Nine Dart Finish – The Misadventures of…

Nine Dart Finish is a British outfit drawing on the wide influences of the likes of Weezer, Supergrass, Queen, and Ian Dury for their pop fuelled rock ‘n’ roll; The Misadventures of… is their debut album which unapologetically has the body bouncing as fun floods every pour of its magnetic enterprise. The trio from Birmingham has already lured potent attention from fans and media alike with a handful of singles especially potent; appetites for their boisterous sound which their first album can only multiply.

Consisting of former Coffeeshop member in lead vocalist/bassist Daz Yardley, guitarist/vocalist Christopher Mobbs, and drummer Andy Proudman, Nine Dart Finish first drew ears with debut EP Fall To Pieces late 2015. Since then their hook loaded pop ‘n’ rock has grown and become more creatively mischievous by the song. The Misadventures of… brings all the enticing dynamics and lusty grooves of the band’s sound as well as those devilish hooks the threesome seems to instinctively conjure together in one rousing enjoyable place.

Bringing the lively antics of recent singles, highlights of that first EP and new tracks together in one captivating union, The Misadventures of… roars into view with the outstanding The Cut of Your Jib. The track is wild rock ‘n’ roll, almost feral in its energy as riffs and rhythms harry ears just as eager vocals blaze. As the album continues it is easy to see why certain tracks were chosen and potent as singles and teases for the full-length but for personal tastes it is tracks like the raucous rock bred opener which trapped the keenest attention and passions. With a touch of Queens of the Stone Age to its contagious tempest, the track is a garage rock lined clamour getting the album off to a magnificent start.

The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.

Recent single Kicking & Screaming is next, a song which blossomed by the listen as its organic rumble aligns to melodic enticement. The former gives the otherwise gentle seduction a volatility which imposes without truly erupting, a combination gripping ears within a grunge pop like proposal while Charlie Bonkers offers up a melody woven slice of Brit Pop nurtured enterprise. It is fair to say that the song did not impact as potently as those around it on our tastes yet as honest to admit it had the hips swinging and vocal chords playing without any trouble.

You Don’t Bother Me similarly did not quite grab as strongly as many of its companions with its sixties hued pop but again involvement in its enticement was unavoidable as with the blues kissed rock of Falling for You. Both tracks epitomises the band’s knack at weaving varied and seriously catchy adventures though each is swiftly overshadowed by the album’s finest moment consisting of its final three songs.

From its initial melodic caresses Fabio’s Overture blossoms into a truly mesmeric slice of pop rock, emotive strands in voice and sound entangling another lure of virulent catchiness as inescapable whether the song is ablaze or simply smouldering. Its thick enticement leads into the rousing devilry of You’re so Cool. As again pop floods its bold rock ‘n’ roll, the track nags and taunts attention with relish. With something of UK duo The Sea about it, the track is superb rivalling the opener for best song honours though they are equally matched by the tenacious stomp of album closer London. There is a certain mod like hue to the song which only adds to its outstanding character and roar.

Though as mentioned there are some tracks which undoubtedly eclipsed others for us, The Misadventures of… is one thoroughly enjoyable involvement from start to finish. Nine Dart Finish have a sound with open growth in every new song so expect many more lustily fun times ahead as well as right now with their new offering.

The Misadventures of… is out now through iTunes and other stores.

http://ninedartfinish.co.uk/   https://www.facebook.com/NDFmusic/   https://twitter.com/ndfmusic

Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

Lord Lav – Lord Of The Dead

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If the uprising of lifeless flesh ever does come to pass instead of looking towards a Rick Grimes or Ash Williams, Britain has the answer in the shape of Lord Lav. To be honest he may not save your life but on the evidence of debut album Lord Of The Dead, he will send you to your demise smiling with content.

Lord Lav is British rapper, producer, and DJ Martin Lavender and Lord Of The Dead a concept rap album about life in the middle of a zombie apocalypse. With a tongue firmly in its cheek, the release is a fun and mischievous adventure, but also a fluid merger of cinematic sounds and electronic colours with the rapping and lyrical uniqueness of Lavender, a mix littered with numerous skits which only add to the revelry. The self-released Lord Of The Dead may not be the best rap album you are likely to hear and yes it is no War of the Worlds, but the Night of the Living Dead meets Shaun of the Dead like encounter is definitely going to be one of the most enjoyable and accomplished propositions to play with your ears and imagination.

Hailing from Southampton Lavender combines his passion for hip hop and zombies for his first album, creating a hungry decay filled landscape of tantalising drama which equally reflects aspects of modern life, in the words of Lavender “In a nutshell, it is about living amongst the ‘brain dead’ people of society and trying not to ‘catch’ the same attitudes to life. It’s about always pursuing your dreams whatever they are, despite the loneliness and dangers that come with doing so.

The opening Dead Rising sets the scene, the tale’s two protagonists, Lord Lav and Gaz, discussing the weirdness going on outside their four walls as a sinister ambience wraps the intrusion of the dead. The skit leads into first proper song They’re Taking Over where the atmosphere of the first piece instantly builds in tension and intimidation as the dead flood the scenery whilst the rapping potency of Lavender narrates and paints with an effect glazed delivery their expanding lust. With haunting theremin lures swarming around words and imagination as keys and violin cast their own distressed hues, the song swiftly has thoughts fully involved in its drama, a deadly theatre which flows into the following Vacate the Doom. Its shimmering sounds seduce and caress the raps falling from Lavender’s lips, keys a musty yet elegant oppression immersing senses and emotions as moments of visceral savagery intersperse the sonic picture.

The Door Won’t Shut sees the two friends start to make their escape one with a knife, the other a rolling pin. Yes smiles are never far from the face as Lord of the Dead continues, the piece emerging as Kill the Brain and the stressful fleeing of the pair. The track is an agitated jumble of aural emotions, Lavender punchy with his spits and expression whilst the music ebbs and flows in its pressure as a persistent and imposing ambience with an almost Hammer Films like hue to its incitement clouds the scene.

Another skit takes the listener into the brilliance of the almost vaudeville like The Mystery of Death. With a ridiculously catchy chorus flirting with ears and the pulsating and heavy also funky sounds around it, the track offers a delicious dramatic emprise with a mischief and lyrical prowess to match. Imagine Insane Clown Posse sings Ian Dury or vice versa and you have the album’s greatest moment. The next proper song Local Zombie Offy sees Lord Lav alone in an off licence quenching his thirst and reflecting on his needs and wants as dark throated pulses and sultrily smouldering sounds flicker and dance around his internal discussion. Vocals are just as bouncy in delivery as the reverb caressed atmosphere and intrigue surrounding his drift into unconsciousness, his awakening coming in the outstanding Way Through the Trees. The gorgeous velvety dark tones of maybe an upright bass or cello provide the first enticing in the imposing passage of the song whilst keys add an ethereal air to the further provocative reflection of Lord Lav. What emerges is a physical and mental jazz noir flight clad in immersive shadows and dark thoughts providing further shade and diversity to the album.

The dreamy mesmeric presence of the song is contrasted by the quintessential British air of the album’s title track, Lord of the Dead strolling with bold gait and aural nostalgia as Lord Lav becomes the lord of the manor with zombies his staff. The ever appealing and unfussy tones of Lavender contrasts perfectly with the sepia coloured and constantly shifting adventure of the music where twenties and thirties sounds collude with jazz and theatrical devilry within another imposingly throbbing bait of beats. Its surreal fantasy makes way for the melancholic When Loneliness Attacks where emotions overwhelm the Lord as beat box and keys embrace the verging on monotone delivery of Lavender’s rap. His slips into song within the fiery and bracing flames of sax add to the fascination whilst again lyrically Lavender has ears enthralled and thoughts broadening the text.

     Wake Up and Break Free! is reality coming back to consume Lord Lav, the skit introducing Set Me Free, the characters ascent to a better place in a sonic haze combined with the theme of breaking free from life’s daily easy to consume monotony. It is a potent close to the album if without offering a final wanted snap to the adventure, but it is an epilogue to the apocalyptic journey leaving an already greedy appetite sufficed and emotions keen for more. They get that with bonus track Wake The Dead, a scuzz driven eruption of sound featuring guitarist Jude from Southampton band Hybrid 6.0 who provides raw riffs and licks to the vocal provocation of Lavender.

Lord of the Dead is one of those encounters which will either light a flame in your imagination or not, but one which certainly has hordes of great snarling reasons for rap and hip hop fans to give it a go. It definitely thrilled us with its persistently enjoyable and creative escapade and is an eager recommendation for anyone with a penchant for zombies, descriptive lyrical invention, and simply devilish fun.

Lord of the Dead is available now @ http://lordlav.com/topspin-store/lord-lavs-store/

http://lordlav.com/

RingMaster 04/12/2014

Copyright RingMaster: MyFreeCopyright

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

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Latimer House – Birdcage Walk

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The make-up of Latimer House is a diverse mix which makes their new single and its sound a bit of a surprise as our introduction to the band. Made up of guitarist Joe Cook from London and drummer/ percussionist Jiří Kominek from Toronto, who set the seeds for the band in 2010 when linking up and playing together, alongside bassist Michael Jetton from Virginia and Baku hailing keyboardist Anar Yusufov, the Prague based band have a sound as English as it comes. New single Birdcage Walk has an eccentric and quaint air which plays like a mix of Ian Dury meets Cockney Rebel with a rich spice of The Kinks and Tankus The Henge in its creative toxin. From the varied globe covering line-up it is an unexpected proposition but one which engages with an irrepressible charm.

Birdcage Walk is an edited version of a track from the recently released Latimer House album All The Rage. Following and along with first single This Is Pop, the new release makes a potent and intriguing temptation for their debut album, one easy to expect a whole new wave of appetite for the band’s sound to be woken up by. Consisting of a collection of tracks recorded in 2012 with engineer Derek Saxenmeyer, the February unveiled All The Rage brought an eager spotlight upon the band with others, one set to one increased by the new pop folk tempting of Birdcage Walk.

Guitars and rhythms immediately enchant ears as the song opens up its melodic caress. It is right away a gentle and endearing stroll which sways with enterprise and quaintly jangling suasion. The vocals of Cook go much towards bringing that British feel but musically there are elements of XTC with whispers of The Divine Comedy to the song which only add to the distinct caress. Cook’s voice has a dulled yet vibrant monotony which increases the charm offensive of the song whilst matching the earthier lyrical narrative, writing which itself brings a Squeeze like essence to the whole persuasion. With keys colouring the more singular stroll of the track and its shuffling dance, Birdcage Walk makes for a captivating encounter. It does not ignite a fire in the belly it is fair to say but as a summer breeze certainly hits the sweet spot.

The song is accompanied by Until Then, an openly rawer and dirtier stomp with blazes of horns and melodic tantalising which themselves have a rough edge and fiery touch. Within that appealing almost teasing scenery a jazzy air and indie rock intrigue plays with thoughts whilst the guitars cast a sonic flaming which brings its own distinctive hue to the spicily varied landscape. Longer to convince but eventually just as persuasive and enjoyable as its companion, it along with Birdcage Walk just infests the imagination and makes an exploration of All The Rage a must and attention on Latimer House ahead inevitable.

Birdcage Walk is out on Honk Records now digitally, CD, and on ltd Ed vinyl @ http://latimerhouse.bandcamp.com/track/birdcage-walk

http://latimerhouse.com/

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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

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Tankus the Henge – Self Titled

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Such the potent riotous seduction and thrilling devilry of Cakewalk, the first single from the self-titled debut album of UK aural mischief conjurors Tankus the Henge, you wondered if it was the taster for something spectacular or the lead into an album which would be an anti-climax compared to the excitement and hunger the introductory track spawned. With a loud and dramatic confirmation it is undoubtedly the former of the two outcomes, the eleven track feast of what the band calls Carnival rock ‘n’ roll is a pulsating, riveting triumph of musical and lyrical eccentricity, exhausting imaginative adventures, and shadow wrapped dark revelry.

With the line-up breeding the scintillating album coming together in 2011, the sextet of ‘six sharped dressed and bedraggled gentlemen hailing from some of the more eccentric parts of London Town’ has ignited a major appetite for their insatiably inventive and explosive sounds across the UK, Europe and into the likes of America, Albania and the Isle of Wight through their live shows, this year alone seemingly a successful ride of festival after festival performances. The sound of Tankus the Henge is seeded in the eclectic beds of reggae, blues, and funk to ragtime and gypsy punk, the result something unique to the band though they have been described as ‘Like The Clash from New Orleans’. Imagine a creative and passionate meeting of Cardiacs and Gogol Bordello with The Kinks and Cockney Rebel and the inventive rascality you suspect is a strong but still hinting flavour of the fun the band provides.

The album immediately seizes the hand and leads the listener into the embrace of a jazz flamed, dirty floored New Orleans speakeasy Tankus_coverwith Who’s Gonna Catch Ya, the melodic call of the trumpet from Jake Stoddart and sax of Louis Schultz-Wiremu heating up the atmosphere and setting the scene. Guitars and rhythms are soon strolling into the mix with a glint in their eyes as the excellent vocals of Jaz Delorean accompanied by his evocative keys unveil the scenic narrative. It is an addiction causing entrance soon enslaving the heart when the virulently contagious chorus reaps the submission of an already awoken hunger. With great vocal harmonies and back-up from the band to the gravel laced tones of Delorean, and plenty of delicious discord teasing across every aspect of the ridiculously infectious stomp, the track is an irresistible lure and persuasion into the album and instantly confirmation that yes the single was just the teaser to equally magnificent things.

The following Smiling Makes The Day Go Quicker opens with emotive keys alongside the expressive restrained vocals of Delorean. It is a gentle intriguing beckon which deepens with the beats of Will Stanley, which you sense they are waiting to trigger something, the fuse to an impending release of energy. The brewing evocative caress of the brass warm the ear further whilst all the time the emerging passionate fire of the song works away on the senses and imagination. It never explodes into the pyre hinted at but still creates a thumping and resonating joy of elevated passion and inciting pleasure, every part of the band and song merging into an incendiary and triumphant declaration before the greedy appetite. Its successor Hat has a more energetic intent but again is soaked in absorbing melodies from keys and brass, whilst the bass of Dan Mason roams the track with a mischievous presence behind the dual vocals of a dusty flavoured delivery from Delorean and the equally cleaner tones of either Mason or guitarist Tim Fulker, both contributing across the album but unclear who is joint leading this magnetic song.

Orange Is The New Black steps up next to seize the passions, its sultry stroll with tempting sixties Hammond keys through  Mediterranean spiced air a dramatic flight across provocative and elegant impossibly alluring skies. It makes the perfect appetiser for Cakewalk, the song still stealing top honours within heart and imagination. Swaggering through the ear with a mix of Ian Dury and early Squeeze to give a sense of its sensational enterprise whilst a lick of Mano Negra and Les Négresses Vertes punk folkiness also plays within its stride, the track is the scene of a colour drenched circus, Delorean the ringmaster to the contagion.

There is an exciting mix of sounds and invention across the album, emphasised by the likes of Lying and Recurring Dream, the first a gentle glaze of smouldering melodic kisses within a slightly darker reflective embrace, again a folk venture bringing evocation to the trip, this time with shadowed hues. The keys and sax wrap a mesmeric arm around the senses whilst the vocals offer their own tenderness within the at times wonderfully dark emotive skies, an ambience and texture to the presence reminding of Dizraeli and the Small Gods in their equally poetically emotive moments. The second of the pair stomps into a gypsy punk like encounter, the drums a rolling entrapment enslaving before the eagerly roaming guitar and bass dance their own steps within the smiling waltz of the keys. There is a XTC breath to the song at times to elevate its already lofty heights, but it is the Eastern European circus enchantment and pace that ultimately steals the heart.

      Life Is A Grimm Tale (Sometimes) is another major pinnacle, its Creature Feature like darkness and Germanic wanton gait impossible to refuse and leave alone even after the song’s conclusion. Sinister and lusciously tempting with Delorean bringing a sideshow like barker descript for thoughts, the track is a unrelenting stalker of rapture, its epidemically catchy and forcefully rioting swagger the perfect bait. Its waggish romp is followed by the slow burning Riddles, a hazy blaze on evocative persuasion and noir washed mystery, and the brilliant tale of The Deviationist Society. The song from a pondering melancholic string and key suasion expands through Morricone like sculpted western hated climes and soulful brass and harmonica sighs. It brings strengths to its melodic and infection drenched sinews as its reaches further into its imaginative and fiery story, the guitars and keys finding that lure the best sixties TV show themes had and the strings providing greater passionate tonic to the sizzling heat of the song.

The album is concluded by The Last Days Are Coming, the track a scintillating final blues and emotion encrusted New Orleans funereal march through to the full ardour the album has evoked within. It is a mighty end to a sublimely gorgeous release. Tankus the Henge is a devil bred puppeteer for limbs, heart, and soul. A band which has fused light and dark, seduction and sinisterly honed persuasion into one of the most thrilling and sensationally addictive releases this year. Roll up and enter the welcoming to the dark carnival of Tankus the Henge, you will not regret one second of its fantastic touch.

http://tankusthehenge.com

10/10

RingMaster 22/09/2013

Copyright RingMaster: MyFreeCopyright

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

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