The Survival Code – One


Sure to cement the attention and praise generated by recent EP Broken Strings and a title track acting as its first single, UK alternative rockers The Survival Code release new track One mid-January. Also from the three-track EP, the song is another imagination sparking, ear pleasing proposal sharing just a little more of the variety making up the band’s infectious rock ‘n’ roll.

London based, The Survival Code is fronted by Dubliner Gary McGuinness on vocals and guitar and driven by the rhythmic prowess of bassist Michael Eden and drummer Tom Cook. Formed in 2011 and inspired by the likes of Johnny Cash, Deftones, Foo Fighters, Alkaline Trio, The Cure, The Beatles, and Biffy Clyro, the band released the Everything But Today EP in 2013. Well-received it was easily surpassed in sound and success as well as acclaim by debut album MMXV two years later, a step forward replicated again by Broken Strings.

the-survival-code-one-artwork_RingMasterReviewLast year was a big and eventful year for the band, seeing them play over 40 gigs across the capital and beyond ending with a UK tour around their latest EP. It also saw The Survival Code settling down to write a new album, go through a change of bassists, and endure “a manager that ran off with months of work.” One ensures that 2017 is kicked off in fine style for the band, a year already threatening to exceed its predecessor in success and adventure.

From its first breath One uncages a tide of jabbing beats and imposing riffs but with a creative restraint which allows all aspects within to express and tempt around the potent vocals of McGuinness. Raw in air yet finely woven, the track also casts harmonic roars and melodic sighs within its rousing body, essences of bands like Feeder and Skyscraper hinted at as the song blossoms in imagination and infectious energy.

From start to finish, it is a relentless persuasion which has body and spirit involved. It might not prove to be the most unique encounter found this year but few will be more enjoyable so if you are looking for new meaty rock ‘n’ roll to feed a hungry appetite The Survival Code might just be the One.

One is released January 20th through Independent Records Limited (IRL).

January 14 – Proud Camden – Camden Rocks all day festival

March 16 – Brighton – The Hope and Run

Pete RingMaster 11/01/2017

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Gavin Chappell-Bates – We Are The Ones


The beginning of the year saw British singer songwriter/guitarist, Gavin Chappell-Bates unveil the video for new track Refugees. It was an ear catching offering also providing a teaser for the Cambridge musician’s forthcoming debut album. Now the release of We Are The Ones is upon us and fair to say if that earlier proposition spiced up the tastes buds there is plenty more highly flavoursome goodness to be found and feasted upon in the thoroughly enjoyable album.

The musical desire and devotion of Chappell-Bates is said to go back to the age of eleven and being inspired by Sgt. Pepper, an ‘awakening’ backed by “ his musical friends and a few early lessons by Ezio’s Booga.” Learning his craft playing in various local bands  which included Bokaata, The Deadlines, We Are Godzilla, and Up & Atom , Chappell-Bates decided to pursue a solo career in 2014, drawing on influences listed as The Beatles, Feeder, Aerosmith, Buddy Holly, The Bee Gees, Smashing Pumpkins, Our Lady Peace, and majorly Manic Street Preachers for his own creative adventures. The following year saw first EP, Black Holes released. Its attention provoking presence was followed by the singles 95 and We Are The Ones, each luring more eager ears the way of his emergence. Equally live he has been sparking strong praise and support around the UK, playing venues such as Bury St. Edmunds’ The Hunter Club, The Rescue Rooms in Nottingham, and in London the likes of Hoxton Bar and Sebright Arms.

Already earning strong radios play on BBC Introducing, BBC 6 Music, and XFM among many others and being was nominated for Best Male Solo Artist in the 2015 NMG Awards, Chappell-Bates is looking to now spark national awareness, something We Are The Ones certainly has the potential to give a potent nudge to. Produced by James Coppolaro, who with drummer Rob Gibiaqui (Sergey Lazarev, The Pinker Tones) plays alongside Chappell-Bates on the release, the album swiftly has ears keenly attentive with opener Church Of Rock ‘N’ Roll. A rousing and contagious slice of sound boisterously living up to its title, the song springs punk riffs and spicy hooks on ears as Chappell-Bates’ vocals lead its lively anthemic pull. It is a punchy and infectious start setting up an eagerness to hear more which the following All Ways more than satisfies.

Art_RingMasterReviewThe second song equally has an infectious swing to its presence whilst pursuing a more melodic/alternative rock imagination in its energetic persuasion. As with many songs there is a familiarity to the sound and nature of the song but equally a fresh essence that highlights Chappell-Bates’ own invention, the following 95 another example. It carries an air of the decade of rock spawning its title yet casts a vibrant pop ‘n’ roll flavouring which has the catchiness of modern rock pop flirtation. Its pleasing presence is matched in success by Refugee next, its initial gentle melodic caress growing in weight and intensity as keys shimmer in the background. Soon that brewing intent erupts in a fiery crescendo and chorus before repeating the cycle to engaging effect with Chappell-Bates’ vocals again a potent hue to his songwriting and its colourful realisation. A more subtle but increasingly provocative texture is provided by guest violinist Prue Ward and cellist Anna Scott, their evocative and here melancholic imagination a great spicing colouring a handful of tracks hereon in.

The album’s title track is another; its melodically reflective balladry evolving into a warm and inescapably catchy rock pop canter framed and steered by a robust and tenacious web of beats before making way for the acoustic tempting of Writing In The Sand and in turn the delicious spirit sparking incitement of Black Holes. The first of the songs has a sunny air to its infectious gait and a smouldering intimacy to its vocal and lyrical embrace whilst the second immediately has ears and imagination gripped with its opening throaty bassline and subsequent tone. A Nirvana-esque feel coats the beginning of the song whilst its emerging virulent stroll lies somewhere between Weezer and The Presidents of the United States of America, all essences combining to colour an encounter whipping hips and voice into eager involvement as it takes favourite song accolades on the album.

Dead End Disco Streets brings a great electronic spicing to its magnetic and physically buoyant temptation, indie and electro pop flavours uniting to embrace and dance with the equally spirited vocals before Follow The Light unveils its own animated serenade which dances with ears rather than laying sentimentally upon them though it is certainly emotively shaped and fuelled. As if any more proof was needed, the song is further evidence that Chappell-Bates knows how to write pop and rock songs which simply stir attention, proof swiftly backed by The Finest Hour and its Big Country like landscape of melodic and folkish hues.

The album concludes with firstly Last Angel, an emotionally intense country spiced ballad featuring the guest vocals of Kathryn James and keys of Jamie Brooks, and finally the acoustic/folk pop sparkle of Starlight. Both songs have brightness to their sentiment loaded proposals, especially the last which with a hug of strings is edgy and provocative as the best pop ballads always are.

Certainly some songs ignited more lusty reactions than others, but from its first note to last syllable, We Are The Ones is a proposition that can only be enjoyed from an artist with the potential to made big strides in the UK rock/pop scene.

We Are The Ones is released April 8th through R*E*P*E*A*T Records and @

Pete RingMaster 07/04/2016

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Robes Of State – [Double A-Side]


Announced as their new and final offering, the double A-sided single The Bay/Directions is a potent farewell from, if this is to be the end, of British alternative rock band Robes Of State. Linking two vibrant and emotionally fuelled songs, the single provides a striking statement of what has been missed by those new to the band and will be missed ahead by their fans. Neither are songs to turn the UK music scene on its head but both have a craft and passion to songwriting and sound which leaves many others looking a touch bland in comparison.

Formed in 2006 and hailing from Colwyn Bay, Robes Of State consists of vocalist Hev Roberts, guitarist Jezza Bruce, bassist Dave Huds and drummer Perry Batty. Listing influences as the likes of Blink 182, Alexisonfire, Taking Back Sunday, ‘A’, and Feeder, the band’s sound is an atmospheric weave of provocative melodies and immersive intensity as perfectly illustrated by the latest release. From the first infectious hook of The Bay, song and band has ears and attention gripped. With heavy beats and anthemic vocals soon adding their bait, the track is swiftly a raucous yet controlled proposal which only increases its lure as riffs abrase and rhythms stomp with almost angry attitude. Vocally too there is an adventure and energy which challenges and coaxes whilst the song itself whilst lacking the spark to the anarchy it hints at, revels in the restraint and almost teases with its suggestiveness and the increasingly tempting hooks it possesses.

Directions is a gentler caress on ears but no less infused with emotion and evocative textures. The song glides across the senses with moments of increased energy interspersing its warm but melancholic embrace. Those expulsions of intensity bring a climactic presence to the song, giving it an almost emotionally stormy and intriguing character, like an aurally portentous yet unrealised tempestuous sea. It is a song to explore over time, every listen revealing another depth and shade to its heart.

The single also comes with a free bonus track in View Of the City, a song worth the price on its own. A vivacious stomp of sonic enterprise and progressively tinged imagination, it flirts and croons with drama and almost mischievous invention. It is a voracious treat of a song throwing out another reason why the band will be missed if this is to be the end.

It is never too late to discover a great band and the new single from Robes Of State certainly proves that they are just that.

The Robes Of State single is available now via Take Point Records @

RingMaster 06/01/2015

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The Pineapple Thief – Magnolia


     Magnolia is a melodic serenade, an album which across its immersive seduction is equally unafraid to roar and show a creative and sonic muscle. The new full-length form UK rock band The Pineapple Thief, it is an absorbing proposition, maybe not one to set the passions ablaze but certainly an encounter gripping ears and imagination in a riveting embrace.

The Pineapple Thief began in 1999, formed by vocalist/guitarist Bruce Soord as initially an ‘experimental bedroom project’. It has proceeded to be an attention grabbing band earning acclaim and success across its thought inspiring journey and releases, Magnolia their tenth album. The successor to the acclaimed Someone Here Is Missing and All The Wars of 2010 and 2012 respectively, the new release feels like the offspring of all the influences and essences of the band’s previous exploits; dreamy, progressive textures and enterprise combining to evolve into new bracing pop infused rock adventures. As mentioned, the Kscope released album might not ignite a lustful ardour but with ease it makes for one of the most vivaciously captivating propositions this year, managing to really bring the band’s renowned live power and intensity into a release for arguably the first time.

As soon as the jangling touch of opener Simple As That hits ears, band and album are in control of attention with the swiftly following vocals of Soord even more coaxing through their mellow tone. It is a gentle caress initially, Soord’s guitar as gentle as his voice before the dramatically impacting and thrilling eruption which follows turns the track on its head. It is a glorious and contagious expulsion of riffs and crisp rhythms released by Soord and Dan Osborne respectively, an intensive flame of energy and emotion with the vocals a mesmeric lure. It is hard to avoid suggesting a Muse comparison, but with the richly enticing bait of Jon Sykes’ bass adding to the subsequently sultry and pleasingly imposing stance of the track, there is a uniqueness which belongs to The Pineapple Thief. Anthemic and gripping, it is an impressive start to the album matched immediately by Alone at Sea. Entering on a bubbly hug of keys from Steve Kitch, the song flirts with ears and thoughts through suggestive melodies and the vocal prowess of Soord. The track proceeds to weave and entwine around the senses with a provocative weave of melodies and harmonies, a shoegaze breath at times kissing the narrative, but also stirring them up with sinew sculpted flames of heavier rock endeavour. As with many tracks there is a familiarity to the fascinating canvas but only adding to the infectious bait and addictive enticement.

Neither Don’t Tell Me nor the title track quite touches the plateaus of the first pair but both cast engaging and impressively compelling persuasions. The first is an emotive shuffle of rhythms and acoustic chords under a warm yet cloudy TPT Magnolia cover artexpanse of keys. This is coloured with a riveting orchestral expression which as across the album is arranged by Andrew Skeet, and a rawer incitement of guitar, whilst the second of the pair soars through another sky of orchestral beauty into an emotive climate of smouldering passion and bewitching elegance. As said they do not quite match their predecessors, but forcibly leave appetite and feelings greedy for more with their enthralling enterprise and skilled composition.

The slow Coldplay like balladry of Seasons Past is a tantalising flame of vocals and provocative melodies which seduces thoughts if not emotions to the same success, already personal greed for the more forceful elements of the album steering reactions, as also found by Coming Home. Despite that though, there is no escaping the incendiary beauty and orchestrated radiance of the strings in both tracks and the dramatic intensity and adventure of the second of the two. Vocally too there is no defence from the potent lure of Soord’s voice and the supporting harmonies of Sykes, their individual and united contributions as poetically inciting as the sounds around them.

The tenacious twang of guitar, matched by a similar bass riff, through the heart of The One You Left to Die instantly grips ears and appetite, the track going on to bind an immersive web of intrigue and melodic intimacy around its thrilling spine. It is a hypnotic flight of invention which sets up the senses for the rowdy roar of Breathe perfectly. That mighty expulsion setting the song off though it is soon awash with crystalline melodies and floating vocals before merging its peace into the original rugged and explosive bellow of sound and energy. The track is like a blend of House of Love, Doves, and Feeder, and another pinnacle of the album.

The stringed and emotionally shadowed From Me comes next, its dark charm engrossing before making way for the outstanding Sense of Fear. Guitars lay an irresistible web of jagged riffs to capture the imagination before aligning them with jabbing beats and a climactic embrace of keys and fiery melodies. It is only a moment in the shifting scenery of the song though, a slow provocative vocal caress aided by glances of keys bringing a dulled yet tantalising breath before a sturdy stride of intensive sonic flames and rhythmic bait have their potent say. It is a scintillating encounter which brings the stage presence of the band closer to the comfort of the home.

Magnolia closes with first up the graceful flight of A Loneliness and lastly the bordering on sinister noir wrapped elegance of Bond. The former is a strong and satisfying offering but between the previous track and the cinematic brilliance of the final song it is unable to leap out of their shadow and soon forgotten against the magnificent weighty body and emotional colouring of its successor. Both songs ensure the album ends on a high though, The Pineapple Thief never relinquishing its hold on ears and imagination across its aural and creative fascination, emerging as quite simply a must investigate proposal.

Magnolia is available now via Kscope @


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Heel – Stranger Just The Same EP

Heel Promo 2

Some releases simply flirt with ears and attention with an energy and creative bounce which just will not take no for an answer and the Stranger Just The Same EP from UK alternative rock band Heel is one exciting example. Consisting of four tracks which with individual character portray a band ripe with promise and fuelled by an inventive nature, the EP is a striking follow-up to the band’s previously well-received debut.

Formed in 2011 out of songwriting sessions between vocalist Margarita and guitarist Daniel, London hailing Heel grew to a quartet with the addition of bassist Yuta and drummer Tom before setting down to work on their first release. Their self-titled EP was acclaimed for translating the band’s renowned stage energy into its Justin Paul Hill produced collection of songs whilst live the four-piece has continued to inspire a potent and severely loyal fan base. Last year saw Heel headline venues such as Camden Rock and The Enterprise as well as being part of the UK University Summer Ball Tour sharing stages with bands such as Feeder, Funeral For a Friend, Ozark Henry, and James Arthur. The autumn of 2013 found the band undertaking a hugely successful headline tour of Japan whilst earlier this year they teamed up with Hill again for Stranger Just The Same. In the midst of a UK tour the band has released an EP which reinforces their rich ascent, one you can easily see leading to the strongest attentive spotlight nationally and further afield.

Stranger sets things off and immediately with its feisty wash of riffs, crisp rhythms, and a groove infested bass tempting has ears and appetite wide awake. It is a formidable entrance with Yuta laying irresistible bait which the occasional Heel SJTS Artworkwarped swipes of guitar only ignites further. The instantly enthralling voice of Margarita encourages the song to relax around her, a jazzy swing whispering within the melodic weave caressing ears. The track cannot stay still for long though and soon erupts in an infectious blaze for the chorus, its romping energy and bewitching enterprise a virulent persuasion easy to get lost in. It is pop rock at its most flaming best but still only part of the story as the guitars cast unpredictable hooks and twists to the adventure whilst the bass adds more imaginative intrigue which is as invigorating as it is wonderfully mischievous.

The following Gone is a similarly spellbinding encounter with a heavier and darker throat than the previous track but a no less contagious enterprise. The song almost stalks in gait initially, riffs and beats pressing intimidatingly yet seductively on the senses. It is not long before its fire expels a sonic rapacity to wrap the still lingering menace of the song. It is a magnetic slice of rock which is unafraid to merge sinews and heated melodic expression, resulting in a proposition which smoulders and sizzles from start to finish.

There is also an angst kissed emotive depth to the songs lyrically and in presence which is no more in evidence than in the evocative balladry of We’ll Fall Back in Love. Though missing the more adventurous twists and turns of the first two tracks, it is another potent string to the songwriting bow of the band. With its more expected presence the song does not quite ignite the passions as the first pair but still leaves a lingering hunger for much more through fiery guitar flair and the ever alluring vocals of Margarita as much as anything.

The release closes on the thumping heart and rigorous passion of Not You, a track also just missing the earlier plateau set but lighting body and emotions in a net of accomplished creativity, emotional poetry, and richly convincing enterprise. Across the release in the way songs are structured and tastily inventive in their intimate expression and broader ingenuity, but not from the sound itself, thoughts of The Pretenders spark. It is too soon to say that Heel can make the same kind of impression but The Stranger Just The Same does suggest they just might have the potential.

The Stranger Just The Same EP is available now @


RingMaster 14/08/2014

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Axis Mundi – Sci-Curious


If debut album Chapel Perilous was the gas cloud holding the seeds to their genesis and the Science Junkie live single the spark to their expulsion, Sci-Curious is the big bang thrusting UK’s sound adventurers Axis Mundi into global recognition. An incendiary merger of aggressive rock, voracious rave, and untethered dubstep just to suggest some of its blistering invention, the band’s second album is a coming of age, a realisation of the potency in songwriting and sound which tempted before whilst breeding another strain of potential to even greater heights. A roaring celebration of science with insatiable riffs, hooks, and melodic predation, the album puts an already irrepressible proposition into the arms of essential investigation and devouring.

The trio of drummer Matt and guitarist/vocalist Gary Frewin with lead vocalist Shaun Garner first emerged in late 2008, taking little more than a year to become rated as one of the top upcoming bands in the UK. Originally a quartet, Axis Mundi earned an acclaimed reputation for their live performances and emerging songs. Already holding a passionate appetite and exploratory intrigue for all things science and its battle against the likes of politics, religion, and apathy, the Hinckley band worked closely with best-selling science author and New Scientist writer Michael Brooks during his election campaign against Hinckley and Bosworth MP David Tredinnick. Their first EP Find the Others caught strong waves of attention but it was with Chapel Perilous that the band really sparked a wider appetite for their sounds within the underground scene and subsequently more established media spotlights. Sci-Curious though makes it all seem like just the appetiser before its own main meal.

Through an attention raising Introduction, the album erupts with the instantly transfixing and highly animated opening shimmering of Sci-Curious-CoverE-Bomb. Synths merge on the senses with sonically drenched colour and vivacity from its first breath, tempting the senses in league with increasingly tantalising sounds. Into its energetic and fiery stride the track dances around ears with a dervish like enthusiasm before settling into a more relaxed stroll within which the melodic tones of Shaun unveil the song’s narrative as infectious guitar toxins bred by Gary entwine their shadowed bait around the imagination. The sounds are as provocative as the lyrical view and its look at the turning away from scientific truths from those which choose to be blind. A masterful blend of electro alchemy and compelling heavy rock, the track is a magnetic tempest setting the album off to a tremendous start.

It is a potent entrance swiftly taken to another level by Movie In The Mind which emerges from the finale of the previous treat. Like a side show barker, Shaun coaxes in thoughts as a great niggling rub of guitar skirts his tones. The rhythms of Matt join the revelry soon after, his precise jabs adding to the unpredictable and intriguing showmanship of the song’s initial gambit. Just as immediate is the contagious air to the track, its irresistible call wrapping every note and syllable of the punk and metal kissed canvas beneath the subsequent rampantly swirling keys. Whereas the its predecessor had a feel of the Pendulum to its character, this plays at times like a rapacious merger of Pop Will Eat Itself and Enter Shikari, though as with the first song Axis Mundi have developed their sound to a point that first thoughts are always of the band itself when describing any of its distinct aspects.

The album continues to stir up hunger and passions with its might and established band sound as Science Junkie steps into view next. A favourite of seemingly everyone upon its release as a live track a while ago, the trio have understandably relinquished some of the unbridled urgency and rabidity which marked the original release with a greater adventure and melodic clarity on the album. The track still gallops like a stallion in heat, keys and guitars brewing up a techno maelstrom which is impossible to escape. As it sways, lurches, and climbs all over the senses you can almost see the invention of the song pulsating through its veins, its sonic blood rushing around the hypnotic hooks and seductive melodies which parade relentless across its ravenous body as glorious vocal harmonies between Shaun and Gary caress like a devious temptress. The track is a ridiculously thrilling encounter soon rivalled by the enthralling and confrontational rocker Shut Down The Rave. Feisty guitars and more sinewy toned vocals lead the track into another variation within the release, it in many ways a more straight forward course of electronic metal and rock but with plenty, like the acidic scythes of guitar and flowing evocative key sculpted hues, to steal the imagination all over again. With an antagonistic climax which smells of Rage Against The Machine at their best before a final bloom of seducing melodies, the song is a magnificent incitement.

As undeniable impressive as the album is already, the next stretch of songs secures its status as a classic protagonist. Springing from an informative sample, their use another pleasing additive to the album, The Astounding Fact unleashes almost ten minutes of heart racing, bone juddering invention but equally it involves elegant and sweetly melodic caresses between rabid outbreaks of predacious ravishment. Consistently evolving into and involving further anthemic strolls and almost Manic Street Preacher-esque like croons the ingenious provocative and unpredictable storm alone shows just how far the band has come in its songwriting, musical skills, and mischievous designs. It is just the start though as both What Do You Get? and Little Stories Of Discovery climb up to yet another plateau of persuasion. The first plays with that earlier carnival like premise of Movie In The Mind, though its intensive menacing onslaught of initial rhythms and guitar around discord blessed keys is a differing frightening prospect. Once the vocals enter to stir up air and lyrical dirt, a deranged fairground essence seeps into the riveting equation, wonderfully darkly tainted verses inspiring thoughts of Insane Clown Posse more than one or twice. Switching with a chorus cast in melodic rock, the song is a puppeteer of shadows and passions, the best track on the album though straight away challenged by its brilliant successor. It is a psyche /indie rocker which leaps and swaggers with the relish and craft of a Reuben and a Bloc Party aligned to the melodic craft of a Feeder, though despite those references the bewitching slice of invention is again uniquely and irrepressibly all Axis Mundi.

The album carries on enslaving thoughts and emotions though maybe not to the same heights such the brilliance of earlier songs but certainly the rich and welcomingly bruising rock endeavour of Only Genes Can Judge Me and the jagged reggae inspired canter of The Gospel According To Science steal their very fair share of the passions with their highly accomplished and skilfully coloured tales whilst the closing New Scientist brings one final undiluted festival of dancefloor igniting voracity. Within all the tracks the band again thrusts a middle finger to expectations with their enchanting harmonies and reserved melody fuelled breezes within diverse tempestuous stomps, and all constant instigators of feet and passions.

Sci-curious is an exceptional kaleidoscopic offering which takes Axis Mundi into a whole new realm of quality and instinctively invigorating adventure. You can only hope and suspect that the world will take intensive notice of the UK trio as they and the album dive into an insatiable rampage which maybe even scientific doubters will find no resistance for.

The self- released Sci-curious will be released on June 1st


RingMaster 16/05/2014

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Josh Savage – Mountains In Hurricanes EP

Photography by Ben Bentley

Photography by Ben Bentley

The Mountains In Hurricanes EP is a delightful release which with craft and ease plucks at the emotions with infectious vibrancy and potent passion. From the skilled musicianship and imagination of Josh Savage, the emotive blend of acoustic pop with rich classical and folk whispers captivates the imagination and treats the ear with a welcoming and pleasing experience.

Spending his first twelve years of life in Paris, Savage was learning the piano from 4 years of age though his bio states it was initially with reluctance until the threat of losing them ignited his motivation for them as well as to subsequently learn the trumpet and guitar too. Equally adept at singing which saw him as a soloist with the Académie Vocale de Paris which then led him to be a the last minute as a soloist for the Choir of the American Cathedral in Paris, Savage after moving to Winchester in the UK in 2003, continued singing and playing classical music. This found him touring New Zealand and Australia with the National Children’s Choir of Great Britain the following summer. With his first introduction to pop as such through A Rush Of Blood To The Head by Coldplay, he stepped forward with his own songwriting and exploration with involvements in jazz bands, rock bands, and musicals along the way. Since then he has developed and ventured into varied experiences including playing his first gig coming at The Talking Heads in Southampton aged 17, fronting indie/rock band Taming The Savage, and playing trumpet for soul band Soultana. Writing, recording, and producing the album Une Migration d’Oiseaux Sauvages in ten weeks came next, the album inspired by the small novel Le Petit Prince by Antoine De Saint-Exupéry seeing the artist go back to his Parisian roots. Having toured since with the likes of Benjamin Francis Leftwich, Feeder, Razorlight, Reverend & The Makers, Rizzle Kicks, and Roll Deep, his self-released debut Mountains In Hurricanes is the clear mark of an emerging very promising talent.

The title track opens things up, cradling the ear with gentle caresses of acoustic guitar which lay the canvas for the expressive vocalsJosh Savage Mountains In Hurricanes EP artwork of Savage to picture. It is a simple mix with the richest emotive hold, especially when a wonderful breath of strings adds their shade to the air. Once more the song settles back into the dual union of guitar and voice for an inviting hug on the ear but when the strings bring their melancholic shadows to bear on the equally dark tinged lyrics again the track is elevated to further pinnacles and depth. It is a masterful stroke of restraint and enterprise, the proof simplicity can be a pungent poetic persuasion equal to or beyond the mass confrontation of other styles.

The following Figure It Out is similarly clad but with a more energetic gait to its narrative and stroll across the emotions and thoughts. With a wonderful female accompaniment vocally within its contagious invitation and an equally delicious wind of brass temptation, the track enchants and dances with the senses. It is a summers stroll through reflective shadows and wholly magnetic like its predecessor.

Mountains In Hurricanes is completed by firstly the magnificent Take Off Your Shackles, the strings reacquainting their seduction with the ear whilst Savage again paints an alluring canvas with his fine vocals and guitar. The bulging beats bring further diversity to song and release, their resonating punch pressing welcomingly with darkened intent within the mesmeric air and heat of the song. The best track on the release it is followed by the least successful, a mix of the title track. Maybe it is reflected  by the fact the title is not listed on the sleeve of the CD sent through to us, but as inventive as it is and probably fans of re-mixes will love it, the version removes all the power and emotive depth of the impressive song.

Ignoring that final track, Mountains In Hurricanes is a wonderful release from in Josh Savage, an artist destined to provide and receive great things. A must have release for lovers of melodic and emotive beauty.


RingMaster 25/04/2013

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