The Reveurs – Take a Bow

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Hailing from Manchester, indie rock band The Reveurs reveals their new single this week, a potent and resourceful slice of melodic rock with an intensive edge to its sound and nature. Consisting of two tracks, Take a Bow is not a spectacular explosion in the ear but an easily endearing and persuasive encounter only aiding the potent emergence of the British quartet.

Formed late2013, The Reveurs has certainly become an eagerly followed local proposition with a sound spiced by the influences of bands like Kings of Leon, Arctic Monkeys, and The Strokes. Their presence has been seeping into the appetites of those further afield too, something Take a Bow has the potential to take to a much broader success. As mentioned, the single does not leap out in an attention grabbing exploit but more smoulders and lingers, sparking a keen appetite and want to hear more of the band’s sound.

Take a Bow bounds in with energy and vivacity from the off, hooks and rhythms a feisty yet undemanding invitation. The song soon has ears and imagination intrigued, aided by a brewing image1drama in those self-same opening lures and the melodic expression of song as well as the strong vocals of guitarist Gary Nelson. The punchy beats of drummer Ben Devenport command attention too, as does the throaty bass of Adam Molyneux, whilst the melodic strains cast by the guitars of Nelson and Iain Brewster create and colour the dramatic canvas of the song with magnetic hues. There is a sense that the song wants to explode into a more riotous endeavour at times but is held in check by the band for a fascinating and ultimately alluring proposal. There are moments you wish it would escape its reins but equally embrace the restraint and imagination of the band’s songwriting as the track leaves satisfaction full and ears keen for more.

This extra enjoyment comes in the accompanying Harriet, a more raucous but still melodically fuelled romp of catchy rock ‘n’ roll. More contagious than its predecessor though arguably less involved, the song takes the listener on a warm and vibrant stroll framed by a great rhythmic enterprise lined by an evolving bait of tangy hooks and spicy melodies. The track makes a highly agreeable and infectious companion to Take a Bow, both tracks showing why the band is held in high regard in their home city.

The single will certainly awaken a wider interest and awareness of The Reveurs, something the band has the potential to exploit to even greater degrees ahead, that an expectation already firmly assumed here.

Take a Bow is available from March 16th

http://www.thereveurs.co.uk/     https://www.facebook.com/TheReveurs/

Upcoming Live Dates for The Reveurs include:

27th March – Verve Bar – Leeds

3rd April – Sound – Liverpool

25th April – Etihad Stadium (City Square)

3rd May – Castle Hotel – Manchester

6th June – Carpe Diem – Leeds

RingMaster 16/03/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Matinée – These Days

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Taken from their acclaimed debut album, Matinée confirm themselves as one of the UK’s best emerging melodically magnetic propositions with new single These Days. The title track of their strongly impressing full-length, the track is a warm and vibrant romp eager to involve the nation’s ears and passions in its tantalising dance. It is a catchy adventure of melodic enterprise and indie rock tenacity, a capture of ears and imagination reminding fans of and nudging newcomers towards their colourful sound and striking album.

With a name inspired by the Franz Ferdinand song of the same name, the Italy hailing, London based Matinée is no stranger to potent attention through not only their singles and album but a live presence which has seen them sharing stages with the likes of indeed Franz Ferdinand as well as Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many. Not only at home but into Europe and especially Italy, their stature has increasingly grown and been matched by media attention over time too, most potently through the Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days album which pushed the quartet of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals, bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums) into the broadest recognition yet.

Now it is the turn of their single to bring another wave of keen interest their way and from its opening moments These Days shows a potency to do just that. The opening tangle of guitar and synth bred melodies is an immediate inescapable invitation, especially once the warm tones of Tibeiro join the enchanting start. The song is soon showing bigger muscles though as a dark bassline colludes with punchy beats, their union an imposing yet respectful frame around the emerging weave of melodic revelry and harmonic temptation. It is a lively and invigorating mix, not explosive but a captivating festivity of voice and sound gripping feet and thoughts as easily as ears and emotions.

The song is pure rock pop for a summer day but similarly a warming romp for colder and darker moments. The perfect doorway into the arms of their album, though not the greatest moment on said release, which with the single’s impressive proposition will only excite newcomers, These Days is a heartily and thoroughly recommended encounter, album or single.

These Days is released March 16th

http://www.matineeband.com/   https://www.facebook.com/thematineeband

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

The Hokum – Mind Over Matter

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With more than a feisty breath of eighties new wave to it, Mind Over Matter the new single from UK indie pop band The Hokum, is one of those encounters which either instinctively hits the sweet spot or at least tempts ears with a nostalgic flirtation. Certainly the song is just as boldly modern as it is seeded in former decades, but there is no escaping licking lips at its Sparks meets China Crisis meets Split Enz adventure.

Hailing from Sheffield, The Hokum is a quartet yet to trigger the kind of spotlight their sound and presence deserves, though they have been featured on Tom Robinson’s Mixtape, Minster Fm and BBC Radio Sheffield to date. Debut album Fools, Mules and Baggage… has been doing its impressive bit to stir up ears and appetites since its release in the autumn of last year also, but maybe it will be the second single taken from it which turns the key to a national awareness. Certainly Mind Over Matter will be luring and exciting a great many new appetites for the band The hokum singlesuch it’s mischievous and magnetically infectiousness and quirky charm.

The opening rhythmic coaxing of the song swiftly has ears and attention, not forgetting toes keenly interested; an intrigue only enhanced by the raw but magnetic stroke of guitar. Vocally too, song and band takes a strong hold whilst the chorus which predominately steals the show with its repetitive anthemic potency, grips even tighter with a power pop vivacity. Equally though there is a clever underlying contagion to the open surface and more involved invention of the song, each hook and melody seemingly familiar yet wrapped in a refreshing uniqueness that sets it and band apart from the crowd.

The Hokum stand at the edge of broader attention thanks to their album, nudging and teasing it with their tantalising sound. Mind Over Matter could be the push taking the band right into the gaze of the UK rock scene; if not it is easy to expect that recognition is coming soon.

Mind Over Matter is available from February 23rd

Upcoming live dates for The Hokum:

3.03.15 Red House, Sheffield

02.05.15 Shakespeare, Sheffield

29.05.15 Plug, Sheffield,

https://www.facebook.com/hokum.the

RingMaster 21/02/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Cable Street Collective – The Best of Times

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Back in the day, the UK was once under the spell of the South African kwela song Tom Hark. It was an encounter uncaged by The Piranhas which gripped the feet and bodies of a large chunk of the nation, an infectious scourge impossible to resist. Now the same kind of epidemic has been unleashed to infest the psyche and passions of the country again, only this time in comes in six insatiable devilments from London bred Cable Street Collective. Led by lead single Can’t Take Me Under, it alone an unscrupulous temptation, the band’s recently released debut EP The Best of Times is a decade of summers rolled into one addictive slice of worldly contagion, or as they call it, Carnival Pop.

Cable Street Collective formed in 2012, emerging at the same London open mic night that produced Denai Moore. With two of its members growing up in Swaziland and Malawi, inspirations and musical passions provide a varied weave from which the band’s dramatically compelling songs are bred. The same kwela influences which fuelled the success of the song from the Brighton band we first mentioned, finds an equally welcome home in the music of Cable Street Collective, but also do other rich flavours and styles from that part of the world alongside Latin enticements and more European bred spices from funk to ska, indie pop to swing, and that is still to peel all the layers from their music. Drawing acclaim with their energetic performances at festivals such as Bestival, Secret Garden Party, Boomtown Fair, and the Lake of Stars Festival in Malawi, the band has been laying down a trail of creative revelry since forming, one coming to its first gripping crescendo in The Best of Times.

The opening twenty second Intro is just a searching of a radio dial to find some flavoursome sounds, a success coming with the sultry sway of Wasted Hours which sidles up to ears in a seductive manner. The instantly magnetic vocals of Fiona Jane cast a warm welcome, an invitation matched by the throaty tones of the bass and the holiday flirtation of the guitars. Rhythms and Picture 15beats energetically pop across the bubbly landscape thereafter as a dynamic revelry begins busying itself. Just as you get a handle on things and hips prepare to swing though, a great unpredictable mischief wrong-foots expectations. It is a brief and pleasing detour which returns again from time to time, but mere moments in a track which is soon back into its refreshing and magnetic shuffle as Fiona almost siren like incites the melodic temptation around her.

It only takes that one song, certainly here to be bound and enslaved by band and release, but to make sure escape is not an option, He’s on Fire erupts next with a thick rockabilly snarl of guitar. Rhythms are swiftly adding their tenacious bait, the bass especially virulent alongside just as dramatically alluring vocals. A song to bring the tenants of cemeteries to rigorous festive life, it is a rhythmic maelstrom complete with an addiction breeding melodic hex and vocals which stir up the devilry like a harmonic carnival barker.

Yin & Prang has a tangy ska like rascality to its kwela sculpted merriment whilst the twining of female and male vocals adds another great twist to an already individual romp. The bass once again lays down a delicious dark throated coaxing over which percussive adventure and diversity relishes its freedom, gripping bodies like a puppeteer as melodies and riffs spark with firework intensity across the mouth-watering escapade.

The sultry seventies funk kissed Interlude (Feel It Fall Apart) bridges its predecessor and the following Can’t Take Me Under, the pulsating instrumental a cauldron of feistily simmering magnetism. Seamlessly slipping out of its climactic heat, the new single sways its rhythmic hips under the song’s virulently smiling melodic enterprise. There is also a slight punkish edge to its character, the track coming over like a tasty mix of Sonic Boom Six and Molotov Jukebox whilst entertaining a wealth of other styles and essences in its infectious alchemy.

The EP is brought to a thrilling end by Two Cities, a more indie pop lined offering with a Holly Walker essence to the vocal and lyrical character of the song. Lyrically across the whole release, the band is just as vivacious and colourful, numerous lines and picture-esque word crafted scenes making their own flirtatious and memorable contributions to the breath-taking encounter.

     The Best of Times is a festival in the ears and a party in the emotions, and one of the most riotously thrilling proposals likely to be enjoyed this year. Cable Street Collective is edging to be our new favourite band, more offerings like this and it will be a done deal.

The Best of Times EP is available on iTunes @ https://itunes.apple.com/gb/album/the-best-of-times/id942762566 and as a physical release now @ http://www.cablestreetcollective.co.uk/?product=best-of-times-album whilst new single Can’t Take Me Under is available from February 16th again through iTunes.

https://www.facebook.com/cablestreetcollective/

RingMaster 16/02/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Rathborne – Soft

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If you have not come across Luke Rathborne, or indeed Rathbone the band surrounding his songwriting skills, do not worry as the healthy buzz around both back in the US is sure to brew up a similar excitement over this side of the pond thanks to the release of new album Soft. An energetic package of tenaciously varied rock ‘n’ roll, the release shows itself to be as at home and accomplished exploring punk, garage rock and indie pop as it is reaping the essences of alternative and seventies American rock. It is a compelling and more often than not an irresistible stomp which will warm up any playlist given the chance.

Hailing from Brunswick in Maine and New York based, man and band make light work of enticing and exciting ears upon the Albert Hammond Jnr of The Strokes, co-produced Soft. Its title track is the first persuasion and swiftly surrounds ears with a dirty but melodically washed sonic temptation. It is raw and wonderfully distorted pop over a scuzzy slow prowl; the union almost Beck meets The Strokes like in its volatile and fiery enterprise. Immediately imagination and appetite are aroused, and given another incendiary spark with the following What More. Cleaner in its energetic pop revelry but still harbouring a great raw edge, the track is a mix of The Cars and Tom Petty and the Heartbreakers, and swift example of the diversity rife within the album.

I’m So Tired steps up next, its Americana like colouring blending with the seventies pop spiced infectiousness coursing through its lively balladry. Though the song does not quite match up to those before or right after, it leaves ears and attention engrossed ready for the outstanding Eno which steps up with its Tom Verlaine and Television like vocal and musical endeavour. A lively romp with addictive qualities, the track reinforces the already thick variety to songs, yet despite their seriously individual characters, each sits perfectly alongside the next as proven once again by the punk lined Low! which soon has feet and emotions bouncing around as if on a power pop trampoline. As many of the tracks, it is a short and insatiable provocateur which almost revels in mischievous intent as it lures, incites, and then runs before the listener can reach the pinnacle of its physical and emotional involvement.

A country breath embraces Little Moment which comes next, the song a radiant encounter hugging a great additional female vocal. It does not spark the same reactions as its companions but that is down to a personal dislike of country flavours and not any real issue with the agreeably crafted song. Particular tastes are soon back on board with the punchy Wanna Be You with its strong throaty bassline and melodic winery, and even more so after the Dylan-esque bluesy tang of Deal, with the rampant catchiness of Why. The track flirts with a bounding rhythmic gait and grungy sonic teasing from the guitars whilst vocally too there is a Nirvana like graze to the delivery. It is another inescapable treat within Soft leaving the garage/hard rock stroll of So Long NYC to close things out in highly satisfying style.

It is fair to say that Soft is one of those albums which are very hard to get out of the head. It might not elevate to being a heart embraced favourite but it definitely gets under the skin and stays with thoughts and emotions, returning whenever it pleases with certain hooks and melodies.

Soft is available now via True Believer and @ http://lukerathborne.bandcamp.com/

https://www.facebook.com/lukerathborne

RingMaster 16/02/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

From Kid – You Can Have All The Wonders

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It does not take long to understand the buzz around and anticipation for You Can Have All The Wonders, the debut album from Swiss electronic folk/pop band From Kid. Within a couple of songs the twelve track proposition has ears seduced and emotions invigorated with its refreshing presence. Embracing as big an array of emotions as it does sounds the release is a captivating romance for the senses and imagination. It persistently impresses and thrills whether it is charming the listener with a melancholic seduction or revelling in an intoxicating tenacity.

Recorded in an old farmhouse in Switzerland, You Can Have All The Wonders is the majestic invention of duo Andrin Berchtold and Gian Reto Camenisch. The pair has upon their first album, entwined virulent melodic temptation with warm immersive harmonies all within emotionally coloured atmospheres. Aided by Gianluca Giger and Sascha Frischknecht, the pair’s songs inhabit sonic landscapes which are broadly ethereal and reflectively intimate simultaneously, yet each discovering its own distinct character and gentle but striking drama. They engulf the senses and thoughts with a lingering persuasion, each slow evocative hug or lively dance as inescapable long-term as they are ridiculously infectious face to face.

Emerging on a distant breeze of sonic coaxing, opening track Applause is swiftly stealing firm attention as a mesmeric charm of vocals strokes ears from within an ever closing melodic ambience. Beats rumble in the background as does a feistier agitation of electronic tempting, their presence seemingly growing impatient so it is not long before the song expels its shadow wrapped breath of potent keys and electro imagination. The glorious vocals of Berchtold and Camenisch steal focus and song though; every note and syllable shared an infectious seducing with shadowy undertones.

The impressive start is matched by the more rigorously opening Need of Our Skin, a similarly relaxed and slightly spatial exploration of sound and emotions. Arguably the expression of the piano has even greater drama in every single note, that evocative touch slightly portentous but tempered by the melodic mediation of the sensational vocals. There is a warmth to the song but as suggested also a colder angst, both perfectly crafted by the sounds without any favouring so the track is as rounded and magnetic as possible; something easily applying to the energetic shuffle of Come In which comes next. Electro pop with sturdier rhythmic bait, the song swings with the senses for a seriously infectious dance just irresistible to feet and voice.10252170_983348065015557_3211684565642470918_n

Itself brings a folkish beauty next which certainly has a scent of Simon and Garfunkel to it at times, though the song equally develops its own unique weave of voice and melodies over an almost cinematic electronic soundscape. Its harmonic flame makes way for the addictive imagination of This is All, another ridiculously contagious stroll which flirts with a techno and synth pop colouring for its fluid mix of curvy saunters and bouncing energy. There is nothing but peaks across You Can Have All The Wonders, but this track is one with snow on its lofty heights.

Both the easy going and perky sounds of Wonders and the gentle romancing of Water Flows keep album and listener wrapped in each other’s arms, the first crazily catchy and impossible to resist and the second a smooth glaze of emotional and melodic humidity. Each is individual in presence to themselves and other tracks, but united in exciting and enslaving attention and an increasingly greedy appetite for the album, a hunger sparked again by the outstanding Colors and its hypnotic coaxing bred from a minimalistic but binding guitar melody. Around it though, air is a building tension whilst vocals and bass probe from different ends of light to collude in tantalising the senses.

Closing Scene fascinates next, vocals and keys bringing melodies casting a sunset of warm beauty but brought back to earth by the wonderfully sombre almost funereal ambience of the surrounding synths and the sobering pyres of brass fuelled sound. The track is enthralling, quite breath-taking in its dark way as it takes the listener into calm but haunted waters before freeing them again for the carnival-esque swing of Waltz. With a slither of gypsy and vaudeville folk to its irresistible minuet, the song sculpts another major temptation beautifully teased and presented by From Kid.

The closing pair of Underground and Dead Ends struggle to match the previous song but each leaves rich satisfaction, the first through its unpredictable and almost volatile energy and the last with its humid and dramatic atmospheric and vocal balladry. You Can Have All The Wonders ends in safe and inventive hands, and as much as we looked for something to temper our enthusiasm just a touch in these songs and elsewhere for the release, truly this is an album to unreservedly share with every dark clouded day and summer festivity.

You Can Have All The Wonders is available now on CD and digitally via Sonic Service @ http://smarturl.it/fromkid

http://www.fromkid.com/

RingMaster 02/02/2015

Copyright RingMaster: MyFreeCopyright

http://www.thereputationlabel.today

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The Little Secrets – All I Need

 

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There is a charm to the music of UK indie pop band The Little Secrets, going by debut single All I Need, which is quite inescapable and irresistible. The song does not send senses and emotions whirling yet it lingers and seduces with long term potency, springing back in memory and thoughts whenever it pleases. One song does not reveal the whole picture of any band but All I Need it is fair to say makes a rather strong and persuasive colour for the Liverpool duo.

The Little Secrets began in 2010 after multi-instrumentalist Kevin Dixon spotted and met vocalist Stacy Jo at Liverpool’s world famous Cavern Club whilst she was singing with another band. Subsequently creatively uniting, the pair took a couple of years writing and exploring various line-ups and sounds before honing an infectious pop driven adventure as heard vibrantly on their first single. Released via Edge Hill University’s The Label Recordings, and already received keen radio support, All I Need is a slice of summer revelry sure to warm up anyone’s day.Picture 5

A great mix of feisty beats and a noise kissed tease of guitar tempts ears first, their magnetic unity the lead into a lively caress of guitar melodies and a courting dark bassline. They in turn are romanced by the magnetic vocals of Stacy Jo and just as flavoursome accompanying harmonies, her entrance seeming to warm up the energy and expression of the melodic seduction of the song even more. Into its contagious stride soon after, the song brings a great Kirsty MacColl feel to it in sound and voice, that earlier mentioned charm and warmth oozing from every polite hook and croon like melody offered.

Time will tell if The Little Secrets can fulfil the promise and initial acclaim All I Need has and is destined for, but we will not be betting against them.

All I Need is available from January 26th via The Label Recordings

http://www.thelittlesecrets.co.uk/

RingMaster 26/01/2015

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

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