Panic Island – Cabin Fever EP

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First track catches ears and imagination by excited surprise, the second has both locked in a blaze of pungent rock ‘n’ roll, and by its third, Cabin Fever the debut EP from Panic Island has made a clear statement that UK rock has another potential ridden and magnetic proposition emerging from its midst. The three track release is a magnetic roar of alternative and melodic rock, a weave of pungent riffs and sinew swung rhythms entwined with creative and anthemic dexterity. Maybe not yet the release to suggest that Panic Island will be amongst those to the fore driving the ever changing face of British rock ‘n’ roll, the EP is definitely an impressive introduction for the band to spring on from and tempt those kind of heights.

image003     Panic Island is centred round the North London songwriting duo Arron Sans and Vinnie Shimia, two musicians which first met at a gig by The Cult in Spain in 2012. Sans had already “dabbled in acting and film production” before exploring music and songwriting whilst Brazilian born Shimia had developed a romance with the guitar since the age of 13, and moved to the capital from his homeland to pursue his aspirations in music. Their individual abilities and strengths going by Cabin Fever have certainly gelled and openly flourished musically and lyrically since the pair creatively united, openly evidenced by their first release. Produced by Paul Tipler (Idlewild, The Horrors, Eighties Matchbox B-Line Disaster), the EP is a storming adventure of sound and dark emotional exploration, a release which has you sonically gripped within a few choice moments and persistently thought provoked across each infectious proposal.

The EP starts with the outstanding We Start Fires, a thick lure of bass the first enticing quickly joined by jabbing beats and in another breath, an electronic teasing. Coming cold into the band and letting the music be the first indication of their sound, the latter element immediately sends expectations down the wrong avenue, with punchy beats the almost techno like tempting sparking thoughts of a dance-floor escapade to come. The great vocals of the pair soon begins dispelling that, their attention grabbing presence the trigger to a more volatile lure of rhythms and a stroll of pungent riffs and striking heavy rock hooks. There is a slight punk edge to things too, whilst grooves and vocals increasingly cast a more aggressive and flavoursome web of hard rock and melodic tenacity. The early electro devilment also continues to flirt with the imagination, from time to time coming to the fore but never for long as the unpredictable and thrilling anthemic stomp of a track continues to bound through and ignite ears.

The excellent start is followed by new single Temples, a song providing a more settled landscape of melodic rock but one equally as fiery and alluring from the off. Because of its more uniform canvas of sound, the emotive potency of word and voice has a stronger and clearer sounding board to spring its passion and angst from. This aligns perfectly with the just as magnetically imposing drama of melodies and craft of guitars. It is a combination offering a feel of Bristol band Mind Museum to the provocative nature of the song which excels again within closing song City Screams.

As the previous encounter, it too is a swiftly catchy and enticing proposition with raw feeling in the vocals and raucous enterprise in the heart of the music. It also shows that any of the three songs upon Cabin Fever can be a potent single for the band, each in their individual ways intense and incendiary slices of drama with the emotional climate expected in the consuming premise of the EP title.

Panic Island do everything right with Cabin Fever, and though their sound is not yet holding a truly unique character it is not an issue, just part of the evolution of the band’s creativity to that expected success. Anyway the release is a gripping slice of exciting rock ‘n’ roll and that more than works for us.

The Cabin Fever EP is available from May 18th via Flat 4 Records at http://amzn.to/1QTpAQH and http://panicisland.bandcamp.com/releases

http://www.panicisland.com     http://panicisland.bandcamp.com/releases

RingMaster 17/05/2015

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

 

 

 

FlashFires – Play EP

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It would not be surprising if the name FlashFires rang a bell even if their sounds were a mystery because of the potent buzz that has been brewing up around them, certainly over the past six months or so. A couple of recent singles gave a good hint as to why the enthused reaction to their emergence and now the UK band’s debut EP brings the strongest evidence yet. A thoroughly engaging proposition with a sound lying somewhere between indie pop and rock, the Play EP makes a refreshing and fascinating full introduction to the young band.

Hailing from Basingstoke, FlashFires was formed by a quintet of school friends who aged nineteen to twenty, brought their skills and imagination together for a band swiftly inviting local attention and appetites. They were soon playing venues along the South Coast as an eager fan base grew around them, increasing their reputation all the time as they proceeded to gain slots at the Alresford Festival, Blissfields, and a headline slot at the B’Stoke Live show this last year. A song called ManShark in 2012 brought the band to the notice of Angry Badger Records, the independent label signing them up the following year as plans to record an album were put in place. Linking up with Tesla bassist Brian Wheat at J Street Recording Studios in California that September, the band set about recording a collection of songs produced by Wheat who was so impressed he expressed an interest in co-managing the band with Jules of Angry Badger Records. It was a union concluded by early 2014 as the band continued to lure focus and praise through a live presence seeing them playing with the likes of Catfish And The Bottlemen, The Telescreen, The Birthday Suit (Idlewild), and The Rifles to date. Last November FlashFires released acclaimed debut single Circus Boy, a potent lure followed recently by its successor Shy. Now Play is set to make its mark on a national awareness and reinforce the claim of vocalist Alex Gonzato that “We have been moving to bigger and better things recently, the hunger and drive in the band keeps us moving forward all the time”.

The Play EP     The release opens with 31, a song quickly luring ears with thumping beats within a melodic coaxing of guitar. It is not a dramatic start but a potent one, continuing as the expressive tones of Gonzato step into the weave of restrained yet firmly inviting enterprise cast by the guitars of Fraser Roskilly and Jon Cullis. The song continues to engage and embrace ears with its colourful melodies and more shadowed hues brought by the bass of Liam Kinslow and speared by the crisp beats of drummer Toby Bartlett. It is a warm and welcoming start to the EP, one bringing a slight whiff of Americana to its air, but in hindsight not carrying enough of the creative drama which inflames the following songs starting with Shy.

The band’s current single almost flirts with ears through its opening strokes of guitar, turning that suggestiveness into a stronger captivating texture as sharp hooks start to line the track’s creativity. There is snappiness to the encounter which was not exactly lacking its predecessor but certainly defused, whilst harmonies and melodies seem to have an even spicier colouring to their inventive embrace of punchy rhythms. Hints of Muse equally add intrigue and adventure to the infectious proposition before it makes away for the sultry presence of Lingo. With a great grizzled bass tone aligning to another impressive dance of jabbing beats from Bartlett, the track makes an imagination sparking start which only erupts in greater temptation through a contagiously imaginative chorus. It is fair to say that none of the songs on the EP explode into out and out raucousness and adrenaline driven revelry yet the song certainly leaves you breathless by the end of its wonderfully unpredictable adventure.

It is the pinnacle of the release though shares that plateau with the following You Say Nothing. Its opening hook has ears and appetite seduced whilst the quickly joining melodic wine dripping from guitar strings brings a scent of Dire Straits to the proposal. It is an alluring entrance which continues to expand as band and song entangle bluesy rock ‘n’ roll with a strain of more classically cultured rock as well as a power pop/punk essence. The outstanding song is simply catchy and enthralling, especially when the bass steps out with a delicious and throaty bassline which in turn inspires a new twist in the creative dance of rhythms and guitar.

Play is brought to a close by Circus Boy, a feisty and energetic flame of inventive craft and passion cast in another forcibly infectious slice of pop rock, and the most raw and explosive song on the release if not one to challenge the previous pair for top honours.

FlashFires easily show why the keen interest and praise being laid at their creative feet with Play whilst revealing a potential and strong hint that we have seen and heard nothing yet. With a very enjoyable and strong first seed in the EP, we for one cannot wait to see their talent blossom.

The Play EP is available on CD from 20th April via Angry Badger Records @ http://angrybadgerrecords.bigcartel.com/ and digitally @ https://itunes.apple.com/gb/album/the-play-ep/id979989859

http://www.flashfiresofficial.com/   https://www.facebook.com/flashfiresmusic

RingMaster 20/04/2015

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

 

Broken Chords – Rock & Stone EP

 copyright Broken Chords/Niall Lea Photography

copyright Broken Chords/Niall Lea Photography

Bursting with fiery rock ‘n’ roll to throw your inhibitions out the window to, the eagerly anticipated Rock & Stone EP from UK rockers Broken Chords is finally here to set the rock scene roaring with raucous revelry and insatiable temptation. Bulging with four tracks which have been seeded in the instinctive bed of classic rock, bred with the ferocious devilry found in the likes of Rival Sons and Turbonegro, and honed in the ways of modern rock ‘n’ roll, the releases is a welcomingly familiar and invigoratingly fresh incitement under the banner of real and bawdy rock ‘n’ roll.

Formed in 2013, the Essex/Herts hailing Broken Chords swiftly became an attention grabbing encounter on the local live scene, soon spreading their lure nationally. Their hunger to play live and share their sounds saw them play over sixty shows a year initially expanding to a full UK tour whilst 2014 found the band sharing stages at major venues with artists such as Bernie Torme and Australian rockers Electric Mary, as well as sealing a headline slot on the second stage at Hard Rock Hell Helloween. Last year also saw debut single Get Some embraced by radio, media, and new fans alike. It has all led to the licking of lips of a great many for the release of the Rock & Stone EP. Recorded with producer Paul Tipler (Idlewild, The Horrors, Placebo) and coming after a successful tour of Poland and Ukraine by the band, the release provides one of those rock riots which lights up ears and days.

The title track opens things up and instantly has the senses bound in a spicy groove to devour greedily and a vocal persuasion from guitarist Joe Finnigan and bassist Aiden Eggenton impossible to escape joining in on. Riffs and rhythms only add to the immediate infectious and rowdy proposal offered, a blaze unafraid to twist itself into alternating slimmer and broader strains of ferocious temptation. Its title sums up the song perfectly, its body a swinging explosion of rock ‘n’ roll built on an immoveable rhythmic imposing and intensive energy.

04769447-15ed-4c44-990c-2d60d46e7797The following Your Moves springs next with a great blues rock flavouring from its first breath, one thickening in spice and enterprise as the track develops its magnetic character and adventure. The jabbing rhythms of drummer Jamie Wilsdon provide potent bait whilst vocals and basslines bring their own expressive lures to play with the imagination, but it is the spicy hooks and fiery grooves which seal the colourful deal and inflame further the impressive start to the release.

Tell Them Of Us, described as the band’s “tribute to the fallen of 1914-18”, entangles ears with a resourceful web of invention vocally and musically, one embraced by melodic flames soaked in creative drama. It is a skilfully controlled and restrained encounter compared to the more volatile air of its predecessors but equally has that element of incendiary energy and imagination which erupts at certain times and in expressive ideation.

The EP is closed by the outstanding Wild Child, a song you can easily see being a fan favourite, and swiftly one of ours truth be told. Once again ears and attention are gripped by an irresistible opening groove, its irrepressible temptation swiftly backed by thumping beats and voracious riffs bound in glam/classic rock devilry addictiveness. Teasing with moments of discord, throaty basslines, and anthemic instinct, the track is a thrilling stomp, taking best song honours along the way.

Everything about the Rock & Stone EP has familiarity and originality ingrained, a fine line skilfully walked with invention whilst casting rock ‘n’ roll so easy to create a real kinship with

The Rock & Stone EP is available from April 6th @ http://brokenchordsmerch.com/album/235634/rock-stone-ep

Upcoming live dates

Wed 15th April     Cardiff, The Globe, (Supporting Kyshera)

Thu 16th April     Brighton, The Albert, (Supporting Kyshera)

Fri 17th April     Harlow, The Square, (Supporting Kyshera)

Sat 18th April     London, Underworld, (Supporting Kyshera)

Tue 21st April     Wolverhampton, Robin 2, (Supporting Kyshera)

Thu 23rd April     Nottingham, Rock City, (Supporting Kyshera)

Fri 24th April     Selby, The Riverside, (Supporting Kyshera)

Sat 25th April     Sheerness, The Ivy, (Supporting Kyshera)

Wed 13th May London, Surya

Thu 14th May Brighton, The Great Escape Festival

Sat 16th May Sheffield, Mulberry Tavern (supporting Kyshera)

http://www.thebrokenchords.com   https://www.facebook.com/brokenchordsofficial

RingMaster 06/04/2015

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/

Broken Records – Weights & Pulleys

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Missing the coach the first and second times our introduction to Scottish melodic ‘emoteurs’ Broken Records came with the recently released Toska EP, a release which to be honest underwhelmed despite the impressive craft and ideation oozing through it. This made anticipation for the band’s third album less than enthusiastic but it has to be admitted that Weights & Pulleys makes a more than solid convincing to open up understanding as to why the band is so well thought of. Definitely the album does not light any major fires in our thoughts and passions but a smouldering attraction it certainly makes, one very easy to recommend to fans of the band and of the likes of Doves, Sigur Ros, and Arcade Fire.

Formed in 2007, the Edinburgh band was soon teasing in attention with their folk/indie bred textures and dense emotional enterprise, their first release the ‘gig’ EP inviting plenty of attention and excited praise. As they refined their sound the band successfully shared stages with the likes of Idlewild, Sons & Daughters, and Editors across Scotland before a series of singles including the first, If the News Makes You Sad Don’t Watch It on Young Turks in 2008, saw the band covered in acclaim from all areas of the media and led them to signing with 4AD. The following year was the canvas for acclaimed debut album Until The Earth Begins To Part and the continuation of highly praised shows and festival appearances. The Out On The Water EP also made its appearance at that time whilst 2010 saw the band line-up change into the sextet of Jamie Sutherland (vocals, guitar), Rory Sutherland (violin), Ian Turnbull (guitar), Dave Smith (piano, trumpet), Craig Ross (bass), and Andrew Keeney (drums), and the supporting of bands such as The National and Freelance Whales, as well as second album Let Me Come Home to again intense recognition and support. Three years in the making Weights & Pulleys is the ‘return’ of Broken Records and it is hard not to expect it to be swamped in the same accolade of acclaim as its predecessors from varied and wide quarters.

Released on their own label J Sharp Records and produced by Tony Doogan (Mogwai, Delgados, Belle & Sebastian), Weights & Pulleys br image005moves on from the earlier Toska whilst seemingly continuing its evocative intent. Why the album is a bigger impacting persuasion than the previous four track release is hard to exactly say but it feels like a bigger picture is explored and unveiled rather than mere scenic glimpses as offered by the EP. Also without finding major fuses to raging fires, there is a new spark to a great many of the tracks which captivates and intrigues whilst simultaneously finding an almost anthemic lure to entice senses and emotions. Opening track Ditty (We Weren’t Ready) is a fine example, its thick hypnotic rhythmic coaxing irresistible bait within an emotionally intense melodic swamp. Vocally Jamie Sutherland roars with expression and emotive endeavour, his call cradled in soft but incisive sonic arms and eventually an orchestral caress which equally fires up the senses. It is a richly potent start raising a keen appetite for things ahead, a hope soon sizeably fed by the Springsteen/Petty-esque Winterless Son. Again the rhythms grip attention as they thump out their intent seemingly spurring on the heart of another impressive song.

Toska steps up next and as on the EP fails to entice any real power to reactions even though it is a satisfying and accomplished offering. Sculpted around an evocative narrative of keys, the song merges melancholic breath with an invasion beauty, hope and reality meshed into one dramatic scenario. Musically the song is almost mesmeric but that trigger to light up the passions is a dormant factor, though awake once more with So Long, So Late. Across the release thoughts of fellow Scots Letters and also for less open reasons Josef K emerge with the richest suggestiveness coming with this fully immersive slab of emotional intensive and melodic fire wrapped in drama drenched shadows.

The title track envelopes ears and imagination with a full and heavy incitement of emotion and reflection, a consuming weight of drama and thoughtful provocation which easily pleases if without stoking that again simmering fire in the belly of the album and listener. That poke is provided by the excellent Let’s Call It A Betrayal, an agitated revelry of rampant rhythms, dark throated basslines, and sonic imagination ridden by the persistently impressing vocals. The track tempts, challenges, and simply hits the instinctive provocateur in us all, heights of dramatic expression and melodic dispute walling in the passions.

The following track, Instrumental is just what it says and makes little impression though you appreciate why it is included as it gives a breather within the torrential emotional deluge of the release. The enjoyable You’ll Be Lonely (In A Little While) strolls into ears next with a rhythmic swagger and melodic drizzling which undeniably enthrals but ultimately it is the rhythmic lure which makes the only lingering impression.

The unapologetically emotional Nothing Doubtful comes next to again absorb ears and thoughts. Its opening body and tone has a dulled and shadowed breath, a mono like air which brews up a riveting cloud of intensity before breaking into the light and expanding its full heart and stereo spawned grandeur with delicious flames of brass. Much like the album the song is a slow burner which only impresses more with each encounter to maybe not steal the passions but certainly give them a big nudge.

The album is completed by the folk bred I Won’t Leave You In The Dark and finally All Else Can Just Wait. The first of the pair makes a controlled but keen entrance, that folkish lilt to sound and vocals painting a narrative until the song erupts into another seemingly Springsteen seeded premise but with tantalising sixties pop toxicity carrying a definite sense of The Walker Brothers whilst horns again just excite. Its successor is a slow brooding ballad with a great mix of vocals and pleasingly nagging repetition to its melodies, it all working towards a climactic finale which never really materialises. It is a decent enough end though which like the album gives plenty to make a compelling encounter but not enough to make its case as a constant playlist contender.

Nevertheless Weights & Pulleys is a captivating proposition which will light up the ears of fans and draw a wealth of newcomers with its collection of skilful tracks which combined show just why Broken Records is so highly thought of and at times offer evidence that the band just might have the potential to help reshape British indie rock.

Weights & Pulleys is available on J Sharp Records now!

http://brokenrecordsband.com/

7.5/10

RingMaster 20/05/2014

Copyright RingMaster: MyFreeCopyright

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This Devastated Fan – Plot And Debauchery

This Devastated Fan Promo shot

This week sees the re-release of Plot And Debauchery, the debut album of UK alternative rock band This Devastated Fan. It is a captivating album which certainly deserves another airing before the ears of the nation, its offering of thirteen evocative and passionate songs a compelling brew of invention and melodic persuasion. Nicely varied and impressively sculpted the release takes emotions and thoughts on a magnetic ride through heart bred adventures, and though arguably it fails to ignite the passions enough times to be classed as a classic introduction, it leaves satisfaction and pleasure the overriding emotion within a fuelled hunger towards the stylish songwriting and presentation of the quartet.

Formed in 2006, the current line-up of brothers vocalist/guitarist Robbie and drummer Jamie Cavanagh, guitarist Will Rogers, and bassist Steve Alday has spent the past 18 months hitting the UK and Europe hard with their live shows which has seen them play alongside the likes of Public Image Limited and The Birthday Suit. With a sound which seemingly combines inspirations from the likes of Manchester Orchestra, Alexisonfire, Biffy Clyro, and Idlewild in to something fresh and potent, the album has the richness and promise to exploit the stronger awareness and stature of the band this time around.

From the opener Shoulder The War, band and release grabs attention with ease, the song itself a smouldering persuasion that deals in This Devastated Fan Cover Artworktender emotions and passionate crescendos rife with incisive guitar work, firm rhythms and the excellent vocals of Robbie Cavanagh. There is a great niggle to the throat of the bass too which tempers and compliments the melodic flames honed by the guitars, it all combining to create a track thick with expression and enterprise. It is a strong start which fluidly evolves into Calvery Cemetery, NYC; another song where gentle coaxing from sound and vocals leads to multiple climaxes of explosive passion and melodic fire. Lyrically the band has a depth and impact which talks thoughts and feelings into creating reflective connections, and certainly this track creates richly hued scenery for their narratives.

Through the more than decent REM like Contingency Plan, the album reaches higher pinnacles with the pair of aural beacons, Sounds Like Sirens and Bambi Woods. The first of the two is a mesmeric beckoning with whispers of Green Day and Brand New to its warm brew of tangoing rhythms, melodic charm, and teasing basslines. Once again the band proves themselves majestic in creating infectious hotspots and choruses within songs, here the brighter burn of melodies and tantalising lures striking and tempting to secure a place in the rapidly growing hunger for the album. Its successor is an excellent blend of hard rock sinew and taunting indie rock feistiness, the result a song that swaggers with a firm prod of confrontation and riveting invention leaving senses and emotions leaping to join its pleasing canter.

The likes of the enflamed An Assembly Of Witches, the closely hugging Carnivore, and the slightly sinister Conversation Killer, wrap the ear and thoughts in weaves of passion and emotional colour, each track and across the whole album to be honest, dripping with incandescent heart and inciting personal observation. Though the songs fail to make the same lingering impact as some of the earlier tracks they all leave a welcome bait in place for a return, the last of the three and the impressive Murder which lies amongst them, creative fascinations that hook you back to the album and ignites the appetite with skilled and instinctive majesty. The same can be said of Barricade, a track which has a feel of Placebo to its steely yet mellow sonic claws and melodic engrossment.

Completed by the final emotive call of the ballad Heathen Rage, the album is a vibrant coaxing which defies any real criticism even if it fails to send the passions into overload as much as it probably should have. Plot And Debauchery is so full of promise and imagination though that you feel it will only be a matter of time before This Devastated Fan creates that undeniable classic. Watch this eager space we say whilst enjoying a rather satisfying album.

http://www.tdfhq.co.uk/

8/10

RingMaster 12/08/2013

Copyright RingMaster: MyFreeCopyright

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The Dropper’s Neck – Second Coming

The Droppers Neck Online Promo shot

UK psyche rockers The Dropper’s Neck has been lurking in our passions ever since their richly promising attention grabbing debut EP early last year. It was a release which suggested this was a band with a dramatic presence pending in the future. Their first album Second Coming now not only confirms this but takes that assumed potent emerging stance into areas maybe not anticipated but greedily welcomed. There have been numerous comparisons placed on the band and their sound too, but though agreeing with most whilst listening to the new release the only description applicable is that The Dropper’s Neck is the mutant hybrid of Eighties Matchbox B-Line Disaster and Engerica. There are numerous other spices rife within the concoction brewed for sure but there is no escaping this pair at any point on the release. It is the only thing stopping the release sealing full marks for itself, the possibly too close for comfort likeness to that pair of references but such an exciting and innovatively brought familiarity it is, quite simply Second Coming is one of the real triumphs of the year.

Hailing from Essex and formed in 2011, the quintet of vocalist Lloyd Mathews, guitarists Chris Blake and George Barrows, bassist Jack Turner, and drummer Danny Keene, soon snarled at and ignited the local scene and began building a vigorously loyal fanbase through their unforgettable and predatory live performances. The previously mentioned EP announced them as an emerging danger and temptation to the wider country but Second Coming is the consumption which will devour all hearts and devotion given the opportunity. A stirring mix of garage punk, alternative rock, and dark carnal sounds, their sound crawls over and infests the senses like a virulent scourge but one which awakens all the forgotten wantonness and hunger of rock ‘n’ roll.

Recorded with esteemed producer Paul Tipler (Placebo, Idlewild & Eighties Matchbox B-Line Disaster), Second Coming begins its The Droppers Neck Cover Artworkrapacious touch within the opening seconds of the title track, the first song on the album taunting with raw scuzz lined riffs before equally teasing rhythms add their touch. Into its stride the track is a scorching rampage through the ear, one which scrubs and boils every inch of internal flesh with its sonic fire and temptress groove. The vocals of Mathews bring a great mix of delivery, all drenched in an expression and passion which comes over like the call of a part desperate and part belligerent provocateur. It is a very Guy McKnight like sound he has with more than a nod to David Gardner of Engerica it has to be said, though pure coincidence you would guess, but one which only leads the songs into further delicious misdemeanours.

From the strong start things just accelerate into rapture with the first single from the album, Darker Waters. The guitars exchange their distinct swiping tones at first before the cantankerous bass of Turner joins in with a dark hearted prowl and the beats of Keene snap and barge the ear with contempt. With all uniting their league of menace together, the song adds insatiable grooves and barbed hooks to corrupt and capture the imagination whilst Mathews again is the ringleader with his almost carnival barker like lure. It is a brilliant song which pokes and incites limbs, thoughts, and passions to climb on board the shadow crafted ride, to immerse in its sinister and delicious pervading toxicity.

The follow pair of Abrasive and Three Little Pigs refuses to let the rich temptation waiver either, the first track a brawling punk tempest of squalling sounds and guitar bred melodic heat caged in another mesmeric rhythmic web. As dark and foreboding as it is ungraciously addictive, the track sears the senses into eager capitulation ready for its successor and another major pinnacle on the album. With a spine tingling groove made of pure magnetism and a psychobilly tone across the niggling gait, the song is a lethal enticement which secures eternal submission to its glory.

The following I Am The Law, is like a homage to Eighties Matchbox B-Line Disaster, the band getting as close as they dare to one of UK’s debatably underpraised former giants, the vocal groupings and dark crooning as well as the repetitiously tempting groove and torrential rhythmic demanding aural handcuffs for the heart. Its majesty is replicated by the psychotic Sir Sibilance in another chaotic blaze of invention and psych engineered imagination. With more twists and deceit than a geriatric pole dancer, the devilish maelstrom is an exhausting and scintillating masterpiece.

When the two weakest tracks on the album which turn up next, Second Coming Pt. 2 and My Lime Tree are best described as riveting incitements of tyrannical and hypnotic rhythms amongst washes of caustic noise and heavy shadows of lyrical and musical irreverence honed into bruising bone shaking mentally charring slices of creative ferocity, you understand how impressive and unmissable this album is. As the closing intensive darkly sculpted passionate furnace Save Me From Myself with its ominous breath and scarring touch providing a final doomy wrap of powerful drama, escape from the clawed clutch of band, album, and lingering sounds is impossible and primal hunger for more incorruptible.

     Second Coming is magnificent and The Dropper’s Neck carrying on the charnel seeded legacy of The Cramps in their own almost wholly unique way. Brilliant stuff!

www.facebook.com/Thedroppersneck

9.5/10

RingMaster 29/07/2013

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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Sparrow & The Workshop – Murderopolis

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Sparrow and the Workshop is one of those bands that music always needs, a temptation which is as beautiful as it is shadowed and as expansive as it is intimate. Previous albums, the debut Crystals Fall of 2010 and Spitting Daggers the following year, marked the Scottish band as melodic entrepreneurs of imaginative weaves fusing indie folk and rock pop, songwriters creating rich and emotive escapades soaked in aural colour and resourceful enterprise. The Glasgow trio return with third album Murderopolis, a release which explores their invention for greater and deeper adventure whilst sculpting a kaleidoscope of passion tingling elegance. It is a seduction of evocative textures and mesmeric caresses which quite simply is rather special!

The band consists of Jill O’Sullivan (vocals, guitar, violin), Gregor Donaldson (drums, vocals), and Nick Packer (bass guitar, electric slide guitar, basstard), a threesome which have not been strangers to acclaim certainly since their debut album. The name of Sparrow & The Workshop has equally been wrapped in hungry responses for their live performances which across the time has seen them play alongside the likes of Brian Jonestown Massacre, British Sea Power, Idlewild, Broken Records, Sivert Hoyem, The Lemonhead, Thee Oh Sees and more, as well as numerous festivals to great success. Released via independent label Song, by Toad Records, Murderopolis strolls through another potent plateau which matches the virulent seduction of previous album Spitting Daggers, whilst walking further diverse adventures.

The band arguably unleashes their greatest shadows at the start of the album, though those dark tints are always teasing the senses MurderopolisHiResand thoughts throughout the album musically and lyrically. Opener Valley of Death is a smouldering triumph, a track which instantly sets the release into the strongest wash of acclaim. Bold yet reserved beats and moody melodic provocation pokes the ear first, opening up attention for the as ever sirenesque tones of O’Sullivan. Her voice is one which seduces and caresses the senses but has a nip in its caress which allows darkness to play with the enchanted emotions already inspired. Like a sun in the skies of the dramatic she guides the listener into a warm soak of colour fuelled melodies and harmonies for the chorus, the track then returning to that provocative hypnotic enticement which started things off for the verses. Those dark and expressive leads have the same kind of wanton visual and emotive sway that marked the opening credits to eighties UK TV show Tales Of The Unexpected, a tempting yet menacing seduction. It is a powerful and riveting track, a song with a sixties call to its breath and vocals, which alone seem like a mix of Helen Shapiro, Kristin Hersh, Chantal Clare, and Debbie Harry.

From such a potent start the album retains its compelling grip with the following Darkness, another shadowed call for the passions which sows the seeds with an opening throaty bass beckoning and reined in male vocal chants. It is a slowly prowling encounter, the song walking with intent around thoughts with lone strands of melodic taunts riling up the appetite further. With a touch of The Passions to it the song widens its lure with the again excellent vocals of O’Sullivan before sealing the lustful deal with heated flames of soaring vocals and acidic mastery, crescendos which ignite the fullest appetite. Like the first, the track explores the depths of light and dark with breath-taking craft and imagination leaving an already awoken hunger for more seized by rabid urgency.

The album continues to show it is as diverse as it is absorbing, starting with the stunning Odessa, a song as different to the opening pair as it is a continuation of flawed light and emotional incitement. A melancholic mesh of vocal, keys, and dark strings gently wash through the ear at first before a strong pause makes way for an equally rich narrative of guitar and rhythms which turn up the heat a touch more. It is a vibrant passion sculpted song which haunts thoughts with classy enterprise and emotional exploration, its latent energy brewing up and exploring the limits of the impressive songwriting, its realisation becoming more intense and magnetic the further towards its fiery climax the band drive.

Through the likes of the first single from the album Shock Shock, a meeting of The Pixies and The Shangri-Las in a folk rock atmospheric haunting wrapped in a sonic senses courting ambience, and the tantalising Water Won’t Fall with its scenic paint and crystalline touch, the band raise new emotive adventures whilst the title track is a noir tinted flame of seventies spiced melodic rock and Wicker Man laced folk which transforms the landscape of the album into a new distinct dance of mystique.

Released the same day as the album, May 27th, new single The Faster You Spin sets another pinnacle for the album. Another song rippling with an almost predatory intent through heavier melodic rock feistiness, it conjures the strongest contagion with searing flames of sonic and melodic… well eroticism seems the best word to describe it, complete with an ardour inducing addictiveness to its suasion.

Further songs in the scintillating Avalanche of Lust with its wonderful bass itch and the deliciously incendiary Flower Bombs, a song with an array of bewitching infectious climaxes around slow post punk taunting ingenuity, push the boundaries of the album and listener’s greed yet again whilst the closing pair of The Glue That Binds Us and Autumn to Winter leave an irresistibly effective temptation to start the whole emotive course of triumph again.

Murderopolis is a scintillating release from a band which walks beauty and darkness like no other. If Sparrow and the Workshop have yet to guide you through your and their invigorating passions than this album is the perfect introduction.

www.sparrowandtheworkshop.co.uk

9/10

RingMaster 26/05/2013

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