Mala Ruckus – People Mountain People Sea

Formed in Dalian, China, consisting of 5 musicians from 4 different countries and now residing in Prague, in the Czech Republic, Mala Ruckus and their seriously captivating sound is one of the music world’s best kept secrets. Maybe and hopefully that will not be the case for longer with the upcoming release of the band’s debut album, People Mountain People Sea. It is a showcase and rich introduction to the quintet’s multi-flavoured indie folk pop/rock, a collection of songs which get under the skin like a sensuous itch and has the body and emotions bouncing like the first days of summer.

Formed in 2013, Mala Ruckus first came to our attention two years later when they introduced themselves and debut EP Make the Monkey Watch to the site. It offered three lively and swiftly magnetic songs which in hindsight certainly hinted at the wider tapestry of sound now shaping People Mountain People Sea. Those tracks make up a quarter of the album and sound as fresh and exciting amongst their new companions as the first day heard. That is the key to the band’s sound, its ability to feel as refreshing as its first listen a hundred times later, that coupled to a bold imaginative and an instinctive aptitude to be virulently infectious no matter how it comes.

Fronted by the instantly magnetically distinctive voice of Canadian vocalist/guitarist Alex Montyro, Mala Ruckus swiftly get down to business with opener Run. Straight away the melody casting strings of Montyro and Ireland bred guitarist Caolon O’Neill Forde coax ears, the crisp beats of American born drummer Sean Rollins lurking and finally adding a skip to the already boisterous song. The keys of Francis Carlisle and the bass of fellow Brit Ian James add their smiling strolls to the swinging encounter thereafter, the song like a fusion of Jim Jiminee and Arctic Monkeys and quite irresistible.

In saying that it is still eclipsed by the following Hoverboards where straightaway the medieval spiced mandolin of O’Neill Forde has ears and imagination hooked. That melodic invitation sparks a boisterous stroll of indie rock pop, rhythms tenacious bait within the track’s energetically melodic shuffle. Montyro’s vocals again just hit the spot as unerringly as the sounds around him, especially the pulsating bassline, kinetic parade of hooks, and the harmonic glaze from across the band.

Trees, Fields is next, the song a calmer but no less catchy proposition with its bold rhythms within a folkier air equipped with a sighing temptation of strings. Like an Autumn sunset, the song is a fine blend of melancholy and warmth becoming increasingly vivacious by the minute before making way for the compelling croon of Words. With a country twang and a more reserved urgency compared to its predecessors, the song sways in ears, sharing another adventurous side to vocals and melodic enterprise whilst echoing the success of those around it.

The sampled opening of Sheets sets the oppressive tone of the world but one soon calmed and evolved by the emerging melodic canter of the track. As with the previous song, its energy and spirit brews by the second, every twist and turn, each vocal and musical touch escalating in creative drama and thickening emotion. There is a Coldplay like scent to the song by its close but in a good way as it stirs the passions up ready for successor East Hastings. From its own gentle and provocative entrance complete with a Latin seeded seduction, the track rises up with evocative drama for a creative helter skelter. Revolving with fervour and diversity, the track is immense; a slice of indie rock theatre as composed and fluid as it is boldly unpredictable and the best song winner.

It is persistently rivalled to be fair, from those before and following such as the jazz funk lined Nowhere Bound with its smoky tone, soulful brass, and hazy melodies,  and in turn Take It Away. The second is a frisky carnival; its Mediterranean swing and smiling melodies pure flirtation backed as teasingly by vocals and its friskier rock ‘n’ roll side. Reminding a little of UK band JacksonsWarehouse, as a few tracks do, the song has hips swinging and spirit bouncing with zeal for four delicious minutes.

New single Beast of our Babylon brings a more sombre breeze to the adventure but with no less captivation and pleasure involved. It is a folk nurtured ballad with melancholic strings and acoustic elegance round the emotive tones of Montyro which just thickens and captivates second by second, maybe missing the mischief of other encounters within the album but rich in creative beauty to spark just as much pleasure.

The following pair of Fire and Ghosts ignite their own dose of lusty acclaim, the first a prime snappy fusion of the band’s folk/indie rock recipe and quite beguiling while the second is the perfect crescendo of energy and spirit. Its build from an emotive kiss and melodic caress is simply sublime, rhythms a brewing tour de force driving the increasing tempo and rousing air looming upon the senses, and its arrival into a virulent rock ‘n’ roll escapade irresistible.

The album departs with Barmaid, a raw sepia hued slice of lively folk seduction which has feet tapping, hips swaying, and vocal chords humming in seconds. Its sorrowful sigh is just as warming as its harmonic tempting and rhythmic teasing providing the perfect way to drift off into the sunset of People Mountain People Sea.

All the promise of that first EP has been exploited within the album but taken to a level not anticipated back then. It is quite wonderful and the fact that the common words coming from those hearing it with us is “Damn this band is good” says it all.

To keep abreast of the release date of People Mountain People Sea and gig news check out https://www.malaruckus.com/     https://www.facebook.com/malaruckus/      https://twitter.com/malaruckus

Pete RingMaster 01/12/2017

Copyright RingMaster: MyFreeCopyright

Tiger Lilly – The Story So Far

Swiftly enamoured with the new single from British singer/songwriter Tiger Lilly, we thought we would rather than focus on one slice of goodness take a full look at the album it masterfully concludes and it proved to be a wise and highly rewarding move. The Story So Far brings together a collection of songs echoing her creativity and releases of the past eight years led by that new single, Broken Glass. It is a ‘best of’ offering in many ways but also a highly tempting introduction to new ears and keener attention of one captivating and imaginative artist.

Named at birth Dani, the Tiger Lilly name began as a consequence of being told she was “too dark to be Wendy” when playing Peter Pan in the playground, being tagged as Tiger Lilly. It was just one moment in her experiences of being bullied at school, one spark which led her to write about her thoughts and feelings in a diary at home whilst listening to music which in turn evolved into poetry and lyric writing to release her over whelming emotions and despair. The ability to share and expel the rawest most honest emotions has given a power to her music which is easy to connect to for whatever reasons which goes hand in hand with her want, need, to help others though music and her Music & Mental Health Awareness workshops which Tiger Lilly takes around the country to talk about subjects close to her heart; bullying, depression, anxiety and living with Borderline Personality Disorder.

Recently becoming the official Artist in Residency at The Westbury Hotel in Mayfair, the Slough hailing songstress creates a tantalising mix of rock, indie, and pop which never fails to surprise and tempt certainly on the evidence of The Story So Far. The album opens up with Chasing Ghosts and immediately has ears transfixed and appetite licking lips as an initial guitar strum is joined by Tiger Lilly’s magnetic voice. An eager catchiness is just as swiftly there teasing attention before the song blossoms into a bold and rousing rock stroll. There is an instinctive power to the sound and energy, one equally bound to passion delivered words but also an unpredictability which only adds to the creative drama and compelling temptation.

The track is superb, a glorious start soon matched in the mellower but no less potent Promises. With a slither of Americana in its melodic sway, impassioned rock in its own highly persuasive roar, the song hits the spot dead centre before Silence is Golden swings in on a melodic canter. There is a Pretenders-esque hue to the tantalising track, a whiff of Fleetwood Mac too as it dances on the senses into the passions.

Three songs in and you just know you need to hear more, an appetite only rewarded in return by the flirtatious antics of Throw Me A Line and the more fiery heart of Over, both taking ears and imagination by boisterous hands. The first is an indie rock tango, every rhythm a mischievous incitement and hook a teasing invitation as the tones and expression of Tiger Lilly enchants with passion, beauty, and energy. Its successor has a more restrained touch to its also lively enticement but energy replaced by a more incendiary intrigue and atmosphere as it bares its soul.

Physically calmer waters are dipped into by Green Eyed Monster though its heart and emotional climate borders on lava-esque as another country like breeze colludes with melodic rock instincts before the following Army provides a plaintive plea with its own emotion arousing crescendos.

Cradled in the emotive poetry of the piano, Tiger Lilly seduces ears and thoughts within New Year next, its melancholic grace and lyrical hope a warm hug while Woman simply bears its heart with melodic elegance and emotional fire. Both songs simply get under the skin though each has to bow to the majesty of closing track and that latest single, Broken Glass. Instantly there is a thicker intensity of shadows; imposing essences skirting voice and melody from the dark corners of the track but held at bay by the beacon of light in keys and voice. It is a highly evocative and magnetic encounter providing the perfect way into the creative and reflective heart of Tiger Lilly.

The album, through track order, is set up to have you rocking and dancing then emotionally embracing and reflecting with never a moment bringing a decrease in pleasure and two way intimacy. The Story So Far has been a captivatingly honest adventure with the next exciting chapter just beginning…

The single Broken Glass is out now on iTunes.

http://www.tigerlillymusic.co.uk/    https://www.facebook.com/tigerlillyofficial    https://twitter.com/tigerlillytweet    https://www.instagram.com/tigerLillyofficial/

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

Echotape – This Could Be Anything

The successor to their well-received debut album, Wicked Way of 2016, UK quartet Echotape has just released the This Could Be Anything, an EP already sparking keen attention and success. It is a flavoursome dose of the band’s increasingly flourishing indie pop/alternative rock blended sound led by a single which in swift time was selected for Topman store UK coverage last month and featured by BBC Introducing.

Linking up with James Lewis (Clean Bandit/ Arctic Monkeys/ Rudimental) for the EP, Echotape have tapped into a fresh new breath in their music hand in hand with greater maturity in songwriting and sound. The EP has an air of confidence which in turn gives even greater energy and boldness to its body in relation to its impressing predecessor. It is an undisguised essence which fuels the striking presence and imagination of opener Forget It, that aforementioned lead single.

Straightaway jangling guitars and the rumbling tones of the bass coax attention; skittish beats dancing alongside as vocals provide their own potent lure within the track’s melodic breath. There is a touch of Skellums to the song as it continues to boldly stroll through ears with a creative swagger and vibrant air. The infectiousness which equally soaks the song seals what is pretty soon an already done deal, its instinctive catchiness gripping feet and spirit in no time for a party in the imagination.

The following Out Of Love similarly makes a fully enticing entrance, its harmonic start breeding another eagerly infectious canter with sultry sighs to its sonic winds and atmospheric suggestion to its melody rich and harmonically glowing skies. Keys and guitars again weave a captivating enticement exploited by the outstanding vocal unity within the band; it all kept relatively earthbound by the grounded but no less tenacious rhythms.

Don’t Want Anyone keeps up the anthemic might of the EP with its own rousing roar. It does not quite have the weight and virulence of the previous pair of songs but easily has feet shuffling and energies sparked with its animated craft and invention before leaving for 4AM to close up the release.

The final song is an emotively honed ballad accentuating the impressive vocal qualities and strengths within the band. It is another moment of captivation which only grows minute by minute into another highly enjoyable and memorable experience. Certainly, Forget It is the jewel in the EP’s crown but every song within its walls suggests that Echotape is ready to embrace far bigger attention.

This Could Be Anything is out now via Believe Digital and Gentlemen Recordings on iTunes and other stores.

https://www.facebook.com/Echotape/    http://twitter.com/echotapeuk

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

Ghost Of Social Networks – If This Isn’t Love

Though being captivated by UK outfit Ghost Of Social Networks is becoming predictable there is nothing feeding expectations when it comes to the songs and invention crafting their appeal. It is a trait just as rampant in new single If This Isn’t Love; a song which holds no surprises in eagerly hungry ears but is a fresh escapade in the adventurous enterprise which has captured the imagination song after song so far.

Ghosts Of Social Networks is the one man project of Manchester based musician/songwriter Nathan Till, though a proposition which expands with the full-time assistance of drummer Ben Dargue and bassist Andrea Gobbi for shows. Early last year, Till released the debut GOSN single in the attention and acclaim grabbing shape of Love Potion/ Mockingbirds; a potent introduction only reinforced and built upon by subsequent singles Comeback Kid, No Going Back, and earlier this year the truly outstanding Outside The Wheel. The last of the releases laid down a new plateau for the sound and imagination of Till, one now magnetically courted by If This Isn’t Love.

Again seeing Till link up with producer Gavin Monaghan (Editors, Robert Plant, The Sherlocks), If This Isn’t Love instantly entices ears with a keen melodic jangle and swiftly entangles them in the following gnarly welcoming hook. As rich bait as they are though, they are the mere key to a surge of infectious temptation driven by boisterous rhythms and the ever alluring tones of Till. Quickly an eighties new wave scented hue emerges; a Paul Haig meets Lloyd Cole air adding extra spice to the track’s tenacious swing. Till is never one to keep things restricted to one line of persuasion though, adding imaginative twists and turns of energy which just add to the song’s boisterous appetite stoking adventure.

Whereas previous single Outside The Wheel slept with darker shadows, If This Isn’t Love sees Till play with openly warmer textures and a pop bred boldness which has hips and feet lustfully engaged even as a lyrical edge teases thoughts. It all makes for another outing with GOSN which leaves pleasure and a hunger for more, rampant…time for an album?

If This Isn’t Love is released 18th August via Integrity Records.

https://www.ghostsofsocialnetworks.com/    https://www.facebook.com/GhostsOfSocialNetworks    https://twitter.com/GOSNmusic

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Best Ex – Ice Cream Anti Social

photo by ana massard

Moving from their more bracing pop punk guise of Candy Hearts to a more electro/indie pop natured proposition, Best Ex has just released their first EP under the new moniker. Offering six slices of warm, bubble gum scented catchiness Ice Cream Anti Social is a swiftly engaging encounter which belies the darker lyrical contemplations within.

Consisting of Mariel Loveland, Matthew Ferraro, and John Clifford, Best Ex have taken the poppy aspect of their Candy Hearts exploits full-on with their fresh evolution though as suggested there is still an edge to things if more in word than sound. Talking about their new EP, singer songwriter Loveland said, “Ice Cream Anti Social is sort of an ode to those moments where you’re alone in your room and reflecting on your life. As a whole, it covers those sorts of thoughts you can’t kick when you’re lying in bed about to fall asleep, or its midnight and you’re in your underwear, eating ice cream out of the carton, wondering what the heck happened to you.

It swiftly has ears and body on board with the single Girlfriend, the song a breeze of infectious warmth and electronic buzzing around the captivating voice of Loveland. Guitars bring a steelier fizz to proceedings, that slight edge courting the unbridled pop heart of the encounter. There is little to not eagerly embrace about the song even if, as its companions, it does not quite venture the realms of uniqueness as boldly as it might have. Nevertheless it is a temptation to greedily devour leading keener intrigue into the synth pop funk of Lonely Life. The eighties tinge of the opener is repeated within its successor, the track like a blend of Bananarama and The Ting Tings and again a captivating invitation on its own to take a lick of  Ice Cream Anti Social.

February 4th is a mellow reflection with poetic strings and melancholic beauty a suggestive charm while the following Someday is another instinctive catchy kiss on the ear, its electronically lined indie pop almost anthemic in its simplicity and organic temptations. It has an increasingly beguiling trait which is emulated by next up See You Again in its rough edged stroll. With a fuzzy hand from the guitars and a Belly-esque lining to the song’s character, it too has feet shuffling and hips swaying with content before Jellyfish brings it all to an appealing close with is ukulele accompanied vocal serenade.

As suggested, Ice Cream Anti Social is not as distinct as it might be or as unpredictable as you may wish but there is no escaping that it is one very flavoursome and easily enjoyable romp to get the era of Best Ex under way.

Ice Cream Anti Social is out now through Alcopop! Records across most online stores and @ https://bestexnj.bandcamp.com/album/ice-cream-anti-social

 

https://www.bestexnj.com/    https://www.facebook.com/bestexnj/    https://twitter.com/CandyHeartsBand

 Pete RingMaster 19/07/2017

Copyright RingMaster: MyFreeCopyright

Tunabunny – PCP Presents Alice In Wonderland Jr

PCP Presents Alice In Wonderland Jr is the new and fifth album from US Transcendental Dance Poppers Tunabunny, a huge adventure which sees the Athens, Georgia hailing quartet at their most poppy, darkest, experimental, and compelling. A double album breaching 28 imagination stoking tracks, it is a kaleidoscope of sound; no track like any other or pretty much any offering from the band to date, and a carousel of creative drama which pushes the listener into places they might not know exist let alone have contemplated.

Apparently PCP Presents Alice In Wonderland Jr is “structured as a song-by-song response to The Beatles’ White Album” and through its songs explores themes such as surveillance, futility, alchemy and winter, metamorphosis and anger whilst its fourth side features a twisting song cycle about motherhood; from pregnancy to birth, through postpartum emotional desolation, to the rebirth of self. Whatever their inspiration, the album’s songs challenge and arouse physically, mentally, and emotionally ensuring you get a full and thrilling workout with the foursome of Mary Jane Hassell, Scott Creney, Brigette Adair Herron, and Jesse Stinnard.

Rather than do our usual track by track look, such its bulging size, we are going to pluck the moments which ignited the imagination most forcibly but be assured barely a moment passes within the whole release without making a potent and appealing impact. From the opening atmospherically sinister Cartesian Theater, a track which appears like an intro but is so much more, Tunabunny set the speakers and passions on fire with Incinerate. A recent single, the track is glorious; a slice of indie pop which has the head bobbing, feet shuffling, and ardour brewing within its first round of seduction. Adding one’s own breath is inevitable to a sublime chorus, the vocals a flirtatious beauty matched in temptation by the gentle swing of the sounds cradling their charm.

There is no better moment within the album but plenty of times rival the height of the superb encounter, the following Noise Problems a swift example with its post punk/new wave canter carrying a definite resemblance to eighties UK band The Passions. The stroll of the bass is as deeply appealing as the wiry jangle of the guitars, vocals again an inescapable magnetism in diversity and harmony whilst the song’s emerging discord is simply delicious.

The indie/psych pop of Seek Consequence is another major magnet; the swaying vocals siren-esque as darker hues brew and evolve behind their lyrical wiles until heatedly bubbling up with a drone like fever while Blackwater Homes rises up from a gentle melodic murmur into another virulently infectious and shadowed canter playing like a mix of Stevie Nicks and Pylon. Worryingly easy to be seduced by its haunting lures, and not for the first or last time fiercely tempting post punk bass bait, the track swiftly worms into the psyche.

The bass again grips the instincts within Oracle, its Psycho Killer like coaxing backed by shiny tendrils of guitar as vocals procrastinate; its success followed by the matching triumph of Start It where PiL meets The Breeders is a good hint to the track’s melodic post punk clamour. These tracks alone show the diversity within PCPPAIWJR, The Raincoats tinged pop clang of Nevermind The Cobblestones and the Slits scented monotone shuffle of Yellow Heart Is My Sky Sign further evidence, both tracks bringing fresh greed in a healthy appetite for the release.

A healthy addictiveness is spawned by the raw swing and charm of the boldly infectious The Way The World Works, the song a dulled yet sparkling gem in the album’s jewellery box of sound and another collusion of band and listener rarely matched outside of the album though within, the minimalistic pop of Me And Nancy, a track with an echo of The Cure on their very first outing, and the dark scuzz fuelled post punk of Pretending To Bend as well as the similarly styled but oh so different Count To Ten rise to the challenge.

There are tracks on the album which explore noise and its depths of suggestion, each inciting the imagination even when they barely grasp a handful of seconds in length; times which really test  but reward the listener’s ability to compose and interpret. With further moments of never less than thoroughly enjoyable and provocative adventure across the album, songs like It Could Be Something, the absorbing and inexplicable Shiftchanger featuring Jason Jackson Wellz, and Magic January all tantalising and enthralling, things are brought to a lengthy imposingly and enjoyable close with the fuzz pop clamour of I Thought I Caught It (With You).

As suggested, every track is a fresh and rewarding twist in the landscape of PCPPAIWJR, not one of them merely filling space and all firing up ears and imagination. Not for the first time Tunabunny has provided not only a real treat to mull over and enjoy, but another new plateau in their invention and imagination.

PCP Presents Alice In Wonderland JR is out now via HHBTM Records @ http://hhbtm.com/item.php?item_id=640 and https://tunabunny.bandcamp.com/album/pcp-presents-alice-in-wonderland-jr

https://www.facebook.com/Tunabunny/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Rat Fancy – Suck A Lemon EP

There is nothing artificial about the saccharine sound of Californian trio Rat Fancy or indeed excessively sweet yet a particular tooth is still a requirement for their sugary melodies and the intimate affability of their music. An instinctive almost sour look at life and its fake lures, often found in the Los Angeles climate the band springs from, ensures things never get too sickly and a similar underlying discordance to their music which ensures intrigue and unpredictability is a potent essence.  It all comes nicely together within Suck A Lemon; the band’s new captivating EP.

Consisting of vocalist/guitarist Diana Barraza (ex-Sweater Girls), guitarist/keyboardist Gregory Johnson, and drummer Gavin Glidewell and formed last year, Rat Fancy has already blessed 2017 with a trio of tracks via their Bandcamp. Each has been a fresh breeze of their shoegaze glazed indie pop now blowing even more eventfully within Suck A Lemon. Across the EP, the threesome resemble a fusion of eighties band Weekend and The Pixies with a light Belly-esque scent to it all; a mix emerging as something deceptively familiar yet distinct to Rat Fancy.

The release opens with I Can’t Dance To The Smiths Anymore and swiftly has ears drawn to its guitar jangle and the sweet tones of Barraza. Keys equally cast an amiable lure as the guitar weaves a magnetic twee toned melody; it all uniting in an infectiously lively serenade at times reminding of another British band from times past, The Freshies.

It is a bright and tempting start which is built upon by the more boisterous exploits of Five Fingers. Rhythms are a tenacious guide into the raw melody woven web of the song, everything from voice and sharp words to a wandering keys bred warble offering enticing hooks taking the EP to another level in no time.

It is a height backed up by the title track, the first of two versions found within Suck A Lemon. This first take has an energetic swing to its melodic carousel and bare sonic dance; a rawness which exposes all of their alluring attributes with honesty as Barraza’s vocals again captivate.

Beyond Belief is a gentle frank caress in sound and emotion with a smouldering melancholy in its charm while About You seduces with a Young Marble Giants like minimalism and beauty which with an emerging darker snarl to the guitars, takes best track honours. Both songs leave intrigue with a greedier focus; the second especially memorable even in its brief tenure of ears.

The EP closes with an equally impressive offering in a slower version of Suck A Lemon and boy does the already strong song blossom in this alternative guise. It is a siren of ears and imagination, so much more than simply a tempering of its earlier energy with Rat Fancy finding a richer presence and allure in its slimmer but more radiant variation.

Rat Fancy make a proper introduction to themselves with the Suck A Lemon EP, a thoroughly enjoyable encounter offering the promise of adventurously bright times ahead with the band.

The Suck A Lemon EP is out now through HHBTM Records and available @ https://ratfancy.bandcamp.com/album/suck-a-lemon and http://hhbtm.com/item.php?item_id=639

http://www.ratfancyla.com/    https://www.facebook.com/ratfancyla    https://twitter.com/ratfancyla

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright