Fight Like Apes – Self Titled

Fight Like Apes Cover _Reputation Radio/RingMaster Review

It has been as good as five years since the release of their second album, though there was a rather satisfying EP in between, so it is fair to say that anticipation for Fight Like Apes’ new encounter across the board has been bursting with hungry excitement. It is a wait now relentlessly rewarded by each of the twelve songs making up the self-titled proposition, offerings taking ears and imagination on a unique and rebellious exploit of indie pop devilry. It really only takes one listen to establish the album as a favourite and barely a couple more to suggest it is going to cast as one of the major triumphs of 2015.

Hailing from Dublin and formed in 2006, Fight Like Apes and their synth pop/alternative rock sound has been luring in keen and potent attention ever since the release of the EPs How Am I Supposed to Kill You When You Have All the Guns? and David Carradine Is a Bounty Hunter Whose Robotic Arm Hates Your Crotch in 2007. The following year saw them nominated for two awards at the 2008 Meteor Irish Music Awards, and it has only been a continuing torrent of support and acclaim since, though equally there have been moments to challenge as with any band. Debut album Fight Like Apes and the Mystery of the Golden Medallion that same year poked a keener, broader spotlight, attention emulated and pushed to new heights by second full-length The Body of Christ and the Legs of Tina Turner in 2010. Their sound and songwriting had already found uniqueness in presence and character which has consistently evolved from release to release, song to song at times, and it is again prevalent upon the new offering. The time between albums two and three saw the band dropped by their record label but they decided to go down the crowd funding route with quick success. This meant that it has been a length wait for their new epic of fun but as hinted at by the Whigfield Sextape EP last year; the band’s return has only brought new seductive and vivaciously eccentric pleasures.

Unleashed through Alcopop! Records, the album quickly has ears and imagination immersed in its pop alchemy through I Am Not a Merry Man. A quaint electronic coaxing jabbed by firm beats initially the song is soon sauntering along with a melodic swagger and lusty bassline, and lit up further by the ever bewitching vocals of Mary-Kate “MayKay” Geraghty. Moments of feistier endeavour also clad the constantly alluring stroll, the song an inescapable flirtation for ears and thoughts with the flowing keys and backing vocals of Jamie “Pockets” Fox just as magnetic as the pulsating rhythms and prime melodic roar of MayKay.

The following Crouching Bees from a single crisp rhythmic rap is soon engulfing ears in an elegant weave of melodies carrying a slight Altered Images air and once more badgered by thickly tempting rhythms. Vocally MayKay again is as potent in casting a mellow seduction or an impassioned raucousness, her heightened delivery a fiery incitement to the calmer waters of the keys, though they too at times provide an off kilter element of their own. The infection of sound and imagination of the album is already enslaving the psyche two songs in and only increases its bait through Pop Itch and The Schillaci Sequence. The first of the pair is a more ‘regular’ canter of indie pop design, though as it is Fight Like Apes there is plenty of sparkling vocal adventure and sonic twists whilst the second sways over the senses with melodic eloquence. It too initially seems a more reserved example of the band’s invention and creative exploration but with an agitated rhythmic shuffle and Devo-esque electro psychosis it soon puts expectations straight.

Fight Like Apes _Reputation Radio/RingMaster Review Both songs keep enjoyment keen and appetite greedy, though everything is soon eclipsed by the brilliant Didya. Easily our favourite proposition on the album, maybe from the band full stop, the song ambles in on a melodic hook which is Weezer like. That alone has lips licked but it is once Pockets takes the vocal lead with a punkish anxiety to his tone that things erupt into genius. The throaty bass and wilder tempered beats are belligerent whilst the voice of MayKay similarly has a challenging edge to it, the blend a spellbinding incitement though it is the vocal bedlam which follows that has these ears and passions are enslaved. It is like a warped mix of The Dancing Did and The Ting Tings, pure creative mania and manna, setting up the listener for a blaze of a finale.

Numbnuts calms things down a touch next, its persuasive croon persistently littered with stirring vocal snaps and musical twists on the way to creating an increasingly fiery climax whilst its successor Pretty Keen on Centrefolds has ears captivated with an eighties synth pop bubbling that nudges thoughts of Blancmange and Soft Cell. Of course things are never that simple, punchy and at times bedlamic beats adding a drama to match that of the vocals whilst keys whip up a contagious tempting for the dance-floor.

Like a mix of Morningwood and Yeah Yeah Yeahs but all Fight Like Apes, The Hunk and The Funplace sculpts another major pinnacle for the album. Rhythmically anthemic and imposing, melodically spicy and slightly nostalgic, the song easily has ears engrossed but it is the roaring chorus which takes a great song to the plateau of brilliance. It is pop at its most dynamic, provocative, and irresistible.

There is no let-up of the thrills and creative spills as firstly I Don’t Want to Have to Mate with You swirls around ears and leads expectations on a merry dance. It is a lively breeze of fascinating textures and rousing calm providing a spellbinding theatre of sound and voice, emulated in its own way by Baywatch Nights with its even slower smoulder, though again there is a snarl to vocal moments, spicy intrigue to keys, and dark shadows to surrounding scenery. Both tracks make riveting listening, a norm across the album to be fair and continued in the excellent Maevis Beacon: Annihilation, a song with more than a whisper of Young Marble Giants to it especially in its opening minute or so. All tracks make a quick and thick first impression but some reveal even more to their depths and beauty over time with this a prime example.

The mesmeric seducing of Carousel brings the release to an emotive and reflective close, and a dramatic one as epic rhythms and brooding melodies rise as the song progresses. Folkish theatre and heavy tribal rhythms break free too in the scintillating end to a sensational encounter. It may have been a while in the making and coming but Fight Like Apes has spent that time crafting their most vigorously inventive and exciting sound yet. This is a must have for all experimental and rousing pop enthusiasts, actually just every pop fan out there.

Fight Like Apes is available via Alcopop! Records from 18th May @ https://itunes.apple.com/us/album/fight-like-apes/id981566460

https://www.facebook.com/fightlikeapes

RingMaster 08/05/2015

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

Gentian – NightLight

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Never be afraid to give a twelve year old an acoustic guitar because you might just be breeding magic. That is what happened with UK band Gentian, from the moment one of its members held the instrument, seeds were sown and creative blooms nurtured, with haunting and elegantly enchanting songs like NightLight their new single emerging. There is much more to the tale than that one instant in time of course but from Devon musician Jingle picking up the guitar and proceeding to devour its and her potential, the UK music scene been on course to meet one strikingly promising and mesmeric proposition in the shape of Gentian.

The creativity within Gentian is two pronged though, and has been from an early age. Once Jingle had mastered the song books at her disposal, she and sister D.D., who has already been singing along, began writing their own unique songs. The years have seen this develop with D.D. , who is also an author, writing the songs and creating the melodies whilst Jingle arranges and plays all the instruments. 2012 saw the pair emerge into the spotlight as Gentian and in little time their music was receiving support from James Santer at BBC Radio Devon on his Introducing show. Recently the duo released the In The Dark EP, a debut three track melodic tempting recorded with Andy Rugg (Coldplay, Beyonce, Jay-Z) at Resident Studios in London. The release is an embrace of evocative and tantalising beauty with new single NightLight its mesmeric pinnacle.

From the first kiss of dark strings, the song has ears and imagination enthralled, its melancholic seducing an inescapable and picturesque caress of gothic shadows and radiant charm. The alluring enterprise cast by the creative skills of Jingle is as spellbinding as it is emotionally provocative whilst the soothing but equally vibrant voice of D.D., backed by the bewitching harmonies of the pair, takes ears and thoughts on a celestial flight through the darker climate of the song. There is also a virulent infectiousness washing through the encounter, colluding with less open moments of almost sinister persuasion, a potency which by the track’s end had us thinking that if a British TV company did their own version of American Horror Story, this would be the prefect theme tune.

Though having being impressed by the EP, it was NightLight which actually blew us away, and it continues to do so as a single. Something a great and increasing many are finding too.

Nightlight and the In The Dark EP are out now.

http://www.gentiantunes.com/     https://www.facebook.com/GentianGentian1

RingMaster 03/05/2015

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

 

Yeallow – The Trick

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Yeallow is a French band which plays Brit rock; well that is the unexpected sound which their bio states they produce. Taken from their latest album, the Strasbourg quartet has just released new single The Trick to follow up a series of shows in the UK and reveal what their music is actually like, sounds which have feet and appetite happily involved within moments. It reveals that the tag only vaguely hints at the flavoursome concoction of styles which actually converge within the band’s music, though there is no escaping opens whispers of bands like Muse, XTC, and Pulp either.

The band openly pulls on a wide range of styles for their music, sounds and ideas which come from the wide musical backgrounds to and influences upon its members. Everything from jazz to blues, alternative rock to thrash adds spices to the creative pot of four musicians on an adventure “built around a story of strong friendship where the vital need to make music is the common denominator.” The release of Yeallow’s first album 2891 seconds in 2010 quickly lured the attention of a promoter in the US, leading to the band playing a tour of legendary Los Angeles and San Francisco clubs which included venues such as Whisky a go-go and Cat Club. Back in France the band’s stature and success equally rose whilst a tour of the UK in 2012 had British audiences catching on to the band’s sound. It is fair to say that the band has made a widespread impact with a series of tracks/singles across the next couple of years continuing to keep things bubbling, especially the 2014 released Clocks. It is new album Homebred which has ignited the broadest attention yet upon the foursome of Fred aka PMGM (vocals, guitar, keyboards), Ted (guitar, backing vocals), Bill (bass), and Ced (drums), backed by the tour and now The Trick.

Bass and guitars offer an initial drama with their potent entrance before the single quickly settles down into a feisty stride with raw riffs and sharp hooks. The song relaxes into a mellower gait though as the vocals come in, the bass providing a throbbing background to voice and jangling guitar tempting. The track’s scenery is ever evolving though, unpredictable melodies amidst flowing sonic enterprise teasing and sparking the imagination further whilst the rhythmic underbelly of the track never relents in offering low key but constant anthemic bait. Small and engaging crescendos only add to the infectiousness of the song and though it is not an encounter to blow your socks off, it worms under the skin and incites more enjoyment with every listen.

The Trick is a smart and inviting lure into the band and indeed their new album, a temptation ultimately hard to ignore.

The Trick is out now and the album Homebred @ http://yeallow.bandcamp.com/album/homebred

http://www.yeallow.net/     https://www.facebook.com/Yeallow.Club

RingMaster 03/05/2015

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

Kosoti – Gone Too Far

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Having had our attention awoken and ears pleased by previous single Bark and Sticks it was hard not to take an intrigued and keen smile into the next offering from UK folk/rock pop band Kosoti. Gone Too Far is the band’s new release, a song which builds on the qualities of its accomplished predecessor and discovers some of the ingredients which it was also slightly lacking. Those elements are a potent addition to Gone Too Far, the song alive with a creative drama absent on its magnetic predecessor. The song starts as another inviting simmering engagement on the ear but evolves into an anthemic and emotionally rousing incitement to light the passions.

Kosoti - Gone Too Far - Cover Art   The beginnings and seeds of the Newcastle hailing Kosoti spring from a near death experience in 2013 experienced by lead singer and songwriter Allan Hyslop. Realising he needed to treasure every moment of his life by doing what he loved most, writing and performing music, Hyslop began linking up with musicians and friends to “write songs and enjoy each other’s company.” Around eighteen months ago new personnel brought a fresh spark to the band’s impetus and an emerging sound different to what they were crafting previously. The band released the War/Pirouettes single early 2014 following it with the acclaimed Cradle EP and the even more successful Bark and Stick, a song drawing in new fans and greater media attention with its release. In hindsight it too in was in many ways just a flavoursome taster for bigger bolder things, songs like Gone Too Far.

With Christos Worsley, George Hutton, Paul Holdsworth, Rebecca Gregson, and Seth Tinsley alongside Hyslop, the Adrian Hall produced Gone Too Far opens with an inviting caress of guitar wrapping the warm tones of Hyslop’s voice, an entrance added to by the supporting melodic tones of Gregson. There is an immediate harmony between the voices which provide a thrilling constant within Kosoti songs. The gentle smoulder of the track is subsequently infused with a burst of heat, bolder rhythms and evocative textures erupting for a few seconds to provide a hint of things to come before the song relaxes into another mellow but slightly more agitated emotive enticing. The climactic moments posing as a chorus return again and again with increasing effect, a creative and impassioned roar punctuating the sensitive moments of song and narrative whilst igniting richer hues of drama and emotional anguish.

It is a gripping element but so is the song as a whole with its intimate shadow kissed peace as compelling a presence as the dynamic eruptions. As enjoyable and impressive as Bark and Sticks and songs before were, they are outshone by Gone Too Far, a slice of aural theatre revealing new and exciting potential within the sound and imagination of the band.

Gone Too Far is available now @ https://www.musicglue.com/kosoti/products/gone-too-far-mp3-320kbps/

https://www.facebook.com/kosotimusic   http://www.kosoti.com/

Upcoming Kosoti Gigs:

Friday 15.05.15 – The Great Escape Festival, Brighton (venue TBC)

Tuesday 19.05.15 – The Cluny 2, Newcastle Upon Tyne (with special guests Lake Malawi)

Saturday 27.06.15 – Northumberland Live Festival, The Links, Blyth.

Sunday 12.07.15 – Mouth of the Tyne Festival, Tynemouth, UK

RingMaster 28/04/2015

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

Hentai Babies – YO!

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Managing to persistently sound familiar and simultaneously unique, primarily down to having developed a one of a kind vivacious sound, UK indie popsters Hentai Babies have been one of the most criminally ignored bands in the British rock scene. Well that is not entirely true as the duo from the Isle of Wight has forged an increasingly devoured live presence and found a flood of radio play with independent radio shows and station, with Reputation Radio leading the way. National awareness it is fair to say has not yet been breached though, despite a host of ridiculously contagious and creatively blistering singles. That may all change now with the release of the band’s debut album YO!, a mouth-watering devilment which sooner than it takes a door knocking Jehovah Witness to clear a lively street, has body and emotions involved in one exhausting and exhilarating stomp.

Formed in 2012 and consisting of vocalist/guitarist/ programmer Paul McCann and bassist Bianca Kelly, Hentai Babies create pop rock with an inescapable addictiveness. Once infested by their sounds there is no escape, it is just getting their jangle into the psyche of the masses which, as all emerging bands find, is the hard part. YO! might and should be that trigger, the spark to widespread recognition for a band and sound which draws on inspirations from the likes of Nirvana, Oasis, Michael Jackson, Smashing Pumpkins, Perfume, Manic Street Preachers, Madonna, and Weezer for their invention, though it is only the latter you would really offer as some kind of reference to the originality of their songs.

The contagious party of YO! starts with Action Jackson, and an instant union of guitar jangles and expressive vocals which have ears and appetite on instant alert. Riffs and rhythms provide a pungent lure from the start too, the basslines of Kelly as throaty as they are seductive, whilst the crisp electronic beats simply match the voracious energy of the song. Punk, pop, indie, it is all in the slice of magnetic rock ‘n’ roll and there is no way anyone will have dormant feet or unused vocal chords by the end of the song. That is a reaction to expect from every song on the album, Canary Into The Cave proving the point straight after. It does have a more reigned in exertion compared to its predecessor, but in sound and enterprise it is just as tenacious and anthemic, and subsequently successful in fully involving the listener physically and emotionally. Hooks and melodies have a spicy tang to their infectious clamour too whilst vocally the band simply stirs up song and ears from start to finish.

cover   Hentai Babies has a busy sound which as shown in the last song, at times can hide some of the great twists and nuances working a way in songs. The second track provides a whimsical kiss of keys from within its depths but easy to miss as you leap around to the call of the encounter. It is not an issue or flaw but something extra to discover over subsequent plays, not that you are ever given a moment to take a breath with Yo!, the following One Potato Two quickly jabbing with an initial tease of guitar and punchy beats provided by guest drummer Rían O’Gandhi, before opening up into another full-on stroll coloured by a swaggering bassline and the ever alluring vocals. Lyrically repetition plays a big part of songs which might not work as well for some as others across a whole album, but it definitely only reinforces the anthemic quality of songs and makes them even easier to join in on, much to the neighbour’s annoyance admittedly.

Pop Is My Prozac comes next and despite its title actually has body and psyche even more agitated even with its gentler persuasion. No one told the hooks and infectiousness of the song to take it easy on the listener and again by its close the temptress of a song has you gasping for air before Something Uncomfortable strolls in. It also has a mellower presence then plenty of those around it but with a thick rock roar and sinew crafted rhythms to it, the song provides a fresh melodic blaze to the variety to the album.

US band Super Happy Fun Club come to mind with Sports Jerk which follows; a bounding romp of a song with a hook which spirals like a pole dancer around the appetite, whilst the following Harmony swerves and flirts with it grooves and spicy melodies for the same epidemic effect. Both tracks are newer ones in the imagination of McCann’s songwriting and explore new twists of sound and texture, whilst unearthing an even juicier form of the discord which always lights up their songs.

   A swift leap at ears, Bubblegum offers no polite introduction as it explodes in a blur of energy and sonic contagion. Hooks grin and riffs bristle as the punk infested song aggressively bounces around as if carrying ADHD, whilst vocally the band finds their most raucous persuasion yet. It is another leaving exhaustion in its wake though for maybe the only time, the band allows some respite from its energetic tempest with Nail On The Head. A dark flirty bassline comes wrapped in surf rock seeded melodies whilst the vocals also show some reserve in their delivery. A sixties rock pop hue emerges to embrace the enterprise of the guitar, and at one point the image of Freddie and The Dreamers swinging their deranged legs along to the song does came to mind.

Everything feistily erupts again with Super Sad, a song also opening with a big hook which has seeds in the pop of earlier decades. Addiction is a given with YO! and it shows no mercy here; vocally and musically the track an insatiable dance of pop punk ingenuity, quickly matched by the sonic and vocal croon of Sober As A Judge. The diversity of the album never diminishes as each song makes its offering, the penultimate incitement embracing a melancholic and reflective sentiment with matching melodic understanding.

Hentai Babies leave on one final bang in the rowdy shape of Go Fish. The song is a predator, riffs and bassline almost carnivorous whilst the beats sting on impact. Vocally too there is an attitude which snarls with every syllable yet that constant instinct inside the band to brew an epidemic riot of fun and body manipulation is an unavoidable temptation. The song is punk rock at its most boisterously infectious and a seismic end to a quite exhilarating album.

If after YO! Hentai Babies is still an unknown quantity then the nation is deaf, blind, or stupid. For us in the know though nothing changes, the band still remains one of the best unsung talents in the British music scene and equally one of the most exciting.

YO! is out now as a name your own price download @ https://hentaibabies.bandcamp.com/album/yo

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

RingMaster 23/04/2015

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

 

The Cathode Ray – Infinite Variety

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The energy around the arrival of and anticipation for Infinite Variety, the second album from Scottish band The Cathode Ray, ensured that intrigue and enthusiasm of a great many was high going into the release. It is fair to say that the proposition not only lives up to hopes and expectations placed upon it but leaves them lightweight against its kaleidoscope of fun, sound, and adventure. What was not predicted here was the nostalgic impact it had on ears and thoughts, as well as memory, for our first time with the band. Musically it weaves in essences from the seventies and eighties into an invigorating modern tenacity but it was finding out the background to the members which inspired us to first trawl through cases of vinyl on a nostalgia trip to relive old favourites ashamedly neglected over time.

Formed in 2006, The Cathode Ray was initially a song-writing collaboration between Jeremy Thoms and ex-Josef K frontman and solo artist Paul Haig, a band and solo project straight away dug out for a reprise in the ears. A couple of well-received singles followed before Haig left the project in 2009. Taking it over Thom enlisted guitarist Steve Fraser once of Edinburgh post punk band the Scars, another enslaving proposition for our passions way back, and alongside him drummer David Mack and bassist Neil Baldwin to complete a new line-up, the latter bringing another search through boxes to relive the glories of the disgracefully under-rated Bluebells and post-punk group TV21. Once that was out of the system it was full-steam ahead with Infinite Variety, an album swiftly living up and more to anything its creators may have helped craft before.

The album’s landscape uses various decades of sound as its palette, twisting and shaping them into unique and colourful proposals with a lyrical exploration to match. Said to loosely be a concept album, Infinite Variety visually and aurally references the natural world whilst looking at emotions involved with the human condition. The songs are kind of bundled into three areas; ‘fear, paranoia, lust and betrayal’ spicing the first few songs before looks at ‘transformation, honesty and realisation’ and subsequently love in various light and dark forms flavour the tracks. Like in a kaleidoscope though, it all seems to disarrange and evolve with every twist of a track to provide an on-going and increasingly fascinating adventure.

10425081_1014104828616219_3923383927065033299_n   That diversity to songs is one of many potent aspects to the album and it all starts with the outstanding Backed Up. A simple rub of guitar and accompanying cowbell prods make first contact, soon joined by crisp beats and an expanding coaxing of melodic enticing. The expressive tones of Thoms join the widening incitement next, his entrance awakening bolder enterprise in the guitars, whilst riffs and hooks come with a great post-punk spicing. The reserved but lively melodic invention provides a sultry colouring which the dark bass tones wonderfully temper whilst vocally Thom drives it all with a voice which is like a mix of Pete Shelley and Ste McCabe to offer another rich texture within the potent album starter.

It is a strong beginning straight away eclipsed by the outstanding Resist, one of the most addictive slices of warped pop you will come across this year. Its hooks instantly get under the skin and into the psyche, swiftly followed by the vocals and the thick bass bait. The song’s infectiousness is simply virulent bringing a whiff of The Revillos to its power pop stomp, a passing scent not as strong as the Buzzcocks like catchiness which oozes from the following Nowhere At All. Again it is merely a spicing though, this time to a captivating stroll of imaginative percussion, imposing rhythms, and addictive enterprise, all soaked in inescapable contagion.

Don’t Waste Your Words strides in next to bring an addictive lure of hip swinging rock ‘n’ roll. Feet and ears are an early submission, whilst the capture of the imagination is barely a drum stick swing away in the riveting temptation of the song. It is not alone in offering hooks and a presence which are indelible in thoughts and emotions even after the album’s departure, but it is probably the most intoxicating though matched straight away by the excellent Buck The Trend, a song with a healthy breath of Tom Verlaine and Television to it. Keys and guitar spin a gorgeous eighties web for the rhythmic and vocal prowess of the song to pull this way and that, a combination sculpting another major highlight in the album. There are times across Infinite Variety, like here, where thoughts wonder if the band may have missed the boat with their sound in the fact that The Cathode Ray would have surely been a big inspirational player in the eighties. Every time that suggestion raises its head though band and album almost in anticipation provides evidence to differ, like No Holds Barred which comes next, proving that they are definitely a perfect fit for the now. The song is a slower but similarly infectious offering with a held in check energy which still has body and emotions swaying feistily with its low key and thoroughly addictive swagger. Once more riffs and melodies combine to create a fresh twist and distinct romp of sound and invention in the album.

The brilliant Eureka Moment! is simply a montage of eighties goodness crafted into a transfixing and exotic jungle of imagination fuelled rhythms, Scars like sonic sweeps, and Bluebells bred melodies. It feels like a song dipping into its creators past exploits and those of others whilst equally drawing on new ingenuity. The John Foxx led version of Ultravox comes to mind as does The Creatures as the track seduces and incites but again they are just particular hues in an new enthralling and thrilling aural conjuring by the band.

This Force Of Nature brings its flowing melodic breeze next, female vocals seducing alongside the tones of Thoms, whilst Torn Apart explores an immersive and haunting cavern of sonic reflection which in many ways has seeds to the likes of House of Love and My Bloody Valentine. The absorbing and mesmeric encounter, as so many songs, keeps the album turning over in imagination and invention, as well as variety, before making way for the post punk croon of The Eyes Are The Window To The Soul. With a bassline which recalls early Cure and an Orange Juice like jangle to its chords, the song is bewitching and engagingly dramatic like a modern day Associates.

The album is closed by the elegant reflection of Saving Grace, a semi-acoustic ballad which simply whisks ears and thoughts off into hope soaked clouds under a smouldering exotic sun of melodic temptation. The song is spellbinding but also only telling half the story at this point. Around mid-way the calm is suddenly infused with ominous rhythms and sinister keys, nothing over imposing but certainly a brewing provocation which is soon ripe with surf rock tendrils of guitar and a tempestuous air. As if warning that good times still offer a stormy adventure, the track is irresistible manna for ears and imagination with seven minutes of sonic alchemy.

Infinite Variety is quite breath-taking, leaving thoughts basking and appetite hungry for much more. There have been many releases and bands recently creating real triumphs of nostalgia and new invention, but The Cathode Ray tops the lot.

Infinite Variety is available through Stereogram Recordings now on CD and download via http://www.stereogramrecordings.co.uk/audio/infinite-variety-the-cathode-ray-cddl/

https://www.facebook.com/thecathoderay

RingMaster 21/04/2015

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

Juniors – Barcelona

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With singles sparking some keen interest and a live presence which has earned the band the chance to play the Leeds and Reading Festival last year, it is fair to say that UK indie pop band Juniors is beginning to make attention luring waves within the British music scene. Now the Leicester quartet is releasing debut EP Barcelona, a proposition building on the impact of those early singles and set to further the band’s already potent reputation.

The birth of Juniors came with the conveniently timed demise of its founding member’s previous bands. This was in 2013, and the moment vocalist/guitarist Jamie Hives, bassist Jake Tasker, and drummer William Bond, already school friends, linked up musically. Working on their sound, the trio subsequently enlisted guitarist Daniel Lee to the line-up in the following year and swiftly set about having a strong 2014, which as mentioned saw the band play Leeds and Reading. It was a year where the band also found itself earning interest and plays with BBC Introducing shows in the UK through the singles We Swim and Declare & Surrender as well as spins on BBC Radio 1’s Jen and Ally show. Now it is Barcelona primed to wake up a new and greater national spotlight on the band, and though the release does not blow the socks off it easily makes Juniors a prospect to keep a close eye on with its striking potential.

Picture 42  The release opens with new single Elusion, a song which from its first acidic and inviting embrace of keys within a rhythmic and sonic web has ears and attention gripped. The just as swiftly engaging vocals of Hives begin to unveil the evocative narrative and emotion of the song soon after, backed imaginatively by a strong creative weave woven by the guitars and a hearty and indeed earthy bass sound. The core of the song is an inventive and accomplished proposal which seems to gain strength and persuasion with every listen whilst the citric wash of keys is simultaneously at odds with and a potent compliment to the sounds within its reach. It is an intriguing and enjoyable blend, a busy and slightly tempestuous one which allows the song and band stand out.

As mentioned previously, Juniors is tagged as indie pop but there is a great raw edge and aggressive roar to their sound and presence which continues from the opener into the following We Swim. The song definitely has a more reserved and emotively mellow presence than its predecessor but with punchy rhythms and cloudy atmosphere aligning themselves to great vocal harmonies and sparking guitar enterprise it offers a forceful rather than gentle encouragement to embrace its appetising lures. The song, as the release, does not exactly create a brand new adventure yet there is something fresh and rigorously captivating about the band and sound which takes both to the outer edge of the crowd if not yet completely away from it.

Declare & Surrender steps up next with a misty ambience equipped with floating harmonies as its initial tempting and an emotive flame of melodies and vocals as its body. It is a potent weight of tempting punctuated by the ever pungent and heavily hitting swings of Bond and coloured by the shadow clad tones of Tasker’s bass. Through the sonic imagination of Lee and Hives there is a beaming progressive essence to the song too which definitely argues against the band being merely tagged as indie pop, yet has that catchiness soaking its sound which supports the suggestion.

It is a fine end to a richly satisfying bigger introduction to Juniors. People are already expecting big things from and for the band ahead and though only one EP, Barcelona does nothing to raise any doubts or questions. We will all have to wait and see but with more offerings like this it will be with an eager breath.

The Barcelona EP is available via Robot Needs Home from April 20th @ http://itunes.apple.com/album/id970561123

https://www.facebook.com/Juniorsband   https://twitter.com/juniorsjuniors

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