Speak, Brother – Magnificent

Aug22

Ensuring the surrounding world slips from focus during its three minutes and a handful of seconds presence, it is fair to say that Magnificent is one highly memorable and bewitching encounter. The new single from British indie outfit Speak, Brother, the track is the next powerful step in the ascent of the Rugby hailing quintet and a mouth-watering teaser for the album bearing its presence, Young & Brave set to be released in Spring 2018.

Speak, Brother has already felt the touch of acclaim through a pair of previous EPs and the eager support of fans, Young & Brave being successfully crowd-funded. Magnificent alone suggests James Herring, Matthew Cotterill, Nathan Morris, Dan Smith, and Sam Oakes have seen nothing yet on both fronts though and is sure to trigger real anticipation for that upcoming full-length.

The track slides into view on a gentle melodic mist, being joined soon after by strong ear luring vocals fuelled by emotive richness around intimate words. The ethereal air of the song has a brewing intensity which erupts as guitars and rhythms bring their bold proposals to the indie folk/rock saunter. Every element now in full swing has drama in its veins, suggestive hues in its sound to match the descriptive lyrics being shared with greater expression.

With a touch of Doves to its driving stroll and almost nagging beauty, the song infests body and spirit; creating a rousing incitement hard to lessen an energetic appetite for let alone tear oneself away from. If Magnificent, a song living up to its title in every sense of the word, is a sign of what we can expect from Young & Brave, Speak, Brother is looking at a mighty 2018 which will start even earlier once the band open up their UK tour later this year.

Magnificent is released September 22^nd

UK Headline Tour Dates – Winter 2017

03/11 – Big Comfy Bookshop, Coventry

04/11 – The Globe, Hay on Wye

05/11 – Costa Coffee, Barrow in Furness

08/11 – Hare and Hounds, Birmingham

09/11 – The Cavendish Arms, London

http://speakbrother.co.uk https://www.facebook.com/speakbrotheruk/ https://twitter.com/SpeakBrotheruk/

Pete RingMaster 22/08/2017

Scott Swain – Like Nothing Else

Apr19

From the dark country drama and sultry intrigue of last year’s single Oil!, Scott Swain casts his imagination into even more deceptive corners with its successor Like Nothing Else. The song is a gentle yet brooding encounter; warm and seductive yet with darkness in its lining which as much blossoms into a provocatively mesmeric enticement as the melodic warmth within, .

Making use of the downtime from his bands How to Dress a Monster and Fire at Night to explore his personal writing and songs, Swain unveiled his solo project last year and released the irresistible single Oil!, a song showing hints of inspirations ranging from Elliot Smith and Mark Lanagan to cult cinema. As its predecessor, which was inspired by There Will be Blood, his new track was written about a movie, Event Horizon the spark for Like Nothing Else.

The opening caress of acoustic guitar is an earthy yet celestial lure, Swain’s warm vocals adding to the song’s elevating flight of melody and temptation. With rhythms laying shadows in close quarter to the radiance embracing vocal and lyrical reflection, the song swiftly becomes an easy transfixing of ears and imagination. Simmering with creative and suggestive theatre, the track slowly but openly builds in emotion and intensity from there, its journey into an understated but rousing crescendo a gripping realisation before a final kiss of melodic and harmonic sighing lies poetically on the senses as the song drifts away.

Throughout its evolution, Like Nothing Else is pure captivation and confirmation that Swain’s solo side is heading towards major attention.

Like Nothing Else is released 28^th April.

Upcoming Live Dates:

23/04/2017 Craft Beer Company, Brixton, London.

26/04/2017 The Cellar, The Finborough, Earls Court, London.

08/05/2017 Spice of Life, Soho, London.

18/05/2017 The Bricklayers Arms, Hitchin.

28/05/2017 Opium Bar, Edinburgh.

http://scottswainmusic.com/ https://www.facebook.com/scottswainmusic https://twitter.com/scottswainmusic

Pete RingMaster 19/04/2017

Little Lapin – Wake Up With The Sun

Apr13

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice. A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside. An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop. As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14^th across most online stores.

http://www.littlelapinmusic.com/ https://www.facebook.com/littlelapin/ https://twitter.com/1littlelapin https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Holly Holden y Su Banda – Tropical Soul

Mar30

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener. Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9^th.

http://www.hollyholdenmusic.com https://www.facebook.com/hollyholdenmusik https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Chris Mullin – Myself Fooling Me

Mar30

Better known as the bassist and co-songwriter of The Sums (ex-Smaller) and bassist for nineties band Hurricane #1 who have recently reformed, Chris Mullin is set to entice his own corner of attention with his debut solo EP, Myself Fooling Me. The Liverpool bred musician bares his creative and emotional heart with a six fingered handful of songs as distinct and different from his other endeavours as they are similar in the captivation of ears and imagination; simply a collection of tracks just demanding attention.

The first of a planned series of EPs exploring Mullin’s appetite for “more experimental styles of music”, Myself Fooling Me opens up with Hard Times. As keys stroke ears and thoughts, swiftly there is a Lennon-esque quality to the song and its lively grace, Mullin’s vocal expression a heart sharing proposal accentuated by the spring of strings rising over and caressing a quickly awoken appetite for the song’s melodic suggestiveness. Catchy with increasing warm hope lining its initial melancholic tinge, the song is a captivating start to the release and introduction to Mullin’s personal creative character.

Lost At Sea follows, acoustic guitar stroking ears as Mullin’s again vocally shares his reflections being subsequently surrounded by simmering and increasingly bold flames of strings courted by celestial keys. The song laps at the senses, suggestive light shimmering on its surface before the darker hues of Colour Of Pain compellingly slip through ears. With a bluesy edge to its melodic lure and shadow hugged emotion, the outstanding track is a haunted bewitchment, melancholy and sorrow its engaging suit as Mullins reveals yet another side to his ever broadening solo journey.

From the rousing beauty of a song shouting single, Mullins shows a folkish flare with No More; a gentle melody seducing act of defiance which just grows more infectious with every passing note and word while Who Took The Beat? shows another hue to the same instinctive intent with darker emotional shadows at work. Blossoming in texture and flavour with every move, a sixties musical air from his home city as well as broader cosmopolitan scents seeping from its body, the song is one evocative serenade.

The EP closes with its title track; a song written over 20 years ago and revived after a one on one jamming session with Paul McCartney a few years back. Featuring ex-band mate, Bren Moore (Smaller/The Sums/Ella Guru) and the backing vocals of Fiona Holt O’Sullivan, Myself Fooling Me is a melody woven glide into the imagination with lyrical and vocal expression as provocative and honest as the boisterous sounds around them.

With every listen the Myself Fooling Me EP offers a richer seduction whilst sharing further depth to songwriting already part of some memorable moments with The Sums. Mullin’s solo exploration is a very different proposal to his ‘day job’, but something fans of the band and melody honed music as a whole will enthusiastically embrace.

Myself Fooling Me is available now via Nowhere Music through all major download retailers and @ https://chrismullin.bandcamp.com/releases

http://chrismullin.net/ https://www.facebook.com/chrismully https://twitter.com/chrismullin74

Pete RingMaster 29/03/2017

And the Wasters – State Of Repair

Mar16

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

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

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

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

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

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

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

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

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

https://www.facebook.com/willtunandthewasters

Pete RingMaster 15/03/2017

To Bear Sir – Hold Yourself Tight

Mar4

TBS_RingMasterReview

Hold Yourself Tight is the debut album of To Bear Sir, the solo project of someone who has already, like for so many others, made a major impact on our ears and passions. The creative provocateur constantly stirring up the imagination is Welsh songwriter/vocalist/musician Russell Toomey though you might know him better as the creator/frontman of My Red Cell, Innercity Pirates, and Denim Snakes; three bands which all made a striking impact on the UK underground scene with their individual sounds and characters, each deserving far more attention and success than found.

It is a height of recognition which just might be sparked by To Bear Sir. Each of Toomey’s bands has even with some strains of similarity been wholly unique propositions to each other and indeed any band around them but To Bear Sir is a gulf away from those before it and just as impressive.

Debut album, Hold Yourself Tight reveals bare intimacy not knowingly heard in its creator’s work before, the songs giving greater meaning and echo to the name of the project. The diverse array of tracks and styles breeding its songs come together to create one of the most haunting, emotionally open, and generally irresistible propositions heard. From its first breath, the release bewitches, its heart akin to the listener’s sharing melancholy and despairs mutually known and felt.

Produced by Todd Campbell, Hold Yourself Tight opens up with Mother I’m Sorry. As solemn strings rise to share emotive fingers on ears, that heartrending air is swiftly inescapable, only thickening as a lone guitar strum takes over with its own shadowed melody. Toomey’s distinctive tones soon follow bringing a dark blues haunting and seduction with it reflected in the sounds hugging his presence. Funereal in gait, compelling in regret and touch, the song is sheer melancholic beauty.

art_RingMasterReview It is a stunning start quickly matched by Medi-Monster, a slightly livelier affair in energy with brooding shadows to its wiry melodies. Vocals are a wonderfully dispirited incitement, magnetic and mournfully introspective but luring full participation with the song’s almost disturbingly catchy chorus. It is impossible not to get physically and emotionally involved with either of the first pair of proposals or with the albums title track which follows. Its rhythmic shuffle has a touch of Fatboy Slim to it making a kinetic canvas for the dark folk serenade of voice and melody. A blend of contrasting textures, the track seduces hips and thoughts with ease even if not quite matching up to the lofty heights of its predecessors.

The new single from To Bear Sir is next, a song which could not be a better teaser for project and album if it tried. The Begging Ends Here is superb, rhythmically shamanic whilst cinematically and indeed emotionally so dark that it throbs with drama. It’s predominantly minimalistic body is enriched by flames of guitar with Toomey’s earnest croon inciting greater intensity in the heart and raw rock ‘n’ roll of the song. People are rightfully drooling about the new ex-Reuben frontman Jamie Lenman’s new single Mississippi, a song actually in similar vein to The Begging Ends Here and just as stirring and thrilling is Toomey’s essential treat.

Strings again lay their suggestive hands on ears as the sorrowful, hope searching Too Late closes in next, its sentiment and sad grace raw potency. It is an essence intensified even more in Loves That One Thing, an emotional incitement of voice and piano trespassing on personal truth and fresh wounds.

The Walk has a low key country scented breath next, a flavour bring new hues to another increasingly alluring mourn and disquieting charm whose persuasive elements conjure 3 Years to similarly enjoyable heights with keys and voice once more an enticing union as darker hues cradle their engaging solemnity. Each of the two pulls ears and thoughts into their world before the bluesy dance of It’s Not Over Until I Say So makes its energetic play. It is a track which did not initially convince as fully as others within the album, though its bursts of scuzzy delta blues guitar quickly had the appetite licking its lips, but lingered maybe more than most to persistently tempt and subsequently seduce.

Hold Yourself Tight is closed by the rueful yet accepting and occasionally hopeful Dream, a captivation echoing the heart of the album in its brief absorbing minutes. There were certain expectations waiting for this album because of past triumphs and not one of them was fed. To Bear Sir is a whole new unique adventure from Russell Toomey, a bold and personal one which is really rather special and deserves your intrigue at the very least.

Hold Yourself Tight will be released the first week of May.