Indya – Harder Faster

Indya_RingMasterReview

Need something to put some spirit rousing energy and vitality into your day? Then we suggest checking out the new single from UK band Indya for a swift and highly agreeable shot. Harder Faster is a virulent stomp of rock ‘n’ roll with the anthemic prowess of Andrew W.K., the pop infectiousness of Gwen Stefani and No Doubt, and the inventive dexterity of Pryti; a rebel rousing, thigh slapping slice of devilment just as happy to add some flavoursome glam to its hard rock bred adventure too.

Indya is led by vocalist Natalie Indya West, a songwriter/musician who was in the arms of music from an early age through her Mother’s keen and eclectic taste for artists such as Free, Bad Company, David Bowie, Rainbow and many others. From school, Natalie went on to study music at the Performing Arts & Technology school in Croydon before going on to study at the Colin’s Performing Arts College in Essex. Having to fund a large part of her schooling herself, she eventually took up a job as a pole dancer in a Gentleman’s Club, an experience which saw her fall in with the wrong crowd and into a subsequent debilitating habit. It is a time though which gave a spark to her songwriting and the often raw lyrical themes explored within that cathartic release.

Indya art_RingMasterReviewPerforming as a singer and professional dancer over recent years, Natalie eventually pulled together the band which is Indya last year, recruiting the talents of guitarist Daniel Baune, bassist Raymond Tagnola, and drummer Tobias Miorin to help bring her life bred songs to life. Combining inspirations from the likes of Rainbow, Deep Purple, Bowie, Madonna, and Amy Winehouse into their hard rock seeded rock ‘n’ roll, the band is looking to make a potent impact on ears and attention in 2016, and if Harder Faster is a sign of things to come, it is hard to see them failing.

The song opens on a great blues meets glam rock groove, beats badgering its lure with their own feisty bait. Things soon settle into an infectious canter as Natalie’s vocals flirt with and dance on ears and the imagination. The virulence of its energy and rousing bounce alone has hips and appetite gripped, the dexterity of vocals and melodic enterprise only adding to the easy going yet heavily dynamic proposal. The song is pure rock ‘n’ roll, but equally prime pop with a touch of punk to it too and quite irresistible.

Providing the thrilling lead to Strip Me Down, their new EP, Harder Faster has all the temptation to bring the UK music scene to the point of no return with the name Indya on its lustful lips.

Harder Faster is out now.

http://www.indya-band-official.rocks/      https://www.facebook.com/Indyaukmusic   https://twitter.com/IndyaOfficial

Pete RingMaster 25/04/2016

Copyright RingMaster: MyFreeCopyright

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

Heel – The Parts We Save

Heel_RingMasterReview

Amongst many eagerly anticipated offerings this year has to be the debut album from UK alternative rock quartet Heel. Having impressed with their first EP and even more so with subsequent releases as well as a striking stage presence, Heel has been one of the bands enveloped by increasing acclaim over recent times. It has put some strong expectations of The Parts We Save upon them which the London band has appeased with ease. Maybe at times the album does not quite fulfil all the potential within it but for rousing, imagination sculpted rock/pop contagiousness, the album persistently hits the spot with adventure and charm.

Formed in the winter of 2011 from guitarist Daniel and vocalist Margarita’s songwriting sessions, Heel quickly began working on their first EP once its line-up was completed by bassist Fred and drummer Nick. Produced by Justin Hill (Sikth), their opening release quickly grabbed attention and praise. Its success was subsequently pushed further by its successor Stranger Just The Same in 2014, an encounter also recorded with Hill. With video/singles luring play on the likes of Scuzz TV and Kerrang, the band set about working on an album, flying out to Japan`s legendary Geimori studio in Sapporo to record The Parts We Save with Daniel and Margarita producing.

Mixed by Ben Grosse and Paul Pavao (Marilyn Manson, Disturbed, Depeche Mode, Ben Folds, Thirty Seconds to Mars, etc.) and mastered by Tom Baker (Beastie Boys, Deftones, David Bowie, B.B. King), the album swiftly shows the growth in the band’s magnetic sound and its maturity in songwriting as opener An Apology sets to work stirring up ears. The first single from the release when uncaged last December, the song immediately consumes the senses in a sonic lure from which a bass led swagger within sultry caresses of guitar bounds. Its catchiness is instant and only strengthened by Margarita’s alluring vocals. Carrying thick drama to its rhythmic design and exotically seductive grooves, the track also develops an infectious No Doubt like charm which lies agreeably upon Heel’s own web of melody and imagination fuelled tenacity.

'The Parts We Save' Cover Artwork_RingMasterReviewThe excellent opening to the album continues with Selfish Burn which again has that Gwen Stefani and co spicing to its feisty pop ‘n’ roll. Throaty funk infused bait from Fred’s bass provides a potent spine to the song, an agitated smoulder of sonic and melodic resourcefulness laying upon it whilst Margarita’s tones again add a lusty freshness with a tinge of mischief to the temptation. Though seemingly crafted from the same template as the first and next up Yellow & Bliss, each song reveals its own individual and forcibly enticing character. The third track, and the band’s brand new video/single, is a lively shuffle with skittish rhythms and an animated gallop of chords and hooks beneath a breeze of warm harmonies and psych rock tinged enterprise, and quite irresistible.

Nothing New strolls in next with a melodic smile on its face and a devilish bassline at its heart for another inviting slice of impassioned pop rock whilst Shatter is a tender flirtation initially, which brews up into a spirited canter of jangling guitar and animated vocals aligned to mesmeric harmonies. By its close, the gentleness of the song is a near on surge of energy and passion, and increasingly bewitching.

The mellow croon of Cool allows body and emotions to settle; well at first as soon it also raises its enthusiastic agility and creative zeal to lead feet and hips on a merry dance egged on by virulent rhythms. A vibrant and catchy mix of textures and energies, the song has pleasure flowing, running right into the path of the outstanding Keep Running Back To Me. A tapestry of dynamic rock ‘n’ roll as punkish as it is bluesy, as feverishly tenacious as it is rapaciously heavy; the track is like a mix of My Baby and Spinnerette with a touch of Throwing Muses to it and quickly ignites appetite and emotions.

The dark drama of Live This Forever takes over, the track also a heavier proposal with a punk/grunge breeding to its invention and a fiery attitude to its emotive heart. It prowls, almost stalks ears as it unveils its shadow rich theatre, again grabbing eager involvement in its proposal before Fake Love twists and turns with its pop punk infused 4 Non Blondes like rock ‘n’ roll to great success.

Finishing with the tantalising melodic breeze of Streets Full Of You, a final harmonic and emotive kiss on ears with its own line in imaginative shadows, The Parts We Save is an encounter with plenty of eagerly lingering moments. Some songs are a more instant and imposing arousal than others, but each only provides rich enjoyment and an appetite for more from a band still growing into its skin of originality but establishing itself as one of Britain’s brightest propositions.

The Parts We Save is released March 4th via iTunes and Amazon.

http://www.heelband.com/   https://www.facebook.com/Heellondon   https://twitter.com/heellondon

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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

Cléo – Pinball Machine

emmemm

A song which leaps through ears with all the energy and excitement of a carnival, Pinball Machine is one of those singles which simply gets under the skin. The new release from rock popper Cléo, the track with its tenacious punk like character and full on fun attitude is not necessarily a brand new adventure for the pop world but certainly makes for an enjoyable and captivating escapade.

Cléo is a Brazilian bred singer/songwriter/ actress/dancer who now resides in London. The list of inspirations on her creativity and music is long and includes the likes of Madonna, Cyndi Lauper, No Doubt, Pat Benatar, Britney Spears, Spice Girls, Green Day, Foo Fighters, and Linkin Park. These are flavours at times openly colouring her shapely sound but equally, and certainly with Pinball Machine, Cléo has her own rich vein of distinctive creativity lighting up her music too. 2013 saw the release of the extremely well-received Unlucky Girl EP, an encounter converting more fans, media, and pre-assuming critics to the visually and aurally vibrant presence of Cléo. Now Pinball Machine is poised to stir up ears and attention once again and such its charismatic and mischievous enterprise, it is hard to imagine it luring a new rush of interest.

Cléo is the initial temptation in the single, her raucous call the spark to short choppy riffs, jabbing beats, and a thickly provocative bassline. It is a potent coaxing with a great almost predatory nature to it, an edge leading ears and appetite into the swiftly looming frisky chorus where harmony soaked vocals and melodies bounce with energetic eagerness.

As it continues to flirt with its more shadowy side as well as magnetic festivity there is that constant, almost Gwen Stefani like, familiarity to the song yet tempering that, Pinball Machine offers subtle twists of attitude and latent aggression which turns the offering into something personal and invitingly individual to Cléo. Quite simply Pinball Machine is a persistently alluring proposition from a lady we can expect to hear much more of in the future.

Pinball Machine is available now @ https://itunes.apple.com/gb/album/pinball-machine-single/id959356901#

http://www.cleospage.com/

RingMaster 01/03/2015

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://reputationradio.yooco.org/

 

 

Chantal Claret – The One, The Only…

by Anna-Franziska Milanollo

by Anna-Franziska Milanollo

With big boned rhythmic seduction and even more tempting melodic suggestiveness, the debut album from Chantal Claret is one delicious romp of sixties pop and modern insatiable inventive hunger, a release which makes the term having a good time as a description seem rudely limiting. The former vocalist for the excellent Morningwood, Claret has crafted her own soulful and enchanting not forgetting vivacious sound, into a larger than life treat which brings femme-pop from five decades ago in a feisty and thrilling union with attitude drenched indie pop. Think Imelda May meets Brenda Lee with strong whispers of Wanda Jackson, Gwen Stefani, and at times essences of Brody Dalle’s Spinnerette, and you get the unique presence of Chantal Claret. The One, The Only… is an album which has feet and emotions pumping in time and passion with the forthright sounds it offers, a release which quite simply and persistently thrills with each and every enthralling note.

    The One, The Only… is something very different from anything Morningwood unveiled though there is still a visible thread The One, The Only. . . Chantal Claret by Nick Walker Photography 2between the two due to the stand alone vocals of Claret who arguably upon her first full length solo release has found an even richer and expansive depth to her tone and delivery. Following up the acclaimed Pleasure Seekers EP whose four tracks also grace this album, the new release dances with the passions and ear to send a rapture marauding through the body like a tide of raucous melodic energy which ebbs and flows yet never leaves anything less than captivated seduction roaming its presence.

The opening intro introduces the artist like you would have found at an authentic live performance or TV show of the sixties, or so my Dad told me… an audience excited and drooling as the artist takes her spot in their eager spotlight. It leads right into the muscular rhythms and initial crafty tease of Bite Your Tongue, a song which sways with devilment whilst coaxing the passions into its instantly infectious embrace. The rhythms continue to dominate from the drums and bass, even in its quietest lure, whilst the keys add smokey whispers to stand side by side with the blaze of horns. It is a terrific start with a female snarl and wile to its magnetic temptation.

The thrilling start continues with Pleasure Seekers, a track which has the fire of the band of the same name in the sixties and the gentle pop artfulness of Nancy Sinatra, through the contagious Pop Pop Bang Bang and on to This Time. The second of the trio is one of the highest pinnacles, its arrival on a nursery rhyme like coaxing opening moving into a riveting stroll of woman scorned devilry with accompanying violent intent. Not the most involved song in its construction but certainly the most dramatically mesmeric and energetic, the track enlists the listener into its revengeful mischief with enigmatic craft and arcane breath. The third of the trio leads the senses into a wealth of bulging rhythms and enchanted melodies coated in a sinister design which sparks an ardour as potent as the sacrificial seduction of a siren, both inescapable and unrelenting.

Arguably there is a constant surface shine and glow to the songs which shades the variety at work initially but with songs like the Crystals/Yeah Yeah Yeahs prompting No Love Lost and the Aretha Franklin/Gwen Stefani call to arms of Real Girls and their curves and swerves, any similarity in the coating is soon dispelled with their individual voices, the latter of these two a hip hop/pop fusion which makes it impossible not to hungrily enlist in its cause.

Further flames of pleasure come with the fifties gaited Black Widow, a song which is as tricky as it is insatiable, its aural tongue licking its lips as it seizes the heart with the appetite of its subject. The Mari Wilson sounding Honey Honey stands alongside the song as another real high point its sixties energetic kiss from keys and passionate vocals leaving thoughts and emotions into unbridled mischief before handing over to the excellent Song For The Sinners, the best song on the album. It stomps with guileful invitation and addictive charisma whilst the licking flames of the again irresistible horns incite further temptation into its cute yet dangerous heart.

The One, The Only… is an outstanding album which guarantees nothing but full and breath-taking pleasure, and who could want to share those moments with anyone other than the temptress Chantal Claret.

http://chantalclaret.com/

9/10

RingMaster 03/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com