Russkaja – Peace, Love & Russian Roll

PL&RR__RingMaster Review

Our own introduction to Austrian turbo polk metallers Russkaja was through their third album Energia! and there is no denying it stole our ears and lustful soul with ease. Now the septet returns with its successor Peace, Love & Russian Roll and fair to say the devilish fun continues. The album in many ways seems a more concentrated attempt at flirting with the broadest attention, songs sung predominantly in English this time around and the bedlamic nature of their songwriting turned down a touch, but it does not stop the band unleashing another manic and exhilarating stomp.

Formed in 2005 by vocalist Georgij A. Makazaria, Vienna hailing Russkaja has a sound which embraces the essences of its member’s Ukrainian, Austrian, and Russian heritage, the latter especially a potent hue in an adventure which entangles folk, punk, ska, jazz, metal, polka…well you name it and it will be in there as shown by both Energia! and now Peace, Love & Russian Roll. As suggested the band seems to be looking at stirring up a wider spotlight of attention with their new album, but in no way does it mean they are dipping into commercial attributes to cheat the imagination and fans, just that Peace, Love & Russian Roll has, well I guess it is a more mature and knowing touch to the songwriting and sound behind its magnetic schizo waltz.

The festival of flavour and adventure starts with the body igniting Rock’n Roll Today. Its opening fanfare of trumpet has ears instantly hooked, with the scythes of energy, riffs, and drum stick swipes only adding to the enticing. Within a few more breaths the track is in full throttle, stampeding through ears with a punk ferocity, multi-flavoured tenacity, and a web of rhythms which, as the sound, shifts gait and nature with every passing clutch of seconds and inventive twist. Vocally Makazaria growls as he leads the boisterous revelry, feet soon a blur in return and hips swinging to the breakout of ska seeded hooks. Like a mix of Kontrust and Tankus The Henge, the track sets the union between album and listener off in rigorously contagious and thrilling style, especially with its fifties rock ‘n’ roll detour towards its exhausting climax.

   The following Slap Your Face equally has the senses and imagination aflame, and again it all starts with an irresistible entrance which this time is blessed with the kind of blaze of brass that Roxy Music cast in their heyday. Soon metal riffs and beats back up its tempting, the mix persistently punctuating the ska seeded funk swagger which soon breaks out. As the first, the song is a flowing stroll of infectiousness and invention. Its fusion of sound reminds of Biting Elbows and Gogol Bordello at times with the added spice of King Kurt in for good measure, and fair to say that if as its predecessor, it is not luring your body and vocal involvement within the first minute, you should check you have a pulse.

Hometown Polka calms things down a touch with a restrained saunter spiced by the teasing violin strings of Mia Nova which provide a charming welcome. Its catchiness is in full flow pretty much straight away though, growing with strength as lively crescendos to the song come littered with a throaty bassline, mass vocals lures, and swinging traditional temptation. The dark allure of H-G. Gutternigg’s potete (a hybrid of bass trumpet and trombone), only brings greater flirtation to the song, complementing the spicy trumpet of Rainer Gutternigg and the melodic dance set by Engel Mayr’s guitar simultaneously.

A further breath can be taken thanks to There Was A Time, a warm yet melancholic croon of voice and sound. Once more infectiousness is as ripe as the skills breeding the total seduction, the English sung reflection making another persuasion impossible to not join within one round of its chorus. The sublime persuasion is matched by the Latin sparked El Pueblo Unido, its Spanish sung and South American coloured tones the canvas for a rousing ska infused canter complete with climatic crescendos and mariachi like drama.

597_Russkaja_RingMaster Review   Lovegorod wears its ska influences with a broad creative smile whilst Parachute guided by the pulsating beats of Mario Stübler is a folk shaped swing of melodic and lyrical romance hugged by siren-esque harmonies and trembling Mediterrean caresses. Both songs hold attention and imagination in firm and pleasing hands but each finds itself over shadowed by the theatre of the following Let’s Die Together. Arguably the most traditionally Russian bred song on the album, it is a bordering on schizophrenic maelstrom of voice and sound which boils into a familiar and addictive quickstep. Its energy and passion increases with every swaying step, its roaring catchiness of band cries over a deeply hooking swing, sheer inescapable virulence.

One major triumph is backed by another in the noir lit prowl of Salty Rain. Dark rock ‘n’ roll with a healthy spice of jazz and melodic sultriness, the song swiftly entrances body and imagination, once again hips coaxed into eager movement as the immersive narrative grabs thoughts. A core ska spine of guitar binds the outstanding track’s varied beauty together, alone manipulating limbs before letting You Are The Revolution flick the switch to another raucous outpouring of sound, attitude, and energy. Metal and punk collude to create the raw and gripping stomping with the bass of Dimitrij Miller, not for the first time, a prime protagonist in song and ears. Of course as volatile as it is, there is a contagion to its tempest which is just as mouth-watering as the turbulence around it.

Peace, Love And Russian Roll concludes with firstly the country rock/folk croon of Radio Song, a serenade as lyrically mischievous as it is musically tangy, and finally its title track. The last song’s name just about sums up it and the album’s contents, Russian rock devilry spawned by the theme of uniting in the good things to make life and the planet a better place. It is a glorious end to another delicious slab of unpredictable and inimitable aural festivity. If pushed previous album Energia! with its less polished and more of a raw toning still edges it as our favourite Russkaja moment but Peace, Love & Russian Roll is right up there leaving so many other offerings this year in its wake.

Peace, Love & Russian Roll is available now via Napalm Records http://shop.napalmrecords.com/russkaja

http://www.russkaja.com/    https://www.facebook.com/russkajaofficial

RingMaster 26/07/2015

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

 

 

Officer – Myriads

officer_RingMaster Review

Whether gripping attention with a rousing energy or laying an evocative caress on the senses, Myriads, the debut album from British singer-songwriter Officer, is an emotionally mesmeric and invigoratingly compelling adventure for ears and imagination. It is an exhilarating introduction to one of the most exciting songwriters to emerge in recent times and more than shows why its creator’s fans took it upon themselves to help push the release and artist towards a national recognition.

Officer is the musical moniker of Dc Logan, a musician born into the raw council estate life of Glasgow before spending much of his early upbringing in Northern Ireland during the height of the troubles. With poetry, short stories, and illustration already blooming from his imagination, Logan turned to music from the moment he picked up his father’s old guitar on the night The Good Friday Agreement was laid down. Eventually a move to London ensued and the creation of punk band Colourcode, they releasing a pair of EPs and one album across five years. Also dedicating his time and effort to helping the homeless and poor, Logan’s music and songs continued to evolve and breed their own heart and voice, every experience and aspects of life he has owes and come across seemingly adding another rich hue lyrically and musically to his songs. It has earned Officer a cult following, loyal fans which without the knowledge of Logan united and set up a support network to raise funds for the artist to record and now take his music to the broadest attention. The result is Myriads; a kaleidoscope of life, emotion, and invention which simply enthrals.

The album opens with Laughing Rafters and a gentle, suggestive shuffle of melodic and ambient sound. The potent coaxing is soon embracing the strong tones of Logan, his voice as vibrant as it is melancholic and a captivating mix matching the similarly provocative sounds continuing to brew around his engaging presence. As quickly as the song entices musically, so it does lyrically, an intimacy and easy relatable reflection wrapping every word and syllable. It is a potency fuelling every song in their individual adventures, and here casting a thick croon of folk and melodic rock tempting. Like The National meets Jeff Buckley with a touch of Doves thrown in, the song is a fiercely magnetic start.

Officer cover_RingMaster Review   Glass Ceiling, also from an elegantly restrained start, builds its own drama of sound and intensity next, flowing twists through emotional calms and rousing crescendos colluding for an irresistible anthem for body, emotions, and simply one’s own energy. The song is wholly immersive but with a virulence which dictates body and energy to leave the listener on an inflamed high which the following Can We Talk? tempers with its warm serenade but also continues through its infectiously poetic musical and emotional presence. The song is pure bewitchment, thickening in tone and drama with every passing minute to also leave rich pleasure and fascination in its wake.

As impressive and thrilling as it and its predecessors are, Act of Survival strikes a new plateau of thrills and incitement. Straight away rapier like rhythms pierce strolling melody soaked riffs and chords as Logan’s voice paints another striking and gripping lyrical revelation. The track is glorious, at times finding hues which remind of The Cure and in other moments of bands like British Sea Power and Johnny Wore Black, whilst sculpting its own unique theatre of original songwriting and heart bred enterprise.

The gentle but increasingly tempestuous haunting kiss of One Day comes next, its emotive resonance a lingering hug which eventually makes way for the tenacious and lively roar of The Waters. Again early Cure springs to mind as guitars and rhythms unleash slim but inescapable lures, whilst melodically and vocally there is a Placebo like lilt to the breath-taking waltz. It is a track to get the mind turning and blood rushing through the body, all the better for the inspired almost hidden echo which simply adds an ingenious extra depth to the already full-blooded and rounded, and not forgetting quite brilliant encounter.

Both Ambulance and DATV ensure there is no noticeable dip after such a pinnacle. The first is a tantalising slice of dark folk with a sultry air around shadow wrapped strings and acoustic expression whilst its successor, from the same kind of template, explores an even darker heart enlivened with more of the haunting textures and imagination which Logan has already revealed being skilfully adept at brewing. The pair sublimely entices appetite and imagination before Elisabeth holds ears with a balladry which is as explosive as it is serene. As across every track on the album, resourceful unpredictability and inspired boldness shapes and guides the hypnotic proposal, and again a spellbinding proposition is the outcome.

   My Darling Defibrillator takes us next on another climatic and at times atmospherically sweltering flight of invention and emotional turmoil, the song absorbing the listener in raw and impassioned beauty whilst seducing ears through to psyche, with another major incitement within Myriads.

The album is completed by the thoughtful and provocative serenade of Burst and finally the sonic bordering on harrowing, emotionally imposing AFM. They are two tracks which may not find the heights of those before but bring the album to a hugely evocative closure. Many moons back certain tingles and pleasure was found in the Black debut album Wonderful Life, a solo release which has stayed in thoughts and an ever evolving personal soundtrack ever since with the same potency. Those same ‘chills’ arose with Myriads and it is easy to suspect Officer will become the same kind of persistent encounter for us and a great many more old and new hearts within his already impacting fan base.

Myriads is available from 31st July and can be pre-ordered now @ https://itunes.apple.com/gb/album/id1018844878

https://www.facebook.com/iamofficer     http://officer.uk.com

RingMaster 20/07/2015

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

 

We Came As Strangers – Still Life

WCAS_RingMaster Review

Ahead of third album Eyedom, English based seduction We Came As Strangers release their new single Still Life, a mesmeric embrace and teaser which inescapably stirs up the imagination and appetite for their oncoming full-length.

Since forming vocalist Ellem, guitarist Justin Sandercoe, keyboardist Owen Thomas, bass player Tim Harries, with drummer Tom Meadows has persistently fascinated and immersed ears and indeed thoughts with their increasingly evocative blend of folk, rock, and avant-garde invention. Previous albums Recipe for Adventure and Shattered Matter have taken the listener on flights of trippy alternative rock/pop. Acclaim and increasing stature has constantly followed in the wake of the band’s releases but if Still life is the full suggestiveness of what Eyedom will hold, We Came As Strangers’ greatest success and rewards are around the corner.

From the quirky opening keys, swiftly followed by the ever siren like tones of Ellem, the song romances the senses and imagination. Rhythms are soon adding their darker temperament and richness though whilst guitars and keys entwine their own thick and individually sultry melodic charms. In no time it is a bewitching persuasion locked in drama and creative flirtation. Ethereal and haunting, summery and shadowed, the song is simply virulent seduction, its chorus alone sparking tingles certainly down our spines.

The video below will reveal the rest of the song’s fascinating majesty and equally why, as for so many others, Eyedom just cannot engulf ears soon enough.

Still Life is available from July 20th

https://www.facebook.com/WeCameAsStrangers   http://wecameasstrangers.com/

RingMaster 20/07/2015

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

 

We Ghosts – Decade

WE Ghosts_Reputation Radio/RingMaster Review

A release of multiple charms and flavours, Decade the new album from Anglo-Swedish alternative acoustic duo We Ghosts gets its UK release this month and a tantalising treat it is. Such its distinct yet united variety, the album ebbs and flows in its strongest persuasions but from start to finish the band’s new encounter takes ears on a captivating adventure in celebration of the band’s ten years of creative life.

We Ghosts consists of the song writing team of Swedish vocalist/guitarist J.J.Woodall and English instrumentalist John Christopher, the band emerging in 2004. The years since has seen the band on a constant adventure of live shows and releases. On stage the band is expanded by the likes of Johan Persson and Richard “Rat” Westlake, both making contributions to the album too with the latter also co-producing it with the band. Record wise, We Ghosts’ blend of pop, jazz, blues, and folk has fuelled a clutch of EPs and acclaimed albums such as Things That Go Bump In The Night in 2009 and Almost Alone three years later. Now fourth studio album Decade, released as its predecessor through Deep River Records, provides the imaginative epilogue to the band’s first decade and increasingly seductive opening to the next.

A rhythmic acoustic coaxing opens up album and its first track Broken Sky; its initial lure alone pure magnetism which only increases as melodic intrigue and the instantly enticing vocals of Woodall link their tantalising lures. A spatial breeze soon immerses ears too as siren-esque harmonies float, but that early bait still provides the most direct and gripping pull for the imagination and appetite. With darker hues of bass adding to the elegance and temptation offered, the song is nothing less than a busy and warmly welcoming seducing.

cover_Reputation Radio/RingMaster Review    The masterful opening continues with the summery saunter of Out Tonight, a song with a Caribbean bred canvas and flirtatious melodic scenery matched by the vocals and the more wistful but equally colourful keys. The song’s dance is an irresistible contagion, a nudge to feet and emotions to eagerly join its warm revelry before the bluesy funk pop of Death or Glory casts its emotive persuasion next. Without quite matching its predecessors, the track sways and croons with a fiery attitude aligned to similarly intense enterprise from the guitar and easily leave ears smiling.

The folkish shimmer of Too Late to Learn merges a country twang with a sultry atmosphere next, its vocal offering led by Christopher this time. Though his delivery is potent and expressive, personal tastes hanker for the lures of Woodall whilst the song itself lacks the undefined but rich spark which lit the other tracks before it. Nevertheless enjoyment is still a given before the album hits another high spot with its next two tracks. Home Is Where the Heart Is comes first and from the glorious jazzy/blues vocal roar of Woodall to start things off, the song proceeds to stroll with a southern blues spicing across a melodic and rhythmic evocation. It is pure captivation, an inescapable anthemic and spiritual tempting to bask in, though quickly outshone by the even more exceptional Final Curtain. The track is virulent pop infused folk rock with a delta blues hue to its harmonies and invention. Like a mix of My Baby and Jingo, the song is a flame to the senses and rock alchemy for the ears, and quite outstanding with its voracious contagion and imaginative enterprise.

The lively acoustic balladry of Trying to Be Faithful makes a fine and bewitching effort of matching its predecessor, its Kirsty MacColl charm and tenacity compelling from start to finish. It is a success next up Suzie cannot quite emulate, though again there is little to pull it up for outside personal tastes and our always less than eager appetite for any countrified essence. Superbly crafted and intricately woven though, and with a host of creative hues, the song as the following album title track, is a keen persuasion, the latter’s enticing of melodies and poetic vocal expression leaving a glow in the air.

We Ghosts, the song, completes the album, its sixties psyche pop toning a final infectious serenade on the senses. It makes an engrossing end to a fine album, a release which just grows in strength and seduction with every listen. Like many, we have suggested a few releases to soundtrack your upcoming summers, and there is no way we cannot add Decade to those recommendations, especially for those provocative sultry nights.

Decade is out now via Deep River Records @ https://itunes.apple.com/gb/album/decade/id825383537

https://www.facebook.com/pages/We-Ghosts/170602999638293 http://www.weghosts.co.uk/

RingMaster 15/06/2015

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

 

Serpentyne – Myths And Muses

Serpentyne band photo Reputation Radio/RingMaster Review

Listening to Myths And Muses, the new album from British Neo-Folksters Serpentyne, you initially come up with the idea that such its unique sound and individual character it is destined just to appeal to a certain segment of the music world. Yet as each bewitching piece of music spreads its irresistible seduction, there is nothing but a wealth of temptation for varied rock and folk fans through to dance and pop enthusiasts. The release is a spellbinding treat building on an already potent reputation earned by the band but taking everything from creativity to temptation to a whole new level.

Hailing from London and formed in 2010 by Maggie-Beth Sand (vocals, cittole, bouzouki, harmonium, nickelharpa) and Mark Powell (hurdy-gurdy, cittern, electric guitar, vocals), Serpentyne take inspirations from traditional music as well as folk, Celtic, world, and rock onto their own tapestry of adventure. Debut album Stella Splendens in their first year awoke keen attention and acclaim, their fusion of traditional tunes with modern atmospheric and ambient enterprise alongside dance bred vivacity drawing comparisons to the likes of Faun, Blowzabella, Steeleye Span, Gryphon, and Blackmore’s Night. As suggested Myths & Muses is another plateau in imagination and invention for the band with the creative differences between their two albums best offered by Sand, “On our first album, Stella Splendens we took traditional songs and texts in old languages such as Latin, Occitain and Old English, and arranged them in our own way. On our second album Myths and Muses apart from including some new-found traditional songs and tunes, we added original lyrics and music which are sometimes combined with the old tunes. I was particularly interested in writing about women warriors, and other muses that have inspired men and women through history.

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CDDF-4P2V-001

Fair to say our knowledge and experience of mediaeval and traditional folk/ethnic sounds is as limited as honesty in government but there is no escaping what we like and it is a done deal between ears, pleasure, and Myths And Muses from the moment opener Boudicca pulsates into view. Its techno seeded start is swiftly a festive saunter of melodic gaiety and more shadowy rhythms. A rest drops in as Sand unveils the first tempting of her magnetic tones and the narrative but soon the song is swinging infectious hips, physically and melodically as an array of instrumentation and vibrant vocal enterprise breeds a riveting dance nicely tempered by the darker tone of keys. A celebration with tribal fuelling rather than maybe the war chant offering you might expect from the title, the track is simply incendiary to body and imagination, and a stunning start to the album.

There is no diminishing of quality and success either as Alexandria takes over, the song again spawned from a tribalistic seed but sauntering down a Middle Eastern landscape within the swish of a camel’s tail. Sultry and elegant, oozing mystique and warm temptation with every spicy melody, the song is as captivating as its predecessor and indeed the following Valkyries. As you would expect from its title, the track has a more urgent and robust nature which drives certainly its techno revelry and as its swings along with virulence, there is a feel of Landscape meets Arkona to the infection, veering more towards one or the other as it continues to entice ears and passions like the Pied Piper.

The medieval song of praise Gaudete is given the Serpentyne embrace next and initially is slightly reminiscent of the famous Steeleye Span version. It is a kiss on the senses eventually evolving into a bolder and busier chant again ripe with the band’s irresistible shamanic enterprise. Its beauty makes way for Hymn To Cynthia, an enslaving and hypnotic interpretation of the Ben Jonson poem of the same name. There is thick drama to the song, the music and vocals pure theatre alone and reinforced by the force of the words; thick forests and boisterous nature the scenery flooding the imagination. The track is sensational, surely destined to be used in a cinematic affair somewhere and when.

The Parisian chanter that is Je Vivroie Liement has senses and emotions basking in tradition and smouldering festivity next whilst the flirtation of Douce Dame Jolie is a romance on the senses with again a more cosmopolitan essence to the music. Both are enthralling interpretations of 14th century songs by French composer Guillaume de Machaut and sheer mesmerism for ears and passions.

Freya’s Firedance is as warm and sultry as its title suggests, a hymn of mystical suggestiveness and beauty crooning the senses before the poem/song A Rosebud In June is hugged and lit by the band. There is another definite Steeleye Span feel to the encounter, Serpentyne being possibly inspired by the formers’ own recording, yet as with all tracks there is little passing time before things develop their own personality and originality.

Myths And Muses is brought to a close by firstly Pastyme With Good Company, an English folk song written by King Henry VIII in the beginning of the 16th century, and finally the medieval sounding Les Garcons De Montagne. Both proposals separate reality from attention with a mystique of the sounds as the joyful and resourceful imagination of Serpentyne soaks every melody, rhythm, and inescapable incitement.

Myths And Muses is pure delight, a proposition everyone should disregard any inbred reticence over, ignoring any assumptions of sound and their seeding. It is basically a rock album from across the ages and without doubt one of the most enjoyable and thrilling encounters we have come across this year.

Myths And Muses is out now digitally and on CD through http://www.serpentyne.com/#!buy-cds/c2267

http://www.serpentyne.com/   https://www.facebook.com/Serpentynemusic

RingMaster 08/06/2015

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

Nekrogoblikon – Heavy Meta

 

Nekrogoblikon

For all those acquainted with and new to Nekrogoblikon and their self-tagged “goblin metal” sound, time to embrace one of the most enjoyable and impressive metal albums of the year so far. You might initially snigger at the band’s goblin themed presence and invention, and you will giggle with the band’s lyrical rascality and self-referential mischief, but ultimately you will come away from one exhaustingly inventive and exhilarating new album basking in metal at its stirring best; you might also just want to be a goblin yourself.

Hailing from Los Angeles, Nekrogoblikon formed in 2006 releasing debut album Goblin Island the following year. At this point the band was just the founding duo of Nicholas Von Doom and Tim Lyakhovetskiy. The line-up subsequently expanded as their sound began evolving as shown by second full-length Stench in 2011; becoming even more openly diverse and exploratory in third album Power two years later. The raw black and death seeded sounds which primarily fuelled their first release, were soon part of a maelstrom of rabid flavours and styles from electronic to folk, symphonic to experimental metal, all colluding to seduce ears and imaginations. The evolution has continued and is now in full blaze with Heavy Meta, the band’s new savaging of the senses. It is a fascinating and irresistible tempest; simply a devouring proposition of flirtatious menace and bewitching voracity.

From opener The End of Infinity, band and album has attention gripped and appetite licking its greedy lips. The song’s initial stride through ears has an electro air to its contagious swing and as it expels further ingenuity and imagination, thoughts of bands like 6:33 and Destrage give a nudge. Keys and hooks only add to the virulent web being cast, the great weaselly vocals of Scorpion almost dancing on the strands of their tempting. A brilliant start only explodes into a greater escapade as guitars cast a melodic weave with tangy hooks and grooves whilst rhythms stalk that enticing with lustful intent. The devilish nature of melodies and enterprise has an additional feel of French band Pryapisme to it, and quite simply everything combined creates aural addiction, an intimidating and fanatically unpredictable shuffle impossible for feet, neck muscles, and the imagination to resist.

Nekrogoblikon-HeavyMeta-AlbumArt_Reputation Radio/RingMaster ReviewThe passions are ignited just as potently too, finding further lust as the following We’ve Had Enough with its opening saunter of evocative keys swings in with drama and rampant devilment. Riffs and grooves are soon driving infectiously through ears, vocals spilling the narrative with salacious intent as clean harmonies court ears in the background. The diversity of emerging sound is matched by the great variety of vocals, every second and twist of the song as unpredictable as they are a fluid persuasion. Like a temptress ruffling the love sacks whilst stealing the gold, the track is a salacious temptation leaving ears and emotions on a high ready for the quick step and tenacious revelry of Bring Us More. Jazzy keys, pop bred harmonies, and funk kissed energy are all sucked into the fiery climate of the song’s rabid creativity, once more the likes of 6:33 coming to mind alongside hints of Trepalium and Mr Bungle whilst devouring the unique goblin sound.

Snax & Violence is a more predatory proposal, its blackened heart and melodic death metal voracity a ravishing of the senses. The song though is unafraid to infuse guitar and keys bred beauty into its climatic tempest, adding folkish hues to its grooving simultaneously. It is an enthralling stalking of ears soon outshone by the outstanding Atlantis. The band’s latest single exposes its rhythmic muscle and tenacity straight away, lacing it with scythes of sonic bait as vocal squalls and synth spawned teasing bring their individual persuasions to the rebellious landscape of the song. Like a death infused version of Hardcore Anal Hydrogen, the track is a puppeteer to body and soul, pulling the strings of pleasure before making way for the equally thrilling We Need A Gimmick. Think of a style of music and it is most likely infused into the bedlamic but flowing emprise of a song with something for everyone within and outside metal.

Full Body Xplosion is as grouchy as a ravenous bear and as rhythmically skittish as a dog in heat. Riffs and vocals are similarly fuelled across the volatile storm of invention whilst hooks and grooves offer magnetic toxicity and the keys intrusive seduction. The growl of the bass we will leave for your discovery and nightmares as another pinnacle in the lofty plateau of the album moves over for the raucous anthem that is Let’s Get Fucked. Featuring Andrew WK, it is as riotous as you might suspect and more merciful than you might imagine, with its guest the welcome and Scorpion the venom. Without rivalling its predecessors, the track still has the real world a distant memory in its company and energies ready to take on the caustic and sultry saunter of Mood Swings. Musically the track lives up to its title, each twist bringing a fierce fondling or flirty soliciting of the imagination, everything fully agitated and hungrily unpredictable.

The song Nekrogoblikon brings Heavy Meta to a glorious end; its cantankerous stomp an alchemy of relentlessly catchy rock pop exploits aligned to ferocious hostility. It is a torrent of vivacious turmoil and creative diablerie, just as the album itself. Heavy Meta is easily one of our favourite offerings this year so far and a major incitement for the metal scene, demanding and deserving the fullest attention in return. Now where do you get goblin masks…

Heavy Meta is available via Mystery Box now on CD and vinyl @ http://www.districtlines.com/nekrogoblikon and digitally @ http://bit.ly/1JycbMS

http://www.facebook.com/nekrogoblikon

RingMaster 03/06/2013

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

Ella Squirrell – Loop EP

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English singer songwriter Ella Squirrell has a voice to eclipse reality, a presence to lift the listener away from a grey day into a melodic and emotionally coloured oasis. As proven by her new EP Loop, the lady also has a lyrical gift and musically creative craft to back up her transfixing tones. She is beginning to stir up a healthy buzz within the British music scene and it is easy to see why with the unveiling of her four-track release.

With a her father a professional musician in a folk band trio and her mother a poet, maybe it is no surprise she has emerged with similar gifts and combined them in her own creative adventures. Hailing from Bridport in Dorset, Ella explored instruments and music from an early age, starting with the Irish penny whistle and folk songs at the age of 10 and moving on to the guitar a year later. Her own songwriting began when she was around 15 with a fusion of folk and pop emerging. Ella cannot read or write music but conjures them in her head and as her bio says, “teases them out into reality.” However it works, the songs making up Loop simply captivate from start to finish with a purely organic seduction.

Picture 38   The release opens with new single Quiet Fire, a romance on the ear which from its first kiss of keys just enchants. A slow reflective start is barely seconds in before eager beats and the voice of Ella open up a lively shuffle within ears and imagination. There is smokiness to her voice as it wraps flirtatiously around the song’s rhythmic stroll and tender melodic caresses, a Sade meets Skye Edwards (Morcheeba) feel to her mesmeric tones which simply smoulders against the lively swing of the song. It is one of those encounters which follow you around after just the first hearing, persistently nagging away in thoughts with its magnetic lures and an infectious tenacity loaded with sound of the summer potential.

The bewitching start to Loop continues with its title track, keys straight away enticing the senses with reserved but funk kissed alluring whilst melodies cast a folk pop proposal supported by the jazzy flicker of brass. As in its predecessor, backing harmonies add to the temptation as they slip in and out of the surrounding atmosphere. It is sheer captivation, another slice of virulent pop drama matched swiftly by the emotive balladry of Trust Is A White Dove. Piano and voice transfix again, hugging ears and thoughts alone for the opening croon before the song expands its elegance and persuasion with melancholic strings and a shadow delving bass tone to be lustful over.

In three bright slithers of beauty, the songwriting of Ella reveals its adeptness at variety, an equally feisty trait in the closing Trouble. Arguably the most folk lined song on the release, it is also a bold flight of electro pop and jazz sparked imagination. It sways and coaxes with physical and emotional temptation, like a flame licking ears with melodic vivacity as it takes thoughts on a fascinating amble of varied textures and boisterous creative dexterity.

The song is a gorgeous end to a simply spellbinding proposition and an introduction to an artist you can only anticipate major recognition and hopefully in turn big success for. Right now though, Ella Squirrell has provided one delicious aural kiss.

The Loop EP is out now via Gospel Oak Records at https://itunes.apple.com/gb/album/loop-ep/id981163074

https://www.facebook.com/ellasquirrellmusic   http://www.ellasquirrell.com/

Upcoming Gigs:

27th May2015 The Jam House, Birmingham (The Launch Pad – a regular showcase of some of artists that the Jam House considers “ones to watch”.)

4th July 2015 Big Mix Music Festival, Lyme Regis (The Big Mix is Lyme’s own youth music festival by the sea)

RingMaster 20/05/2015

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.n