The Orielles – Jobin EP

orielles_RingMasterReview

Following an especially successful 2015, British surf pop trio, The Orielles, are ready to bring the same romancing of ears and imagination to this year with the seriously tantalising Jobin EP. Consisting of three slices of the band’s increasingly acclaimed blend of sultry melodies, bewitching harmonies, and feverish flavours bound in lo-fi beauty, the EP beguiles and inflames the senses whilst hinting that 2016 can be just as big if not greater in the band’s emerging history as its predecessor.

The Orielles began early 2013, the result of a house party and the creative uniting of sisters Esme and Sid Hand-Halford and friend Henry Wade. It was not to be an immediate launch into active duty as the girls only began learning their instruments from that point but with inspirations coming from riot grrrl and California surf bands, the Halifax trio were soon working on songs and honing their creative exploration. Since then, well-received tracks and releases has reinforced their rising reputation as a live proposition with 2015 especially potent as The Orielles drew big doses of acclaim at festivals such as Dot To Dot, Live At Leeds, and Liverpool Sound City as well as their individual shows.

orielles art_RingMasterReviewWith a UK tour in motion and a host of other events lined up, the band is set to be as busy as ever with the strong potential of greater success and praise heading their way just taking Jobin as a cue. It opens with its title track grabbing ears with an instant bait of crisp beats from Sid and the siren-esque lure of Henry’s seductive grooves. Their winding tendrils continue to entice and vein the rhythmic potency of the song, Esme’s bassline as captivating and alluring as her magnetic vocals and the surrounding celestial harmonies. The melodic character of the song has a House Of Love hue to its tempting with a psych rock flavouring only adding to the overall richness and raw yet elegant climate of the spellbinding track.

Twin Freaks is equally as compelling as it settles into a sweltering landscape with thick shadows to its evocative tone and inventive depth. Led by the almost flirtatious stroll of bass, there is an immediate infectiousness which is keenly shared by the vines of surf rock enterprise cast by Henry and the siren-esque quality of the vocals; both resonating in ears and memory as potently as the virulent charm and touch of the song.

The EP closing Sliders is the most feisty and energetic of the three tracks with tenacious beats and a vivacious energy stoking its melodic fire and anthemic gait. There is a punk rock scent to its revelry too, a touch of eighties band the Mo-dettes joining hues reminding of bands like The Raveonettes and Throwing Muses though being organically cultured in surf rock, the song emerges as something openly distinct to The Orielles.

Robed in discord tinged melodies, equipped with vociferous guitar, and basking in soaring harmonies, Jobin is a release which truly lingers in the memory. It is the persistent bringer of great pleasure and a strong nudge to pay close attention to the continuing and enthralling emergence of The Orielles.

The Jobin EP is released April 1st via DIY label Art is Hard. It will be available @ http://artishardrecords.bandcamp.com/album/jobin-ep as a 7″ flexi-disc featuring lead track Jobin, a 20 page colouring book zine illustrated by Alex Gamsu Jenkins and a download code for the full 3 track EP.

https://www.facebook.com/theorielles   https://soundcloud.com/theorielles

The Orielles – Upcoming UK dates:

APRIL

2nd READING Oakford Social Club

3rd BRISTOL Lousiana

9th LONDON Flying Vinyl Festival

MAY

1st LIVERPOOL Festevol

AUGUST

5th TUNBRIDGE WELLS Forgotten Fields Festival

Pete RingMaster 31/01/2016

Copyright RingMaster: MyFreeCopyright

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deardarkhead – Strange Weather

DDH_RingMasterReview

Rousingly fascinating is probably the best way to describe Strange Weather, the new EP from New Jersey trio deardarkhead, that and gloriously suggestive. Across six tracks as cinematic as they are emotionally intimate upon the imagination, band and release immerses the listener in its and their own sculpted exploits. The release is an anthem to the conjuring of bold imaginative adventures and a tapestry of creative virulence for ears to bask in.

The beginnings of deardarkhead go way back to 1988 since when the band has released five recordings on their own Fertile Crescent Records label with a retrospective of their early work additionally released in 2012 by Captured Tracks. Their distinctive fusion of post punk, indie rock, shoe gaze, and dream pop has been greedily devoured by an increasing many whilst their live presence has seen the band play with the likes of Supergrass, The Psychedelic Furs, Everclear and The Lilys amongst numerous other. Despite numerous compilation appearances, and that 2011 retrospective  Oceanside: 1991-1993 since last album Unlock the Valves of Feeling was released in 1998, you might say that deardarkhead have been a ‘forgotten’ treat by many; if so that is set to inescapably change with the release of Strange Weather.

Always luring inquiring interest with each release, the band has probably ignited the strongest intrigue with the new EP as it is their first without long time singer/bassist Michael Amper who left the band in 2009. His departure only seemed to ignite a hunger to explore their instrumental side as remaining members, guitarist Kevin Harrington and drummer Robert Weiss proceeded to move in that direction and perform instrumental shows after linking up with bassist Kevin McCauley the following year. The suggestion is that the band is looking for the right vocalist to bring in but on the evidence of Strange Weather, and its empowering potency, you wonder if it will be any loss not finding the right man.

art_RingMasterReviewFrom its first track Strange Weather has ears and emotions enthralled, the imagination just as swiftly ignited as Falling Upward emerges from chilling winds within a dank atmosphere. It is pulled from the wasteland by a nagging guitar, its sonic lure soon colluding with the resonating bait of the bass and crispy textured beats. With them comes a tenacious catchy resourcefulness which infectiously lines the post punk hook and bass groove which subsequently entwine and enslave ears. All the tracks to the EP spark ideas and mental imagery, ones sure to differ person to person, but a cold war like landscape is ours adventure for the opener no doubt helped by having recently watched Deutschland 83. There feels a cinematic kinship between the band’s sound and those visuals with every leap into the sonic tapestry of the song pushing the story along.

With a touch of Leitmotiv to it, the track is a riveting start, leaving ears and pleasure lively and ready to embrace the warmer jangle of Sunshine Through The Rain which follows. There is a calmer air altogether to the song, a melodic radiance which wears the scent of eighties indie pop yet contrasts it with a steely proposal from bass and hypnotic beats. Again captivation is a given to its My Bloody Valentine aired persuasion though it is soon outshone by the thrills and dramas of both Juxta Mare and March Hares. The first of the pair unveils a sultry atmosphere around a delicious melodic hook and bassline which would not feel out of play of a sixties/seventies TV spy thriller. Its lean but thick lure is the spring for an evocative weave of sonic enterprise and suggestive melodies, all courted by the dark shadows of bass and the persistently jabbing swings of Weiss.

As outstanding as it is, it too gets eclipsed by its successor, March Hares stealing the whole show. From the pulsating rhythms of Weiss to the snarling tone of McCauley’s bass, the track has ears and an already lustful appetite enslaved. Their irresistible bait is then entangled in bewitching tendrils of sonic imagination from Harrington; the song subsequently swinging along in the web of their united craft and invention to entice body and spirit further. In full stride, the track has a great feel of The Monochrome Set to it, indeed Harrington’s stringed adventure carries a touch of the English band’s guitarist Lester Square to it as a House of Love shimmer and Birdland like rowdiness add to the slavery.

Ice Age immerses the listener into chillier post punk climes next; its nippy atmosphere and almost bleak ambience tempered by the sonic elegance seeping from the guitar within the anthemic tenacity of the drums. Again it is fair to say that the song lures physical and emotional involvement with ease before Thinking Back explores a maze of reflective melodies and evocative grooves within another addictive rhythmic frame. There is an essence of Echo & The Bunnymen and Bauhaus to the track as post punk and gothic lit shadows and depths spread through sound and thoughts.

The track is an imposingly mesmeric end to a spellbinding release. Strange Weather will have you breathless, excited, reflective, and going on a myriad of imagination bred adventures with its suggestive incitement. We are no experts on deardarkhead and their releases to date but the EP has to be up there as possibly their greatest moment yet.

The Strange Weather EP is released March 25th via Saint Marie Records on Ltd Edition vinyl (100 Black / 150 White with Red Blue and Black splatter) and as a download @ http://saintmarierecords.limitedrun.com/products/567260-deardarkhead-strange-weather and http://saintmarierecords.bandcamp.com/album/strange-weather

http://www.deardarkhead.com/   https://www.facebook.com/darkheads   http://twitter.com/deardarkhead

Pete RingMaster 23/03/2016

Copyright RingMaster: MyFreeCopyright

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

Tibican – Love’s Lost Art EP

cover_RingMaster Review

There is a fire burning at the heart of the Tibican sound, a raw energy and creative intensity which whilst apparent in previous releases has been turned up within the band’s latest EP Love’s Lost Art. Though the new release is our introduction to the London based quartet, hindsighted investigation shows that Tibican has been casting a captivating proposal from their fusion of alternative rock and shoegaze with Brit pop properties for a while but as suggested it has found a new fiery plateau within their latest proposition.

Consisting of guitarist/vocalist Domenico Scialo, guitarist Peter Saunby, bassist Cathal Wharton, and drummer/vocalist Marc Saunders, Tibican has certainly sparked attention and support with a clutch of EPs, including in 2014, Things Come Apart and It Runs Deep. Their sounds have been played across radio stations in the UK, US, and Europe, a success easy to expect continuing as Love’s Lost Art tempts more and more ears.

The new EP opens with Things We Know and a rhythmic invitation hard to refuse. That firm bait is soon joined by lingering throbs of bass before twin vocals and wandering melodies offer their potent persuasions to the enticement too. Immediately inspirations of bands like My Bloody Valentine and House Of Love make a suggestion in thoughts though they are soon evolving as fierce flames of guitar erupt as the track continues to grow and blossom into a heated slice of reserved but dramatic rock ‘n’ roll. Equally bluesy in tone as Scialo and Saunby show their guitar craft, the track makes for a rich and engaging start.

Slightly mellower in intensity, the following Torch Song similarly engages ears in mere moments as floating harmonies and sonic suggestiveness sparks the imagination as potently as the emerging caustic jangle of guitar sears the air. Like warm yet volatile sonic sunshine unafraid to embrace harsher shadows, the song becomes an increasing seduction which just grows in stature and persuasion with every listen.

Difference Clouds steps up next, quickly revealing a Brit pop/indie rock swagger which hints at the likes of Inspiral Carpets and Birdland as it twists and turns with again fiery temperament and creative volatility within another vocal seducing. As the track proves on its own, Tibican have a sound which inventively merges varied flavours to create maybe something not yet wholly unique but certainly personal to their own imagination.

Closing with the smouldering beauty of Am I Wasting Your Time, arguably the least original song on the EP but without doubt a seriously compelling proposal easy to devour and often, Love’s Lost Art is a lingering temptation which easily lures attention back time and time again. In some ways Tibican are still working towards their own sound and such the enjoyment found in Love’s Lost Art that only suggests good things lay in wait for them and us.

The Love’s Lost Art EP is available now @ https://tibican.bandcamp.com/album/loves-lost-art-ep

https://www.facebook.com/tibican/   https://twitter.com/Tibican_UK

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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Harlots – Chinese Carpet Factory

harlots_RingMaster Review

Creating infectious alternative rock ‘n’ roll with a healthy power pop tenacity and rigour to it, UK quartet Harlots release their debut album to end the year with a potent nudge on national recognition. Eleven tracks of virulent pop rock, Chinese Carpet Factory is a boisterous romp littered with flowing melodies, persuasive harmonies, and hooks with an instinctive vice like grip. Add bold rhythms alongside rousing choruses and Harlots have provided one rather enjoyable proposition.

The London based foursome recorded Chinese Carpet Factory with producer Rory Attwell (Palma Violets/Vaccines) on a boat on the bands of the Thames, and straight away it laps ears with feisty persuasion through opener Wicked Tongue. Building from a scene setting sample, the song is soon sauntering along with lively rhythms and just as eager vocals as guitars crash and scythe with spicy enterprise. The bass too is a pulsating slice of bait, it all uniting with accomplished and catchy effect. The song pretty much sets the tone of the album; the individual characters of songs all bred from this kind of rousing combination or certainly carrying a rich vein of it through their varied bodies.

Gotta Get By is quick evidence, the second track swinging in with its own hue of infectious zeal and inventive vibrancy. Part shoegaze, part power pop, and all flavoursome temptation, it bounces along whipping up eager involvement in feet and hips, and even though the song is a slither at less than two minutes in length, it shows that Harlots can be as effective on the dance-floor as in more intimate unions with listeners.

If The Ramones were The Beach Boys, House of Love became Birdland; they just might sound like Harlots on the seductive Seen A Girl whilst the outstanding Every Little Thing merges that with a further touch of indie/Brit pop imagination. The track is an addiction in the making, from vocals to melodies, rhythms to riveting hooks, revelry of pop ‘n’ roll to get greedy over.

Through Work Work Work and Up Away, the album reveals even more variety, the first a web of virulence seeded in sixties Beatles whilst its successor is an alluring croon of acoustic guitar and reflective voice with a chorus as enslaving as any within the bolder, bigger boned offerings within Chinese Carpet Factory. Both songs leave ears smiling and pleasure high before Rush jumps in, off the back of the album’s twenty two second title track, to cast a My Bloody Valentine/Verve like incitement which just seems to get more persuasive with every listen.

There are some tracks within Chinese Carpet Factory which really leap out, Every Little Thing and Gotta Get By a couple and next up You Got Me soon there by their side. Laying a jangle of guitar as its first touch, rolling out anthemic rhythms almost as swiftly, the track bounds around and bounces off ears with voracious revelry, its sixties/eighties pop breath entwined with modern indie ingenuity quite irresistible.

The album finishes with firstly the rawer aired and just as gripping drama of The Colour & The Noise, shoegaze, pop, and noise rock blurring their boundaries in another big highlight, and finally Days Are Done. The Beatle-esque balladry of the final song ensures the album comes to an engaging end, its embrace not as pungent as elsewhere within Chinese Carpet Factory but still a potent end to a fine release.

Chinese Carpet Factory is a great introduction to Harlots, a release easy to spend plenty of time with for perpetual enjoyment. This is a band still growing and evolving their sound you sense too, so real potential of big times ahead we suggest.

Chinese Carpet Factory is out on NOV 28th.

http://www.theharlotsmusic.com   https://www.facebook.com/theharlotsmusic

Pete RingMaster 27/11/2015

Copyright RingMaster: MyFreeCopyright

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Static Daydream – Self Titled

SD cover_RingMaster Review

Ever had that dream where you are submerged in a thick and ravenous atmosphere haunted by the darkest predatory and invasive shadows, a little like the climate in the Silent Hill games? Listening to the new album from Static Daydream is like being immersed in that except everything about it from its raw breath and melodic discord is seriously invigorating and welcome. Carrying tracks bred in the bracing winds of noise and psych rock and equally cultured in shoegaze and dream pop beauty, the debut album from the US duo of Paul Baker (founding member of Skywave and Ceremony) and girlfriend/musical partner Jamie Casey is a tempest of sound and emotion to simply bask in.

Taking inspirations from 60’s girl groups alongside 80’s and 90’s British noise-pop, the pair began recording The Only One EP, their first release, in 2012. Earning strong critical acclaim upon release in 2014 on Moon Sounds Records, it was a swiftly devoured proposition instantly laying down the seeds of major anticipation for the band’s debut full-length. Released through Saint Marie Records and Moon Sounds Records, that encounter is here, eleven tracks igniting ears from the very start with reverb infested melancholic sound matched in potency by vocal and lyrical prowess within senses disorientating, discord fuelled roars. Within that ‘storm’ too ravishing melodic beauty and creative elegance shines. It is a fusion which has a sense of familiarity yet defies any real pinning down as to why, despite any references to others which may be suggested, for a unique and virulently contagious offering which just grows and strengthens in persuasion with very single listen.

The album opens with the immediately rousing More Than Today, a song which starts with a raw flame of guitar hinting at the raw punk hues of Birdland before blossoming a warm and caustic breeze of noisy but mellow pop with shades of House Of love. The dual vocals of Baker and Casey just entwine perfectly within the fuzzy climate of keys and the continuing sonically punk guitars. It is a stirring start matched by the slightly harsher air of Nowhere To Hide, a song fusing My Bloody Valentine like charm with the coarser haunting sonic ambience of Ceremony. The song gets darker and more energetically rabid with every passing minute, its already tenaciously fiery body just bristling with intensity and turbulence by its exciting close.

Run Into The Night grumbles with rhythms and riffs as it harmonically serenades next, its touch a fierce simmer on the senses and urgent spark for the imagination. Continuing to show a new aspect to the character of the album and Static Daydream’s sound, the song becomes a fire of noise and persuasion though it is quickly over shadowed by the outstanding Blue Tambourine Girl. Ears and emotions were enslaved almost instantly as a glorious Simon Gallup/Cure like bassline colludes with just as magnetic hooks and melodies to set things in motion, resonance wrapped vocals and firmly delivered beats only adding to the again seemingly recognisable but distinct theatre. That bass seducing continues to grip attention and ardour yet never takes away from the other just as masterful and spellbinding sounds aligning with it. The track is aural slavery and the pinnacle of the album, though there are many subsequent close-runs coming to snatch its title.

Just Stay is one such rival, its rhythmic and melody honed shuffle Jam like whilst as a mesmeric shimmer of reverb fascination and splintered but captivating dark rock grooves evolve alongside. The track is brimming with compelling hues which just hang around to light up an irresistible incitement on ears and rich pleasure, even when it brews up its own individual bluster of noise and dark romantic energy.

There is a similar canvas to the following Until You’re Mine, though its landscape is far busier and comes rapaciously inflamed as harmonies and melodies smoulder in the face of a wall of reverberation and scuzz spewing resonance. Throughout the album, Static Daydream weave in enticing essences of post punk, but this is the first song alone which virtually wears the flavour as it continually slips through a soundscape of fresh scenery and emotive atmospheres for another major highlight to the release.

The pair of Another Rainy Night Without You and When I Turn Around You’re Gone keeps ears and appetite aroused, the first with its dirty Jesus and Mary Chain pungency over glowing psych rock melodies and ethereally coloured vocals. Its successor flirts with more seemingly Cure inspired hooks and revelry, smothering them in dramatic sonic clouds veined by acidic grooves and deeply biting hooks, and a bassline which again has nostalgia and salacious seduction in its armoury.

One thrilling and inspiring trespass is followed by another and the eighties spiced The Only One. At times it is a fiercer provocative than its predecessor but in other moments a gentler heatwave of sound, the extremes fluidly united and continually matching inescapable sirens on ears It is a success only continuing with the gloriously aching noise haze of When She Falls and indeed last song I’ve Destroyed Everything. The album’s closer is sweltering smog of sound and emotive intensity with again post punk flavours woven into an alluring cacophony of discordance and sonic spicery breeding impassioned vocals and bristly melodies.

The final triumph helps suggest that Static Daydream’s album is arguably stronger in its second half than first but the difference in invention and certainly enjoyment is marginal at any time. The feeling coming out of the band’s label Saint Marie Records, is that they are rather excited about this release and fair to say they have plenty of reasons to be. If the thought of fuzzy, indeed seductively scuzzy sounds with vibrant imagination excites, then Static Daydream, band and album, is one offering you need to be checking out.

Static Daydream is available from August 28th on Vinyl, CD, and digitally via Saint Marie Records and Moon Sounds Records.

Pete RingMaster 28/08/2015

Copyright RingMaster: MyFreeCopyright

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Presents For Sally – Wishawaytoday

presents-for-sally-wishawaytoday-artwork-_RingMaster Review

Whatever the weather outside it is hard not to feel just a touch summery whilst embraced in Wishawaytoday, the new single from UK indie band Presents For Sally. The song is a lively hug of nineties indie pop and warm shoegaze ambience, united in an energetic and dynamic stroll which simultaneously provides a flirtatious romance for ears and imagination.

The two track release is the teaser for the trio’s forthcoming new album Colours & Changes, both via Saint Marie Records. Presents For Sally have been no strangers to acclaim and attention since forming in the late nineties, a host of singles and debut album A Touch of Joy, A Touch Of Sadness luring in fans and media alike. Sound wise Matt, Anna, and Phil have created a kaleidoscope like feel to their music, every twist of a song rearranging similar essences into new captivating designs and as you may rightly assume, Wishawaytoday and its companion Hits Like Kisses are no different.

Wishawaytoday swiftly saunters along with melodic and sonic flames tempered by a lovely dark and brooding bass tone. Once the vocals join the persuasion, things mellow a touch whilst still retaining and exploring a compelling fusion of light and dark. The heart and flow of the song is feisty though, the track, as it simmers boldly and smoulders tenaciously with melodic heat, a commandingly catchy incitement melding together whispers of bands like House of Love, My Bloody Valentine, and We Ghosts.

It alone wakes up an intrigued and keen anticipation of the upcoming full-length which the following Hits Like Kisses reinforces with its own individual theatre of sound. It opens with a lullaby like caress of melodies and harmonies which together create a celestial hug rich in radiance and emotive reflection. Around it though, a tempestuous air slowly brews; its own body intensifying with every passing second before erupting in a seemingly volatile but mercilessly enthralling wind of thick enticement, ridden by the still mesmeric and harmonious vocals and driven by crackling rhythms and fuzzy energy.

The first song is the eye candy and the second the drama of the single, and together the two mouth-watering encounters weave an inescapable tempting for Presents For Sally’s next rich endeavour.

Wishawaytoday is available now via Saint Marie Records digitally and as a 7” single @ http://www.saintmarierecords.com/products/551226-presents-for-sally-wishawaytoday and https://presentsforsally.bandcamp.com/

https://www.facebook.com/presentsforsally

RingMaster 17/07/2015

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

 

Maff – Self Titled EP

banda_piso_RingMaster Review

It is not too hard to guess some of the bigger influences upon Chilean band Maff whilst listening to their self-titled debut EP, the likes of The Jesus and Mary Chain, The Pixies, Sonic Youth, and My Bloody Valentine amongst them, yet fair to say the Santiago quartet weaves it all into songs which reveal their own distinct characters. Bred from an evolving fusion of shoegaze, alternative rock, noise pop, and indie to try and pin down the mix, sound and songs are a striking and tenacious shimmer on the senses which it easy to find yourself getting a touch greedy over. The release is a captivating introduction to a band with all the potential and imagination to evoke a worldwide appetite if not now surely ahead.

Maff began in 2012, formed by Richi Gómez (vocals/bass/guitar) and Nicolás Colombres (drums), two childhood friends who had previously played together in various punk rock bands. The line-up expanded with the addition of Nicolás’ brother Martín (guitar) in 2014 and was completed earlier this year by Talo Correa (guitar/bass /vocals/synth). Creating, recording, and producing their EP in their own studio, Maff has already sparked potent reactions to their music, dreampop duo Ummagma already amongst those enamoured, recognition which should now ignite through the EP’s release. Exploring themes such as innocence, mysticism, true love, loss, drugs, freedom, and timelessness within its songs, the Maff EP is a sultry romance for ears but one unafraid to ignite an unpredictable blaze or two in sound and energy.

The EP opens with Act 1, a spatially atmospheric instrumental evolved from post punk and eighties alternative rock which swiftly brings the imagination to the boil with its evocative soundscape which is best described as Joy Division meets My Bloody Valentine. It is a dramatic and rousing start to the release, an incitement of dark rhythms and sonic exploration wrapped in vibrant freshness and familiarity.

Maff - Maff Cover Art_RingMaster Review     Its potent persuasion is followed by the just as invigorating Linger Around, a hearty stroll of riffs and beats which relaxes a touch but simultaneously increases its fiery atmosphere and dark shadows as the mellow effect lined vocals of Gómez step forward. That influence of The Jesus and Mary Chain is a spicy ingredient to the gripping incitement swiftly seducing ears, adding thick hues to a provocatively crafted blend of almost prowling dark tones and emotions aligned with melancholic beauty and shimmering resonance.

Walking On Fire slips in next on a slim and radiant melody, the simple coaxing soaked in childlike innocence and radiance. It is soon courted by pulsating beats and a darker celestial climate though as the song’s entrance increasingly captivates, the atmosphere and scenery becoming more inflamed and hazy respectively. Vocal harmonies are as much about texture as narrative here, more so in many ways as the song’s chorus revolves around bewitching singular repetition with the end result as all unite together, a magnetic piece of composing and enterprise which inspires body and mind from start to finish.

     A more indie toning comes with Million Year Picnic, the guitars exploring a richer creative clang against another enthralling lure of post punk seeded bass and crisp jabs of beats. Vocally and melodically the song still immerses in shoegaze imagination but its canvas has stronger clarity from clearer air for the craft and individual incitements of the band to weave their combined tapestries of temptation. The House of Love essence to the song just adds to its lure and sets up of ears nicely for the ethereal charm of Someday. Featuring guest vocals from Francisca Morandé alongside Gómez, the supernal seduction of the song’s warm balladry simply drifts over the senses, immersing ears in an electronically sizzling Lush like embrace.

A fuzzy courting of the senses with a deeply rooted growl comes next in the shape of You, its shapely and slightly scuzzy rock ‘n’ roll rumble toying with aggression and causticity whilst casting a sultry anthemic enticing. Its dirtier air is the perfect taster for the outstanding Planet Wave, an inventive maelstrom of garage and surf rock embroiled in a just as thrilling alignment of space and psychedelic revelry. It is the most exciting and exhilarating offering on the EP, standing out amidst a collection of tracks which are certainly not lacking in those resourceful traits either.

The release is finished off by the rhythmically forceful and sonically bracing Blue Seas. As all around it, varied strains of flavours combine to create an inviting web, though primarily the encounter is more indie rock with potent hues of rock, grunge, and electronic rock. Even if not whipping up the passions as much as other tracks, it is a highly satisfying ‘end’ to the EP, though the actual final track is a radio edit of Walking On Fire.

For a debut Maff makes a striking statement and as they and their sound evolve, it is probably safe to assume more and greater offerings and enjoyment are ahead.

The Maff EP is available now via http://maffmusica.bandcamp.com/album/maff-2

http://www.maffmusica.com/   https://www.facebook.com/maffmusica

RingMaster 07/07/2015

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