enterprise and electro punk seduction through new single Glow. Since reforming in 2012, the band renowned as one of the most influential and provocative founders of UK’s electronic rock scene even in their relatively short presence originally, has already stirred up keen nostalgia and ravenous new adventure with their previous singles Alone and Slipping Again, Again earlier this year but Glow takes things up another step as the band’s most potent moment yet.

Consisting of band founder vocalist Tony Mayo with original members Mick Clark and Cliff Chapman alongside Paul Davies who was in one of the band’s earlier line-ups, and newest members Mark Irvine and Jet Noir, Naked Lunch have easily fitted in with the deeper wealth of electronic bred sounds and genres flirting with the ears today. Having been one of the original starting sparks to the scene way back in 1979, it is not unfair to wonder if the London sextet would struggle to rise above the constant flood of bands and numerous deviations spawned from that original eighties seed of electronic imagination. Their first pair of singles certainly dispelled any doubts whilst Glow shows and suggests there is real potential for the band again to inspire thoughts and sounds of those to come after their shadow.

The single opens with a dazzle of electronic spotlights sparkling within a brewing melodic ambience, an opening caress soon joined by pulsating beats and the grizzled tones of Mayo. It is an absorbing collusion of melodic beauty and the sinister menace of vocal expression, an instant recruitment of the imagination which is licked further into life by the seductive backing support of Jet Noir and the expanding exploratory keys and guitar. The song is a web of enticements and enterprise, never veering from its course but colouring the landscape with magnetic and smouldering creative radiance. The scything strokes of guitar and resourceful synth invention entwine to also enslave the senses from start to finish and with loud whispers of Yello and more so Landscape to the unique voice of the song, it is pure addiction making contagion.

The single also comes with two remixes, the first a riveting interpretation from Farmacia bringing a darkly flowing sinister breath to the track and the second an expansive techno version provided by Technomancer. Though neither matches the original, both and the first of the two especially, crafts a new pleasing facet to the songwriting and composition of the song.

Glow is Naked Lunch on a pinnacle, debatably their loftiest since day one many decades ago and another reason why it is easy to assume the band will be again leading new bands and artists into musical temptations to embrace and help fuel their own invention.

http://nakedlunch.org.uk/

9/10

RingMaster

Copyright RingMaster: MyFreeCopyright

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Mr.Kitty: Life

Mr.Kitty

Like a knowing soundtrack to every aspect of its title, Life the new album from US musician Mr.Kitty is a canvas for reflection, emotive dance, and drifts into diverse enveloping feelings inspired by its elegant and beautifully sculpted beauty. The most complete and rounded release from the Dallas based artist to date, the fifteen track album is a rich and smouldering wash of electronic pop and new wave adventure, an album to ignite the senses and invite the passions into a long and ardour fuelled companionship.

Mr.Kitty is Forrest Carney, who takes his inspirations from an eclectic array of artists such as Joy Division, The Cure, Depeche Mode, Crystal Castles, Pictureplane, and Grimes. His music employs numerous flavours and textures in addition to the basic tag we previously mentioned, elements of eighties post punk, gothic emotiveness, and electro ambience all playing their part in the depth and distinct characters of sound and individual songs. Released with Engraved Ritual, Life is the fourth album from Mr.Kitty, and part of a four album series consisting of two “light” and two “dark” albums, this drawing on the lighter shade of his imagination, though it is not without its rich and mesmeric shadows.

From opening song Insects, the album as well as seducing the ear and senses provides a visual backdrop to its songs in its coveratmospheric narratives and colour soaked expressive breath. Evocative and with lush emotional hues, Life provides the paint box and aural paper for the listener to explore their own dark corners and heart bred thoughts as well as those offered by and of the artists himself. Insects is an immediate medium to ignite those interactive qualities, its animated stroll and pulsating rhythmic veining an absorbing lure with the crystalline electro oscillation alongside another mesmeric suasion. The vocals of Mr.Kitty soon caress the ear with a sultry lure to their soothing texture, the artist a constant tempter across every song with his impressive and expressive delivery. The eighties inspiration is open within song and album though only another breeze to the refreshing wind wrapping the listener from the very first minute.

The impressive start is soon equalled by both Heaven and Unstable, the first cradling the senses with a choral kiss of angelic harmonies before heady rhythms and cantering melodic synth fascination emerges to explore the lofty heights already in place. The song bounds over thoughts and emotions with eagerness but a respectful energy that seduces the imagination and opens up its romance and that of its recipient. Like its predecessor it is virulently infectious, the roaming electronic atmosphere a spark to the simpler but no less effective and irresistible hooks and has thoughts in lustful expectations for its successors, something the darker but no less contagious Unstable feeds with poise and beauty. Across its provocative and slightly sinister embrace there is a Depeche Mode call to the veiled heart but again only a taste fused into something transparently contagious and unique.

Through the harsher touch of Sacrifice with its riveting and senses worrying intro and caustic intent, Holy Death where the vocals have a Dave Gahan lilt at times, and the excellent Labyrinth, the album continues to stretch the journey and venture into a wealth of emotions and thought taunting scenarios. The latter of the trio brings a Visage like melodic tonic to its glorious smouldering presence and though at times you want to sing “Fade To Grey” as the bulbous melodies suggest their source, the song is another striking highlight.

Those pinnacles just keep coming though as tracks such as the exceptional London, a song enjoying the added siren call of female vocals within its Pet Shop Boys like waltz, the stunning gothic cast Dearlove, and the intense Choke with its shadow fuelled drama, all explore imaginatively further impacting emotion lit pastures. With so many songs there are rare moments where some hold a similarity as they hold hands but it is rare and such the strength and potency of each and every one it is an ‘issue’ you are searching for just to offer up as a temper to the otherwise full acclaim it is hard not to place over Life.

As the closing Father provides the deepest emotive honesty of the album, the artist unafraid to venture where pain dwells, Life leaves a powerful and lingering imprint on mind and heart. It is an outstanding encounter that leaves no emotional stone unturned yet does so with a light and melodic energy which captures the passions. Mr.Kitty is destined to take electronic pop to new fields, Life the impossible to dismiss evidence.

https://www.facebook.com/mrkittydm

9/10

RingMaster 05/07/2013

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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