Surf City – Jekyll Island

surfcity2015_web

There are times when it is easy to get lost in a realm of fantasy, moments in life and indeed music when physically and mentally you can escape the hum drum and explore new landscapes. One such escape is the sultry adventure of Jekyll Island, the new and third album from New Zealand psychgazers Surf City. Basking in a sultry surf rock seeded climate wrapped in the summery smile of shoegaze and the sonic beauty of psyche rock, the release is a mesmeric lure for ears and imagination.

The successor to their acclaimed album We Knew It Was Not Going To Be Like This of 2013, Jekyll Island is a fascinating flight of sound and emotion. Songs again come soaked in the warm magnetic fuzziness which the band is becoming renowned for but equally feel more precisely sculpted and resourcefully rounded propositions. It is open growth and evolution in the Surf City songwriting but an emerging potency which defuses none of the band’s already rich and tantalising qualities; basically a maturity of existing prowess exploring fresh and vivaciously new adventure. Simply songs and album offer pure pop presented in summery embraces of charm and beauty.

The album is also an imposing grower on ears and passions, its early touches engaging and magnetic but continual exposure leads to anything from lustful rapture to lingering seduction. The first track though is an immediate enslavement of ears and emotions on its first ever touch. From its opening exotic web of percussive and sonic enticement, Beat The Summer Heat has imagination and appetite hooked; especially as from that opening shuffle a rhythmic contagion unleashes irresistible bait. Jabbing with their own individual swing, beats forge an addictive lure at the heart of the track, taking ears and pleasure by the hand as guitars swarm over their enticement with vivid colours and a lively shimmer. Vocally too Davin Stoddard is a beacon of warmth and magnetism, riding the contagion with radiance. The track is glorious, almost alone worth the cost of your ticket for the album’s compelling ride.

Surf City - Jekyll Island   There is no major drift in quality and temptation as the following Spec City takes over, it a song with a bubbling electro underbelly and a radiating surface of melodic and harmonic splendour. The song is a courtship of the senses, a My Bloody Valentine like caress making an unrelenting seduction as a Yo La Tengo like vibrancy brings livelier action to the romance. It is a tempting swiftly backed and taken into new explorations by Jekyll Island and the Psycosphere and in turn Hollow Veins. The first of the two is a fascinating mix of eighties new wave bred pop and nineties inspired psychedelic enterprise, but also littered with post punk hooks and a Happy Monday’s like devilry. The song is pure mesmerism and perfectly contrasted and complimented in tone by the darker rockier revelry of its successor. It romps through ears like a meeting of The Horrors and House Of Love engaged in a vintage surf rock revival, its touch and breath raw yet overwhelmingly seductive.

The guitars of Stoddard and Jamie Kennedy weave an infectious web of fuzz induced rock pop next in One Too Many Things, its twang offering a country whisper whilst its catchy tenacity has a Brit pop lilt to its tempting, whilst its successor What They Need expands the already potent variety within the album again. It opens with a droning tang of a sound you might expect from the band’s part of the world, a scuzz lined whiny lure which persists invitingly around the additional minimalistic yet weighty hug of sound filling its persuasion.

That constant tweaking of flavours has Leave Your Worries unveiling an anthemic infectiousness which plays like a the offspring of a union between The Mighty Lemon Drop, The Lightning Seeds, and Kitchens of Distinction, but as in all songs it emerges as unique to Surf City.

The delicious heavy bass seducing and just as enticing beats offered by Mike Ellis and Andy Frost at its start makes Indian Summer straight after, irresistible all on their own but infused with the melodic lustre of the guitars and the resonating touch of Stoddard’s vocals, it only proceeds to steal attention and the passions further. It is a charmer from start to finish, one carrying the right amount of mischief and excitement but an incitement which ultimately places the listener in a fulfilling and richly satisfying calm. That is a description suiting the whole of Jekyll Island to be honest, and especially the gorgeous pop of Thumbs Up which romps with ears and emotions next. Whether it is possible to ever write the perfect song is debateable but it is possible to come close and this is certainly a serious contender. Melodies reek of innocence yet are inflammatory on the ear whilst harmonies and rhythms simply engage in lustful and infection breeding temptation.

The album is brought to a just as thrilling end by firstly the more sober, in comparison to its predecessor, but raucously energetic dance of The End and lastly through the meditative glamour and brilliance of Jesus Elvis Coca Cola. Sixties kissed and soaked in aural sunshine, the track is a majestic sea of expressive harmonies and poetic melodies soaked in a wash of psychedelic humidity.

It is a transfixing end to an increasingly mouth-watering encounter. There is a great familiarity to Jekyll Island but only as a rich spice in the unique ambience and masterful imagination of Surf City. Psyche/shoegaze pop has rarely sounded better.

Jekyll Island is available via Fire Records now and digitally, on CD, and on black vinyl @ https://surfcitymusic.bandcamp.com/track/hollow-veins

https://www.facebook.com/killsurfcity

RingMaster 25/03/2015

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/

 

Desert Ships – Skyliner

Desert Ships press image 2014

Four mesmeric flights flooded with celestial hauntings and shoegaze fascination, the Skyliner EP from UK band Desert Ships is as both band and release names suggest, an expansive and sultrily aired adventure. A release which is cinematic in its touch on the imagination and warmly sensuous in its lure on the senses, Skyliner shimmers and radiates like a mix of The Horrors, House Of Love, and Brian Jonestown Massacre with just a tinge of Inspiral Carpets for spicy measure. To be honest that is still a loose description of the psychedelic fuelled exploration found within the release but a good starting point for something distinct to Desert Ships.

Formed in 2012, the London trio of Mikey (vocals/guitar), Daniel (bass/vocals), and Claude (drums/vocals) swiftly sparked attention and acclaim with the release of their debut album that same year. The Mark Gardener (ex- Ride) produced Doll Skin Flag soon drew regular comparisons to the likes of Brian Jonestown Massacre, The Flaming Lips, Tame Impala, and occasionally the film scores of John Barry. Its success was backed by the band’s equally praised live presence which saw them tour with bands such as The Prodigy, Band of Skulls, The Rifles, and Babyshambles as well as play numerous festivals over the past couple of years. Reuniting with Gardener again in the studio, Desert Ships now unveil their new EP, a release taking its predecessor as a launch pad for broader and more expressive aurally visual experiences.

The release opens with its epic title track, a seven minute plus excursion into magnetic harmonies, sonic exploration, and fuzzy show gaze seducing. From its first breath there is a fresh and smouldering temptation at work, guitar coaxing Desert Ships-Skyliner-artwork -Final-HRthe lead into a weave of vocal harmonies and expression from across the band. That in turn is cradled by a tapestry of keys bred elegance and enterprise. The song emerges as a gentle maelstrom of gripping ideation and aural fascination, the vocals as varied and riveting as the spatial grooves and rhythmic shuffle courting their narrative whilst every immersive note is an exotic kiss upon the senses. Like soaring through a refreshingly muggy landscape, the track is enthralling leaving body and emotions submerged in blissful exploration.

The slightly slimmer length of Shell Shock is no less eventful next, embracing ears with a synth pop spiced temptation straight away. Laying down an eighties flavoured yet modern canvas of melodic hues, bands like China Crisis, Modern English, and The Flaming Lips coming to mind, the track croons with cosmic lustre and psychedelic colour. Again the imagination is sparked by and emotions immersed in an ethereal tapestry of sound and voice, the song the perfect pop proposition. It is a description which almost applies to the following Heart Beats and it’s more grounded but no less transfixing splendour too, though the magnetic offering does not quite have the infectious glow and compelling grandeur of its predecessor. All the same the feistier track is a masterfully and enticingly grooved invitation which is hard to resist as it reveals further shades and turns in the band’s creativity.

Skyliner is concluded by another epic holding of ears with its longest and relentlessly suggestive track, Ausgang. Somewhere between cheerfully funereal and livelily meditative, the persistent breeze of sonic and melodic enticing is a vibrantly repetitive affair which probably outstays its welcome but still provides an instrumental soundscape to create imaginative tales within. Though the EP is not one of two halves, like the previous track the closer lacks something of the first pair of songs but has plenty to entice and feed an already keen appetite for release and band.

Desert Ships has provided a treat of an encounter which is at its stunning best at the start and whilst slipping a level of persuasion or two in its latter part, perpetually leaves expectations and anticipation of big things from and for the band ahead rife. Ultimately Skyliner is a gorgeous flight which more than deserves a full investigation.

The Skyliner EP is available now @ http://desertships.bandcamp.com/

http://www.desertships.com

RingMaster 11/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

Keys – Ring The Changes

KEYS-Ring-The-Changes-Cover-WEB

Not to be confused with the Bury St Edmunds unit holding the same name and who we covered previously on the site for their Innocuous Beats EP, the Wales hailing Keys is a psychedelic pop/garage rock band who have just released their tantalising new album Ring The Changes. Exploring and crafting unique songs from American influences such as Stooges, Violent Femmes, Velvets, Sly Stone, and Jonathan Richman, the album is a captivating encounter which either ignites a fire in the passions or has them simmering eagerly from the first of its twelve endeavours through to the last.

The successor to their acclaimed album Bitten by Wolves of 2011, which itself followed the well-received debut Fire Inside two years earlier, Ring the Changes sees the Cardiff band equipped with a new approach and drummer to expand and flourish again in the lo-fi exploration which marked their previous releases. Recorded over one weekend on 8 track tape with Pixy Jones from El Goodo, the new album is a swarm of melodic and seductive songs fuelled with unfussy enterprise and transfixing infectious beauty.

Handclaps make the first invitation to the album as opener Shake It Up starts things off. The minimalistic coaxing is swiftly joined by the potent voice of Matthew Evans, his delivery expressive and holding smouldering warmth to match the emerging sounds around him. The firm beats of Dave Newington and the dark enticing lure of James Bell’s bass add to the growing lure and drama of the song, a creative narrative coated in a feverish blues spice from the guitars of Gwion Rowlands and Evans. They also instigate a mischievous teasing across the song, it twisting through numerous styles and inspirations whilst sneaking in the fully British spice of David Essex’s Rock On.

It is a fun and pleasing beginning to the album swiftly surpassed by Hard Habit to Crack. A mesmeric and lively slice of heated pop which plays with ears and imagination like a union between Beach Boys meets House Of Love, the song is a surf kissed breeze suitable for beach and home with its radiant melodic sunshine. As the first song, it is also happy to stir up a shade of intensity and tenacity that never erupts but brings a great raw but understated breath to the tempered blaze. Its success is supported by the similarly flavoured sixties pop of Bad Girls. Melodies croon as potently as the mellow vocals throughout the breezy and catchy evocation, Jan and Dean meets Jonathan Richman a clue to the engaging presence of the track.

Both the bluesy pop romp of See My Baby and the fire glazed lo-fi lure of Wade in the Water keep attention and appetite rigorously keen, even though neither quite matches the previous trio of songs. The soulful sultriness of the second of the two provides an especially provocative intrigue and enticement before The Beautiful Sound of a Heartbreak unveils its humid climate and emotive caress. It is an enthralling melodically scenic flight of Walker Brothers-esque passionate harmonies and My Bloody Valentine sonic sedation, and quite bewitching.

Machine Elves is a slow burner compared to other tracks upon the release, its seventies soulful shuffle inviting and pleasing yet lacking something indefinable which the previous songs basked in. Nevertheless it is a superbly accomplished and skilled proposition for feet and thoughts to embrace before the outstanding shimmering grace and elegance of Slightly Ahead of the Curve seduces the emotions. Again it is a slower persuasion but emerges as another pinnacle of the thrilling encounter. It is also another where we suggest there is as much a British inspiration as from the other side of the pond, this time elements of Kinks flirting with thoughts as the song explores and expands its sweltering landscape and emotional atmosphere.

The album comes to a close through the mighty inventive persuasion of Ghost, a song as minimal and poetically enticing as they come with vocals and guitar offering a tender coaxing around a pulsating firm rhythmic spine. Prone to expulsions of feisty energy and deeply hooking invention, it is another stunner before lastly Go to Get My She To get Her with its blues funk shuffle brings it all to a fine end, its mischievous title earning a new persona in the course of the song.

Ring The Changes is a gem of a release which from making an impressive initial declaration evolves and breeds firmer lustful ardour for its inflamed imagination and potent sounds. Keys have grown to another plateau through their release, one which surely deserves and will find a matching spotlight.

Ring The Changes is available now via See Monkey Do Monkey Recordings digitally and on 12″ Double Vinyl @ http://seemonkeydomonkey.com/products/keys-ring-the-changes

http://keysofficial.com/

RingMaster 07/10/2014

Copyright RingMaster: MyFreeCopyright

ins

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

http://audioburger247.webs.com/

The Pineapple Thief – Magnolia

THEPINEAPPLETHIEF_010314_008

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

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

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

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

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

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

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

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

Magnolia is available now via Kscope @ https://www.burningshed.com/store/kscope/collection/284/

http://www.pineapplethief.com

16/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Dignan Porch – Observatory

Dignan Porch 1

Returning with their third album and the first on Brighton independent label Faux Discx, UK band Dignan Porch reassert themselves as one of the more mesmeric and tantalising psychedelically wrapped indie pop incitements around. Observatory is a captivating collection of lo-fi presented, resourcefully sculpted songs which flirt and then simply run with the imagination. The release is an aural nest egg, an honest escape and comfort to fall back on in times of stress and just when you want good, heart bred music.

Starting out as a one man project for Joseph Walsh, Dignan Porch has evolved into a healthy complement of inventive and expressive musicians creating similarly potent music. The new album follows the well-received Tendrils of 2010 and Nothing Bad Will Ever Happen two years later, both released on the New York label Captured Tracks. Written and predominantly recorded in a cold and noisy flat above a used-carpet shop in South London in 2013, where Joe was living, Observatory is a seductive breeze of DIY invention and care. It has an intimacy which caresses the listener whilst providing the unpredictability and insight of life’s emotions, an often shadowed and dark sadness which entwines with the open radiance of the songs. Of the few tracks recorded differently to the almost jigsaw like piecing together of parts elsewhere, these were recorded as a full band in the moment with Henry Withers at Sound Savers studio. It all makes for a compelling and ultimately enchanting proposition but one with a raw and dirty edge which just as strikingly shapes the release into the triumph it is.

A rhythmic trap catches the ears first as opener Forever Unobscured enters the eye line, the percussive bait instantly gripping FAUX-031-600pxattention and an already awakening appetite. It is soon joined by the slightly mischievous and again wholly magnetic keys of Hayley Akins, which in turn is swiftly courted by the moody tones of Ben Goodwin’s bass and the guitar maze of Joseph and his brother Sam Walsh. It is a mouthwatering mix to which the mellow yet sultry vocals lay seductively, whilst around it all a fiery temperament and energy brews to further inflame the imagination. It is an engrossing start which the brilliant Deep Deep Problem takes to another level. It is the perfect pop song, hooks and melodies courting sirenesque harmonies by Joseph and Hayley as they take thoughts and emotions by the hand and lead them into an infectious waltz. There is a rich sixties psychedelic pop essence to the breath-taking union of guitars and keys which is punctuated by the roaming beats of Luke Walsh, but also a feel of psyc. It is a gorgeous encounter which tempts and abrases perfectly.

The acoustically crafted Veil of Hze strokes ears next, the hollow wrapped vocals a haunting enticement in an emotive embrace, before the wonderful discord kissed No Lies toys with the senses through smouldering keys and deliciously jangly guitar coaxing. Like vortices of sonic wind and vocal sun, the song laps over the senses simultaneously igniting passions with quirky grooves and quaintly cast invention. It is a seductive beauty which sparks a new hunger in the appetite which was less effusive with its predecessor, and just as vibrantly Between the Trees brings a seventies garage pop croon to bear on ears and heart for similar effect. It is a short bounce of a song but one which in its brief presence has the listener tightly gripped and subservient.

The start of Wait & Wait & Wait is excellent; a warped cartoonish lure which turns out to sadly be a false start in the entrance of the song. It is a shame as it would have made an irresistible start to the track. Nevertheless the song without admittedly drawing the same strength of reactions still provides a highly satisfying and elegant friendship before the punk infused crawl of Harshed and the minimalistic call of I Plan to Come Back bring the passions back to the boil. The first of the two strolls with a sultry swagger and Birdland like causticity in its melodic shimmering whilst its successor is a lean bordering on anorexic sonic web of humid melodies and streamline drama encased in a melancholic mist. The song absorbs the imagination like a sponge, inspiring fresh adventure as it expands its celestial colours.

Through the likes of the more than decently attractive Dinner Tray and the beefy evocative of Warm Welcome to Hell, the album continues to firmly engage if not quite finding that incendiary spark of before, though that fuse is soon lit again by the outstanding Got to Fly. Like in the opening song, a rhythmic enticement brings initial slavery before guitars paint thoughts with sonic hues as vocals push forward the developing addictive canvas of the song for a greater feisty bewitchment. It is a tremendous provocation before the final mellow sunset of Swing By, a soothing encounter enriched with varied emotive shades and acidic melodic veining. The song makes a fine end to Observatory, an excellent immersive closing which lingers and wraps the listener impressively.

Dignan Porch has crafted the perfect companion for sullen moments in heat bred summer nights with Observatory, an enticing vehicle through which explorations of evocative realms and personal corners bring a wealthy dose of pleasure.

Observatory is available now on 12” vinyl LP and digital download @ http://fauxdiscx.bandcamp.com/album/observatory

https://www.facebook.com/dignanporch

8/10

RingMaster 17/06/2014

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

 

 

Walleater – Self Titled

walleater

The debut self-titled EP from UK band Walleater may not stop you in your tracks and demand immediate attention but there is an inescapable captivation to its presence which puts the shoegaze/alternative rock band firmly on the radar. Consisting of four reserved yet vibrantly enveloping melodic flights through immersive ambiences, the release potently presents a band rich in striking promise and worthy of anticipation for their near horizons.

Hailing from Leeds, the quartet of vocalist/guitarist Rob Dell, guitarist Alex Finney, bassist Liam Hemingway, and drummer Lyndarn Harrison, Walleater take the raw potential and sound of their previous two track demo, A Masking Aura, to stronger accomplished and atmospherically pungent heights. Recorded with producer Bob Cooper, their first EP provides a proposition which combines the essences of bands like Pavement and My Bloody Valentine with the lighter embraces of House Of Love and the darker metallic incitement of Static Plan. It results in a brooding encounter which can swing from lively enticement to imposing shadows with ease.

The release opens with Give In To Me, a track already unveiled last month to eager reactions. It is not hard to see why as the song coaxes Artworkinstant attention and appetite with its spicy electro resonance and guitar sculpted sonic lures from the very first second. It is a thick and consuming, senses frisking sound which sparks the imagination just as swiftly. Relaxing into a more temperate melody driven climate for the joining of the vocals from Dell, the song enchants before expelling further intensely passionate bursts of energy and guitar led rapaciousness with more than a sense of the Jesus and Mary Chain to it. It is an absorbing and unpredictable immersion with an open infectiousness which cannot be resisted by ears and passions.

The following Just A Boy strokes the ears in a more restrained coaxing from the start; the guitars a gentle sway and temptation skirted by equally toned down beats and the dark throaty tone of the bass. The stance is completed by the vocal shimmer of Dell, his tones magnetic in a delivery which harmoniously drones at times whilst seemingly holding angst coated disinterest. It is a riveting delivery which never loses its appeal and potency even within the squalling ambience which tempestuously chills the narrative and song. It is hard not to offer a suggestion of Deftones to the flavoursome sound of the track but as with all thoughts it is a mere spice to the evocative recipe.

Glow comes next, the track an enterprising instrumental exploration which smoulders and flares up with controlled but intensive emotion across its simultaneously harsh and mesmeric landscape. With flames of noise and progressive rock to its demanding and commanding maelstrom, the piece provides further evidence to the invention and expression of Walleater’s songwriting and sound.

The release is completed by What Do You Know?, a melodic breeze of a caress which almost glances over the senses until the stronger sinews within the rhythms of Harrison take hold of the reins ensuring the song imposes just that little bit more. It is a whisper compared to the louder calls of other songs on the release though none roar with full lungs it is fair to say, and impressively adds another colour to the band’s creativity and presence. At times the track also sparks thoughts of China Crisis with its slightly celestial elegance as it finishes off a fine debut enjoyably.

It is probably fair to say that Walleater is yet to discover their unique voice, which is not surprising this being their first invitation to the world, but already there is a potency and breath to their music which pushes them out into an attention asking spotlight which only brings expectations for impressive things ahead from and for the four piece.

The Walleater EP will be released digitally on April 21st through Bandcamp for £1.99 while physically the EP will be spread across two 7” with ‘Part One: Give In To Me / Just A Boy’ being released also on April 21st via Close To Home Records with ‘Part Two: Glow / What Do You Know?’ scheduled for later this year.

http://walleater.bandcamp.com/

https://www.facebook.com/walleaterbanduk?ref=ts&fref=ts

8.5/10

RingMaster 11/04/2014

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

 

 

Passenger Peru- Self Titled

     Passenger Peru

    Startlingly immersive with the craft and ability to turn the listener into a castaway lost in an expansive seduction of suggestive pop majesty within a dreamy soundscape in its rawest breath, the debut album from Passenger Peru is an experience you cannot help licking your lips over before each and every encounter. It is a mouthwatering collection of warm and elegant persuasions bred in an exploration which is bold and bravely adventurous. The self-titled album is as mentioned pop in its rawest most potent form but with an inspiring scourge of creative devilry and melodic mesmerism twisted into a hypnotic and at times wonderfully demonic dance.

    Passenger Peru comes from the creative minds and passions of Justin Stivers (vocals, guitar, bass, synth, drums, drum machines) and Justin Gonzales (vocals, guitar, synth, piano, samples), the former one time bassist with The Antlers for their Hospice album. The seeds for the Brooklyn based project are said to have started four years ago when the two musicians met and evolved into the Stivers led band Pet Ghost Project. A year in preparation, Passenger Peru is mouthwatering sonic scenery composed into something unique from essences of garage rock and shoegaze, psychedelic, alternative rock and more. With plenty of peaks and very minimal lows, if any at all, the lo-fi, hi-quality flight is raucous spellbinding pop brought in its most primal and beauteous magnificence.

     The album immediately takes the listener to a scintillating pinnacle with its opening pair of songs, a height the album never passperucoverquite emulates again though it thrills consistently trying. First song Your Hunger emerges from a cinematic melodic swoon and following studio doodling launches one of the most exciting and impressively tempting starts to a song heard in a long time. Guitar and bass instantly secure the fullest attention as they virtually gnaw on the ears with the latter offering an almost carnivorous tone to its dark enticement. With mutually attractive rhythmic teasing alongside, the rapacious sound conjured by the pair continue to coax and lure in the strongest lustful reaction and hunger, a post punk essence bringing thoughts of Joy Division and Gang Of Four to mind prowling the imagination whilst framing the excellent mellow and soothing vocals. It is delicious mix with sinister spirals of cold sound amid glorious flames of melodic tenderness colliding and uniting for a quite stunning provocation. Complete with an irresistible repetitious gait to bass and rhythms alongside a quite saucy groove which also hardly veers from its prime intent, the song sets the highest plateau for the album to keep up.

    In the Absence of Snow steps up next to stroll that pedestal with ease, its opening acoustically sculpted guitar tantalising and the again snarling throaty bass tempting exceptionally addictive and successful in igniting even greater rapture in the imagination and emotions. Best described as the Jesus and Mary Chain meets House Of Love whilst the revelry of Ok Go! is at play, the bait laid down for the ears and emotions to partake in, is again virulently impossible to refuse or not find a greedy need for. Rock pop at its finest with a fiery solo and another spine of repetition kissed captivation, the track continues the album’s unassailable submission of the passions. With an impressive lyrical craft and insight also at work, which admittedly comes second best to the sound in attention taking over the first couple of plays, Passenger Peru at this point has already ignited an ardour which only a total car crash of a remaining body of songs could deflate.

    Pollen Season takes no time in showing no such disaster is on the cards though as mentioned before, the album never treads the same lofty levels again. To put that into context though the following tracks prey on and build their own benchmark which most bands would swap their grannies for, the third song on the release a beguiling proposition of organic beauty around once more a bass treat you can only enthuse over with a tendency to drool, and a percussive enterprise which does not steal focus but would leave a major whole with its absence. Seriously magnetic, the song departs the now raging appetite for the album for the epidemically engaging pop absorptions of Tiger Lilly and Heavy Drugs to take over. The first of the two has a swagger and melodic grin which teases and charms but an equally solicitous sonic and rhythmic bruising to its latter swing whilst the second is a sultry summer breeze of radiant melodies within an increasingly dark and unsettling premise.

     The second half of the album starts with Weak Numbers, again a track which ensnares thoughts and appreciation but marks a slightly less potent stretch for the album. The front five tracks leave the latter quintet in their shadow though once more in a context where Passenger Peru is on another realm with their artistry at the start of the album and a still immensely impressive level thereafter. A gentle and smouldering embrace, the song is a melancholic incitement with celestial elegance aligned to a tempestuous but contained emotive brawl. It is a transfixing companion immediately supported by the exotically imagined Memory Garden and the enthralling, intensive fascination of Health System, a song which merges heavy and light melodic and intimidating textures into a weave of emotion entangling beauty with XTC like alchemy.

     The new single from the album Dirt Nap comes next, emerging with a slight Celtic lilt to its sonic beckoning before a predominately acoustic caressing ensues with a sense of The Wonder Stuff to its snare. Initially thoughts were not over excited by the song but over time it works its way under the skin to seduce though personally not the right choice as the single to lure people into the outstanding album, a record holding back another major treat for its closing offering. Life and Death of a Band is a rowdy and antagonistic romp but equally a ridiculously endearing and alluring temptress from a maelstrom of invention and creative intrigue and a quite brilliant finale to a breath-taking slab of pop excellence.

    Passenger Peru will be massive at some point with all the evidence resting and burning away in their debut, a journey as unique and awe inspiring as their name hints at.

http://www.passengerperuband.com/

http://passengerperu.bandcamp.com/

9/10

RingMaster 05/02/2014

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