The Tea Set – Back In Time For Tea

Like all those with horniness for music, over years of finding encounters which spark extra love, lust, and addiction within the heart there are some moments which rise even above that in the passions. It is fair to say that from the moment punk rock erupted we have discovered a horde of such essential triggers to eternally drool over but of those that reign over the passions most a certain two remain to the fore. One is the single, Sex Cells by The Table and the other was provided by The Tea Set in the shape of their 7”, Parry Thomas. The first of the two only produced two singles before their shall we say chaotic and certainly uncompromising existence finally came apart but the latter over their three years left a host of further adventures which indelibly left their mark on ears and passions. So it was major excitement that we jumped on the opportunity, thanks to our friend Andy at Perfect pop Co Op, to check out Back In Time For Tea, an album bringing all of The Tea Set recordings together in one place with two new rich brews to sup on.

Hailing from Watford, born within its art college to be exact, The Tea Set emerged in 1978 out of punk band, The Bears. Initially called Screaming Ab Dabs until they realised that was an early name of Pink Floyd they renamed themselves The Tea Set, though weirdly the guys found out that Tea Set was another incantation from which the Floyd would rise. The name stuck this time and with a line-up of vocalist Nic Egan, bassist Ronny West, drummer Cally, and keyboardist Mark Wilkins, the band quickly released the Cups and Saucers EP, upon which Stewart Kinsey played guitar.

We discovered the EP and its glorious vinyl wrapping art work after being seduced by its successor, Parry Thomas and it is the quartet of tracks making up Cups and Saucers which opens up Back In Time For Tea. The four songs revel in the punk instincts which made The Bears a well-loved proposition but more so reveal the broader post punk meets art school sound the band were developing. On Them steps up first, from its first breath the song daring the listener to jump upon its ear nagging canter for a ride of unbridled enterprise and mischief. There is something akin to bands like Television Personalities and O’ Level to the song but already and across its companions you could hear something individual brewing and across following releases standing unique to The Tea Set.

The hectic punk ‘n’ roll of Sing Song is one of those songs which just sweeps you up in its swing and antics, revelling in the creative nagging which marks out all the band’s songs, that a persistent urging which only ever led to eager participation while Grey Starling revealed the experimentation which also grew and became ingrained in their sound over future songs. The Swell Maps meets Wire-esque B52G completed the EP and already it was easy to hear the inimitable character of the band’s sound and the defiant imagination which only blossomed by the release as evidenced by the perpetually irresistible Parry Thomas single.

Its two tracks are next on the album and a release which again came bound in just as imaginative and pleasing packing, the punk DIY ethic fuel to The Tea Set’s own independence in all things, and yes we still have the tea bag which was included in its body, unused of course. The single saw Ronny on guitar with Duncan Stringer now teasing and taunting with the bass, and Parry Thomas sparking one of the major addictions in music we have spawn. Written about John Godfrey Parry-Thomas, a Welsh engineer and motor-racing driver who at one time held the land speed record, a subsequent attempt taking his life, the track’s engine idles over initially with drama lining every shimmer of keys, suspense of guitar, and low rumble of rhythms that emerges. Eventually it sets off, Nic’s vocals narrating the disaster to happen with the fascination all moments, massive and small, like that seem to trigger in us all. The song is superb and has never lost its magnificence and slavery on ears for so many.

Tri X Pan which accompanied the track is just as addict forming, it’s developing shot of choice punk hooks and manipulative rhythms another trigger to eager participation, one only further strengthened by the beckoning tones of Nic.

Though Parry Thomas is suggested as the band’s biggest moment we suggest it is their next single which is the one those outside fan love might know them for. Certainly it is the one song that outside of John Peel, which seemed to get radio airplay of some sort most often. Keep on Running (Big Noise From The Jungle) is a song written by Jamaican ska and reggae singer/ songwriter Jackie Edwards and another one of the delicious moments when The Tea Set simply refuses to let go of your ears and attention. Produced by The Stranglers Hugh Cornwell, the song strolls in on a rhythmic swagger knowing that your body is going to instinctively bounce to its throb and voice sing to its infectiousness.  As much pop punk as it is post punk devilry, the track just harasses and entices until you are hollering to its controlled yet wild endeavours and swinging with its virulence.

The single saw Ron back on bass with guitarist Nick Haeffner now part of the band, both just as tempting in their part of single B-side, Flaccid Pot, a psych pop instrumental seducing the senses around the first’s  masterfully pulsating bass before it bursts into an inescapable sing-a-long inducing punk ‘n’ rocker.

The band’s next single was no stranger to certain radio shows either, the again wonderfully wrapped two song line-up of South Pacific and The Preacher simply one more memorable and again irresistible moment with The Tea Set. South Pacific is another track which just swings on the passions like a simian tease, the song a contagion of tantalising hooks and ravishing devilment getting under the skin as quick as a blink of the eye and an incitement even a bag of bones surely could not resist the urge to swing their inhibitions aside for.

The Preacher arrives on a cosmic mist of psych rock, a spatial missionary for the imagination and again nothing less than full pleasure as the band weaves another flight of originality and captivation.

Back In Time For Tea is completed by that couple of never heard before tracks, the first being Walk Small. It is a song recorded just before the band broke up sharing the same seeds as the previous track in many ways to blossom into a fascination of ethereal pop. There is a tinge of The Monochrome Set to it but so uniquely The Tea Set and so majestic you wonder if it had been released back in time theirs might just have become a name on the lips of so many more.

Pharaohs was recently recorded, a fan favourite which we can only feel blessed has found the light of day to light up speakers and ears alike and a song which sums up everything wicked, disobedient, and wonderful about The Tea Set and their idiosyncratic sound and indeed imagination.

So that is the recording history of The Tea Set, a band which has lit up stages alongside the likes of The Clash, U2, Iggy Pop, The Stranglers, and The Skids and been one big reason why music has been essential to so many, and that is Back In Time For Tea, the biggest treat for fans and newcomers alike.

Back In Time For Tea is out now via Cleopatra Records @ https://theteasetuk.bandcamp.com/album/back-in-time-for-tea and https://cleorecs.com/store/shop/the-tea-set-back-in-time-for-tea-cd/

https://www.theteaset.net/   https://www.facebook.com/left12/

Pete RingMaster 29/11/2019

Copyright RingMasterReview: MyFreeCopyright

Escobar – The Biggest Sound

Whether you wish to call the Escobar sound grunge, punk, garage rock or something else, all flavours involved in its riotous tapestry, there is no escaping that it is one glorious rock ‘n’ roll cacophony. The irrefutable proof is to be found in the French duo’s new album The Biggest Sound, a nostril flared stomp more than living up to its container’s moniker.

Hailing from Limoges, Escobar was formed in 2014 by vocalist/guitarist Remi Lucas (Weird Omen, The Anomalys) and drummer Charly “Kayo” Cailleaud (The Bushmen, Daria). With the release of debut album エスコバルin 2015 and its successor Bird Of Prey the following year, the band was met with widespread acclaim which is sure to escalate through the rousing antics of The Biggest Sound. Such its addictive melodic hook laden clamour, it is easy to expect the album to thrust Escobar into the biggest spotlights as eureka moments go off in new ears to spark a fresh tsunami of lusty attention.

It is impossible to truly pin down the Escobar sound though a fusion of The White Stripes, Nirvana, and In The Whale gives a good starting point. As opener Terrible Man alone shows, the pair create a sound distinct and unique to itself and a temptation which swiftly and greedily infests body and imagination. The first song launches at the listener with urgent riffs, their infectious coaxing the prelude to a surge of flirtatious guitar clang and rhythmic incitement. It all settles into a vivacious garage rock stroll with a Latin-esque temperament as Lucas’ magnetic voice and guitar bounce upon the rhythmic web spun by Cailleaud. As virulent for the senses as it is increasingly concussive, the track simply seduces ears and appetite whilst getting the album off to a stunning start.

That success only builds as the insatiable punk ‘n’ roll of Misbehavior devours ears, again the two protagonists creating a noise clad contagion which sparks body and spirit. As with those around it, the song makes physical involvement a given in its swift but unquenchably boisterous escapade; a perpetual trait across The Biggest Sound in evidence again within Stuck On You. Carrying a power pop infection to its earthy rock ‘n’ roll, the track maybe leaps around with less intensity than its predecessor but with equal adventure as grunge instincts fuel the guitar. It is easy to hear Nirvana bred inspirations at play within the song but equally there are moments which seem nurtured by a fondness of bands such as Rocket From The Crypt and The Vaccines as it lays down another peak in the increasingly mountainous landscape of the album.

There is no time to relax as the outstanding Paradise rampages through ears with its Powersolo meets The Dirtbombs scented bedlam and Salvation teases and tempts with its raw and boisterous rock ‘n’ roll. The first offers a great if undemanding line in melodic dexterity within its noisy canter while its successor melds pop catchiness with scorched noise in its contagious swing and both simply up the ante in a release already fixing its permanent position in the passions.

The album’s title track steps up next bringing its own voracious infection to ears and psyche. The Biggest Sound is as much a declaration of the album’s roar as its own controlled and eager suggestion for hips and vocal chords; an invitation just a little dirty and a whole lot irresistible before Big Town bounds in with a swagger soaked in sonic dexterity to drag the energies into lustful compliance all over again. Compared to some, it too has a rein on its attack, saving it for the grunge bred eruptions which urge greater zeal from song and listener alike.

The psych rock kissed minimalism of Brain Out simply seduces and manipulates straight after; Lucas in guitar and voice a puppeteer as the song sculpts pop rock in its purest form. Slim and forcibly low key its glory is matched by the contrasting creative howl of Changeover. To be fair, the song too has a fine twist in infectious restraint and inventive enterprise but still escalates into a fiery roar which sears as it seduces. Both tracks hit the spot like a rock ‘n’ roll cupid though each is slightly outshone by the throbbing saunter of Stranger In Blood. As across the whole album, Cailleaud creates a rhythmic enticement which lures eager participation and rock ‘n’ roll instincts like a siren. His net is then entangled in the sonic machination of Lucas; the pair combining to beguile and incite without reservation.

The album concludes with the sonic commotion of Dumb Feelings, a slice of voracious punk rock with a whiff of Iggy Pop and the psychosis of Melvins in its seriously catchy riot and finally the irresistibly nagging of Drifting. The song is majestic, its jagged body of riffs and harmonic flirtation a show stealer as it slips through a celestial climate which haunts the senses. A final twist in the creative adventure of the album, the track sublimely and inescapably leaves a longing for more which that play button instantly satisfies.

There is always something new to explore to take us away from even the best records, fresh encounters to assess, but there are a few which make it very difficult to move on from without just one more union, and another….. The Biggest Sound is one of those; a joy which still resurfaces to bring our day to an invigorating conclusion and that is maybe reason enough for all to go explore.

The Biggest Sound is out now through Dirty Water Records (USA), Adrenalin Fix Music, Beast Records, and Strychnine Production and available @  https://escobartheband.bandcamp.com/album/the-biggest-sound

https://www.facebook.com/escobarbandpage

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

Quick & Dirty – Falling Down

It is fair to say that Falling Down, the debut EP from French rockers Quick & Dirty, did not make a striking first impression though certainly it offered strong enjoyment, especially with its opening invitation to rock ‘n’ roll. It is equally valid to say that given the time and effort all releases deserve, the five track proposition has only blossomed into something far more fascinating which maybe more than most is tempting regular attention.

Quick & Dirty was formed in 2014 by vocalist/guitarist Ludovic Caussin and guitarist Fabrice David. First recruiting drummer Laurent Cirri, the Paris based band found a bassist to complete its line-up and begin work on writing and honing a sound said to take inspiration from the likes of Foo Fighters, Led Zeppelin, and Iggy Pop. The departure of their first bassist led to the addition of Tanguy Poirier and in 2016 their initial and successful steps into the Paris live scene.

Quick & Dirty recorded their first release early this year, the successfully crowd funded Falling Down EP having its unveiling recently to already eager and praise lauding responses. It starts up with its title track, a contagious rock ‘n’ roll stomp of a proposition opening with a swiftly engaging tendril of blues scented guitar. Quickly it strolls with boisterous intent through ears, the individual vocals of Caussin as lively as the hook littered sounds around him, all colluding in an increasingly infectious revelry coming to a virulent head in its rousing chorus. The track is irresistible, an instinctive arousal of body and spirit which gets the EP off to a mighty start never quite matched again.

Nevertheless, songs like the following I Was Born only add to the adventure and potency of the release, its own blues steeped character and saunter providing a host of fiery grooves and ear pleasing hooks as the band shows more classic rock traits. Soon developing its own personality to quickly give greater variety to the band’s sound and EP, the song saunters along with a creative prowess and imagination easy to get engaged in, epitomising the release as a whole in becoming a stronger and more compelling encounter over a subsequent handful of listens.

East West comes next, its opening melodic jangle making a subdued but inviting coaxing upon which the spoken and blossoming vocal tones of Caussin weave their suggestion. As is the band’s template, everything in the track leads to a spirited and seriously catchy, hard to ignore chorus before the excellent Trust Me entices with its even richer blues toned shuffle. Rhythms dance as fuzzy flames of guitar smoulder, a flirtatious mix matched by mischievous vocals and teasing melodies which entangle and come together in the track’s own brief but devilishly infectious chorus; that Iggy punkiness hinting away within its heated roar.

The rawer rock ‘n’ roll of Would You Like To Dance brings the release to a strong close, its body a mix of rock at times as much glam and grunge as it is hard and punk rock in other moments. Maybe missing the spark of its predecessors but only increasing in appeal and persuasion through each outing with its enterprising fun, it pretty much sums up the EP in success and adventure.

Falling Down is a great introduction to Quick & Dirty leaving ears and enjoyment thickly satisfied and full whilst laying down a strong base for the band to grow and expand a more unique sound from. For hearty rock ‘n’ roll with a smile in its nature, you could definitely do a lot worse.

Falling Down is available now @ https://quickanddirty.bandcamp.com/album/falling-down

https://www.facebook.com/wearequickanddirty

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

The Bluebook Project – Pockets of Dirty Change

The Bluebook Project_RingMasterReview

With appetites and bodies still rocking to their Take Me Away EP and the feistily rousing singles taken from it, UK rockers The Bluebook Project reinforce their growing reputation with Pockets of Dirty Change. As their previously powerful Hurricane Blues, the new single is one of the attention grabbing encounters within the latest EP, and as the other songs found within, a proposal which grips within seconds.

The Bluebook Project art_RingMasterReviewThe Bluebook Project hails from Bedfordshire and draw on inspirations from the likes of Iggy Pop, The Who, The Ramones, and Oasis. Formed in 2013, the quartet has gone from strength to strength as a live proposition and with releases, beginning with the 2014 unveiled debut EP Out of the Blue. Its ear pleasing introduction to the band was backed by a perpetual flow of live shows which included support slots with the likes of Slaves and Coasts before the foursome of vocalist/bassist Dan Thorn, guitarists Dan Watson and Jordan Smith, and drummer Benn Davis set about recording the Take Me Away EP. Its success is history but sure to be emulated with the unleashing of Pockets of Dirty Change.

The track is fuelled by the punk infested rock ‘n’ roll the band is becoming forcibly renowned for, guitars straight way creating a fiery wall of temptation before rhythms swing along in alignment with the infectiously bolshie delivery of Thorn’s vocals. The song becomes inescapably addictive in no time, a contagious flirtation of hard rock toned punk ‘n’ roll equipped with ear friendly yet cantankerous grooves and a pulsating rhythmic rousing of ear and spirit.

The Bluebook Project bring an edge and excitement to their sound which sets them apart from the crowd, Pockets of Dirty Change further evidence, and it is hard not to be a touch impatient to hear their next step whilst stomping around to their current treat.

Pockets of Dirty Change is available now.

https://www.facebook.com/thebluebookproject   https://twitter.com/TheBluebookBand

https://instagram.com/thebluebookproject/

Pete RingMaster 03/08/2016

Copyright RingMaster: MyFreeCopyright

The Machismo’s – Share One With A Friend

TM's_RingMasterReview

At times listening to Share One With A Friend, the new album from The Machismo’s, it is hard to decide whether it is a kaleidoscope of its author’s talents and imagination or a bedlam of the same. It is one of the most eclectic and unpredictable escapades you could wish to be confronted with and one of the most inescapably enjoyable.

The album consists of fifteen one of a kind slices of creative exploration and mischief, and the first new songs from the band in eighteen years. Its sound ranges from indie and alternative to punk and noise rock with experimentation at every turn. The band itself probably described their music and release best via their Facebook page where it says they are “Putting the Punk and the Weirdness back into Indie.” with “Now includes added poetry….” as an extra essence. It is a suggestion that they certainly live up to within Share One With A Friend.

The band itself is the brainchild of Sam Marsh, once of the compelling and irresistible Jacob’s Mouse. Initially a solo project, The Machismo’s formed in 1995 and recorded two full albums in Sam’s home cassette portastudio. Recruiting additional members for their live exploits, the band never really exploded into serious action though and disappeared with many recordings put aside unreleased as Sam moved onto other projects. Almost two decades later though, he relooked at those songs and releases that lay awaiting attention and realising their quality and worth, released the 1996 recorded debut album Good Things About To Happen in 2013 whilst also reviving the band with Rachel Marsh and Karly Stebbings. The album was a striking invitation for those of us missing the Bury St Edmunds hailing band first time around to explore, and it seems a spark for Sam himself to push The Machismo’s on with new zeal in what is a very exciting music scene within his home town right now. As mentioned, Share One With A Friend offers the first brand new tracks from the band in a long time whilst equally offering reasons to suggest that The Machismo’s is one of the most compelling propositions within the British music scene, past and present.

The album opens with the warm and fuzzy indie pop of The Loveliest, the song a sizzle of melodic guitar jangle and robust rhythms around the expressive tones of Sam. It has an echo of the tracks within that debut album as a raw and unfussy elegance captivates as potently as the catchy swing of the song. It is a straight forward start, in comparison to things to come, and an alluring one with its additional folkish hues before the unpredictable tango of Vrrrm! takes over. Beats throw their agitated lures all over the place from the start, though finding more restraint as punkish flames of guitar align with the great dual vocal persuasion. The further ears get into it, the more volatile and thrilling things become; all the time a debut album era Squeeze essence adding to the off-kilter indie punk attraction of the song.

cover_RingMasterReviewThe outstanding Collapse To Be Rebuilt grips ears and imagination next with its garage punk infused punk ‘n’ roll. With an addictive swagger as riffs and rogue voices add their unconventional roars, the Iggy Pop meets Pere Ubu like stomp has ears and body bouncing, and an already awoken appetite licking its lips and greedy to indulge in the following dark theatre of Bad Dreams.  Straight away a grumbling static storm crowds and rumbles around vocal poetry as a single slim guitar melody adds its own melancholic emotion to that of the vocals within the thickly compelling piece.

It is hard not to think of Jacob’s Mouse a little as the sultry sway and bewitching climate of When You Know It’s Real seduces ears next, its bulbous rhythmic swing the spine for flirtatious melodic vocals and the percussive imagination making equally irresistible advances within the excellent track. It has a brilliance of presence and fun which is emulated instantly by the punk devilry of Rise Again. Snarling guitars opens up and a flirtatious noir lit hook pushes on the irresistible encounter; the latter swiftly joined by the swinging vocal persuasion which as much as anything urges hips and spirit to get involved. Twanging bass groans, sonic sighs, and ear clipping beats only add to the smile inducing adventure of drooping hopes and their Viagra crafted resurrection; whilst the combined festivity of all creates one of those moments that only lingers.

Through the likes of the muggy aired and sonically bracing Should Recognise and in turn the folkish canter of Plastic Surgery, with Sam again leaning on his poetic craft as much as his musical prowess, band and album surprise and enthral, using the following Belvia to stir up an even stronger hunger with its scuzzy pop punk trespass. It has an old school punk tone to its rapacious character and energy too, a hue which only adds to the dirty and inviting bait rushing through ears.

Post punk meets indie discord is maybe the best description for the ear grabbing, pleasure giving lo fi stroll of Gotcha!, bands like The Three Johns and Swell Maps coming to mind for certain essences of the song. To be fair though, any references are hints to portray the individuality of song and The Machismo’s free and rebellious experiments of sound and imagination which continue to evade expectations with the folk laced croon of A Better Man and the addiction forging shuffle of The Storm. Like The Jazz Butcher meets Mark E. Smith but not, the latter track is manna to ears and passions; the kind of stripped back rock ‘n’ roll with a grin in its heart that all music should be bred from.

The album concludes with the trio of firstly, the melodically salty and slightly Cajun scented However Nice You Are, There’s Always Someone Who Think’s You’re A, the Pixies-esque garage punk rumble of Class A High, and finally the nursery bred and chimed ingenuity of Machismo’s 4 Tha Kids!; all three songs offering yet more fresh twists in the album’s tale to feel stimulated and refreshed by.

The Machismo’s is not exactly a new band but their presence and invention within the album feels like something that is, which of course the album’s songs are.  So if you are looking for the unconventional but something damn good too, then go Share One With A Friend.

Also worth noting as treating yourself with is The Poets Pendulum: Is It Good Or Is It Shit?, an album of Sam Marsh’s poetry which he has been bringing to the band’s live shows for quite a while to eager responses. Both albums are available as Name Your Price Downloads @ https://themachismos.bandcamp.com/album/share-one-with-a-friend with Share One With A Friend also available on very Ltd Ed vinyl.

https://www.facebook.com/TheMachismos   http://themachismos.tumblr.com/

Pete RingMaster 21/04/2016

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Anti-Social Network

Calling All Astronauts Promo Picture_RingMasterReview

It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

art_RingMasterReviewIt is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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Boy From The Crowd – Where The Bees Come To Die

BFTC_RingMaster Review

Having enticed and fascinated with debut single Revelator, Boy From The Crowd does it again with first EP Where The Bees Come To Die. As the single, it is a release bred from a varied mix of blues, punk, and diversely seeded rock ‘n’ roll honed into songs which arouse attention in sound and lyric with accomplished ease. There is no intent to polish things smooth either; each track offering its raw and honest heart to add to the individual drama and potent enterprise on offer. The result is an increasingly tempting proposition which has moments that simply transfix and always has a persuasive hand on thick satisfaction.

From London, Boy From The Crowd consists of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, kindred creative spirits which upon linking up were “determined to be guided by their primal instincts and play music with guts, spirit and uncompromising integrity”, subsequently embarking on “a fearless mission to discover tough new ways to rock the blues.” In strong evidence of their purpose and its success was the highly riveting and pleasing Revelator earlier this year, a song still as striking and magnetic now opening up the pair’s first EP.

The song opens on a twang of blues soaked guitar, it’s tempting a spicy lure into the incoming stroll of firmly hitting beats, throaty bass coaxing, and a vocal offering as fascinating and raw as the sounds around it. In no time the song has attention locked in and an appetite inspired for the captivating invention shaping the blues rocker, its presence managing to reap a little of artists like Iggy Pop, Jon Spencer Blues, and Nick Cave to hone its own unique voice.

The blues hues of the opener are even more spicily intensive in the absorbing All I need, a track which atmospherically smoulders in dirty rock ‘n’ roll as tangy flirtation lines its grooves and hooks. As in its predecessor, twists and turns are a rapid captivation, blazes of melodic toxicity moving into filthy expulsions and contagious swaggers. At times the track plays like an antagonistic and off-kilter mix of Television and Tom Petty but once more weaves all essences into its own unique and partially psychotic adventure of creative tenacity and sound.

The Road takes over next, beckoning with an initial country rock kissed sway which soon blossoms into a punk infested roar, the song continuing to align both flavours as it spins a web of blues imagination through guitar and keys. The track is easily the biggest treat upon Where The Bees Come To Die, its blues punk temptation irresistible and another insight into the variety brewing within the songwriting and sound of Piana and Ivy, a diversity reinforced by the surf/psych rock blues of the EP’s title track. The instrumental is a blaze of alternating and entwining shimmering melodies and volcanic energy creating a canvas for ears and imagination to immerse in under the rich suggestiveness of keys, their caresses adding greater colour to the whole adventure.

Where The Bees Come To Die builds on the great introduction to Boy From The Crowd made by Revelator, casting its own highly persuasive hint to the emerging talent and sound of the band. It is early days but already expectations are leaning towards exciting times ahead with Piana and Ivy.

The Where The Bees Come To Die EP is out now digitally and on CD and Ltd Edition vinyl @ https://boyfromthecrowd.bandcamp.com/album/where-the-bees-come-to-die

https://www.facebook.com/TheBoyFromTheCrowd  http://www.bftc.band  https://twitter.com/BoyfromtheCrowd

Pete Ringmaster 02/11/2015

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