Chick Quest – Vs. Galore

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Their sound is self-tagged as spaghetti western post-punk and their name, as that of their debut album, is pure B-movie manna for the imagination. Chick Quest is a band from Austria who in already a wealth of exceptional releases in 2015, may have just stolen the whole show to date with Vs. Galore. Every essence of it from song title to sultry blazes of brass provides cinematic adventures equipped with rhythms to command feet and sonic temptations to get lustful over. It is a puppeteer for body and soul, an unpredictable and slightly deranged dance of sound and invention providing one of the most intoxicating and exciting debut incitements heard in recent years.

Vienna hailing Chick Quest, began in 2014 with two friends who decided to form a band to play feistily danceable songs based on Spaghetti Western chord progressions and called Lee Van Cleef. With fresh songs under their belt the pair pulled in a bassist and trumpet player, renamed the whole adventure Chick Quest and set about recording their first album. And here we are with the outcome and quite simply it is one of, if not the, best things in indie rock and dark pop you are going to hear this year.

Consisting of vocalist/guitarist/keyboardist Ryan White, drummer Iris Rauh, bassist Magdalena Kraev with the additional talent of trumpeter Christian Sonderegger, Chick Quest instantly get down to startling seduction with album opener Somebody Call a Doctor. A swipe of sultry guitar ignites ears and imagination right away, rubbing away with teasing effect before being joined by punchy beats and a swiftly following more caustic sonic wind. Vocals offer a punk nature to the constantly evolving song whilst the lure of the trumpet and understated melodies within the infectious stomp, have s smouldering western tang seeded in Ennio Morricone compositions. There is also a deranged element to the encounter which simply adds further bait for the appetite to hungrily devour, the whole thing playing like a Swell Maps meets Helldorado revelry.

10306227_1564340900473132_6071600067425424794_n     The following Girl on Fire is even quicker in stealing attention and the passions, the gnarly grouchiness of the bass which brings the song in, alone enslaving ears and emotions. It also has a swagger to its Gang Of Four like lure which aligns with a seductive caress of guitar which appears not long into the magnetic song. The crisp beats of Rauh take their fair share of the brewing lust too, whilst the trumpet…well that just oozes sonic seduction. Once the vocals come in, the whole blend has a feel of The Clash to it, White’s voice alone having a Strummer-esque quality. Basically tangy rock ‘n’ roll with that cinematic quality mentioned in word and musical enterprise, the track is the first pinnacle of the album, but not the last.

Vengeance is Fun bounces in next, an agitated slab of post punk pop with a feel of Baddies and Futureheads to its energetic psychosis of sound. Addictiveness was made for songs like this, its raw rock ‘n’ roll merging with virulently warped pop punk for yet another stonecast favourite and triumph. The flames of brass only adds another twist in the character and psyche of the encounter, an unpredictability which is as potent as the sounds it toys with and again potent fuel for the wonderful exploits of Sounds Like Bruce! which follows. A warmer but no less compelling bass welcome starts the song off with surf bred melodies entwining their dark lure around it with equally virulent temptation. The instrumental sends the imagination into overload, scenes of hot sandy shores with sex and sinister danger across their expanses brewing in thoughts, the song the sizzling soundtrack to untold mischief and espionage.

As exceptional as it is, the track is soon a passing memory as I’m Tired of Pretty Girls prowls into view with attitude and creative devilment in tow. Rauh pounds out an almost predatory shuffle of beats, luring in the listener with tribal incitement before Kraev’s bass unveils its own climatic and dramatic enticement alongside similarly throaty and colourful strokes of guitar. There is a psychotic edge to the song and that is before White opens up the agitated narrative with an equally twisted and unsettling delivery. Fuzzy, dirty, and irresistible, the song virtually stalks the senses with its discord kissed rant for yet another important moment in the health of the album and modern music.

Through the mellower sway of Schatzi and the militant stomp of Explain Yourself to a Bat, band and album has body leaping and pleasure elevated all over again. The first, sung in German, is a more even tempered spot of rock pop with an air of Yello meets Violent Femmes to it under an intensely simmering sun of trumpet enterprise whilst its successor strides purposefully through ears on a single minded stamp of thumping beats. Around this thick spine a dark bass shuffle ebbs and flows with tantalising menace whilst the guitars unveil a vivacious jangle. Both leave the listener short of breath and hungry for more, as does the humid tempting of Fashion Fascist. The heat of the trumpet is an early hot kiss on the senses but it is the again a snarling bass tone which especially sets things off in the passions, its raucous contagion courted by resonating beats for an inescapable persuasion. Whether the rest of the song lives up to the tremendous start is debatable but with that rhythmic baiting never relinquishing its hold as vocals and guitars create a tempestuous weave of arousing incitement, it all occasionally coloured by the sizzling trumpet, the song is raucous punk ‘n’ roll to put the world on hold for.

Surf rock resourcefulness and sixties garage rock collide with modern psych pop for a fiery adventure in Monkey No Dance For No One next, another instrumental stretching limbs and thoughts with its unrelenting rhythmic nagging and exotic melodies. Far too short and pure musical alchemy, the track is one you have to play twice before moving on and falling into the scuzzy arms of the also tremendous You Have a Future in Television. With old school punk breeding and unhinged energy, let alone nature, the song manages to be nostalgic and new whilst providing yet another shade to the presence and invention of the album.

Vs. Galore is brought to an end by Go Back to ze Dezert, an instrumental escapade through drifting ambiences and steamy surroundings with romance and adventure in its voice and melodic theatre in its brass and guitar crafted embrace. It is a thrilling end to a sensational release, an introduction to Chick Quest which has instantly installed a deep rooted affair with emotions. Of course individual tastes in each of us will decide if Vs. Galore goes down as the album of the year come December but it will be there in the handful of most enjoyable treats given the chance.

Vs. Galore is available now via most online stores and at https://chickquest.bandcamp.com/album/vs-galore

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

RingMaster 22/04/2015

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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://www.reputationradio.net

 

Abandcalledboy – George Best In Show / Paul Simon’s Daily Routine

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You know when you are on to a winner when you realise your feet have already joined in the devilry before thoughts and emotions have caught on. In such cases there is an instinctive lure which digs into the primal essence of what incites personal tastes and musical passions, and so it is with the new single from Belfast noise/indie rock band Abandcalledboy. The two track bewitchment simply took over the body, then the imagination and emotions. It did not ask for permission or make an initial request but just stole its booty whilst providing a seriously compelling and contagious introduction to its creators.

Though our first meeting with them, Abandcalledboy has been making a stir in the Irish music scene for a while, spreading it around the UK at times. 2014 saw the release of their self-titled debut EP which earned the band keen attention across the Irish music press whilst the self-produced video for the song Cliff Richard captured strong interest and praise from Therapy? guitarist/vocalist Andy Cairns. Shows with the likes of Rolo Tomassi, And So I Watch You From Afar, and The Futureheads amongst many has only reinforced the emergence and growing stature of the band but now it is the turn of their new single to nudge a new and broader awareness and appetite for their sounds, and it is fair to say that already George Best In Show / Paul Simon’s Daily Routine has made one new conquest.

Abandcalledboy - George Best - Paul Simon - ABCB 2015 Promo 2The single is the first release from Abandcalledboy as a quartet and shows a shift in direction of sound from the foursome of Ryan Burrowes, Adam Smith, Mark Finnegan, and newest member Chris Ryan. George Best In Show is the first to step forward and in the matter of two breaths has ears and appetite enslaved with its almost voracious rhythmic shuffle. The swinging beats border on salacious and are irresistibly inviting as the surrounding tempting of guitar brings a B-52s like teasing to its melodic mischief. It is not the only thing worming away under the skin and into the psyche though, a sonic bluster erodes the senses with its caustic noise whilst a dark menacing bass tone simply adds to the addictive tempest. It sounds like it is a threatening start but it is the complete opposite, in fact it is a gloriously captivating stirring up of air and listener which levels out into a more stable though still agitated landscape once warm vocals join the affair. The song continues to impress and inescapably seduce, slowly raising its intensity and sonic causticity again towards a blistering finale. There seems to be hints of bands like XTC, Baddies, and Swound! in the song but spices in something predominantly unique.

Second track Paul Simon’s Daily Routine is a more emotionally and physically settled proposition, though again its rhythmic side comes with a volatile nature, especially in the drums. The raw radiance of keys and guitars is a flirtatious dance bridging the dark hues of bass and the agitated beats of Ryan to the harmonic caresses of the vocals and acidic melodies. Fuzzy and mesmeric, noisy and transfixing, the song explores a different kind of chaotic adventure compared to its openly twisted companion, a more temperate brew bristling with sonic enterprise within an imagination lit climate.

Abandcalledboy might have escaped attention from a great many of us until now but that slow awakening will surely change for everyone else with the unveiling of George Best In Show / Paul Simon’s Daily Routine. It thrusts the band onto the widest noise rock map with forceful energy and invention whilst suggesting there is even greater, template shaping things to come. We cannot wait!

George Best In Show / Paul Simon’s Daily Routine is available now as a name your price download at http://abandcalledboymusic.bandcamp.com

https://www.facebook.com/abandcalledboy

RingMaster 21/04/2015

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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

 

Coquin Migale – Gold

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Taken from their recently released and swiftly acclaimed EP Feel, new single Gold from UK alternative/indie rock band Coquin Migale is unleashed this week, a song which alone wakes up an eager appetite for the band’s transfixing sound. It is an encounter bursting with swirling melodies, flighty harmonies, and busy imagination, easily reinforcing the potent buzz and keen attention surrounding the Newcastle based quartet.

1661926_447762932047545_9093603215007750566_n  Coquin Migale was formed in 2013 by friends studying at Northumbria University. Swiftly the band released The Yellow Room EP, a free download which quickly lured in vocal fans. The foursome’s live performances equally caught the keen ears and hunger of a heavily increasing many and subsequently it did not take too long before the likes of NME, Generator, and Fresh On The Net also caught on to the band; a media interest shown again this year with the new single being featured by Tom Robinson on the first BBC 6 Music Introducing Mixtape of 2015. Released via End Of The Trail Records, Gold is the kind of bait anglers dream of and you can only suspect it will induce a fresh and wide expanse of new ears and mouths to get in on the band’s emergence.

Gold opens on a clean jangle of guitar with punchy rhythms quickly joining in before the whole song erupts in a warm bluster of melodic enterprise and vivacity. It is a thick and colourfully musty mix which relaxes for the entrance of the engaging vocals of Alex Soper and returns with greater energy and appealing hues as regularly intermittent and potent expulsions around his alluring tones. The guitars of Soper and Matthew Wooton are a constant flame of invention and unpredictable enterprise too, their frequent detours and sparkling inserts of fresh ideas taking the song and ears on a riveting ride whilst the darkly toned bass of Stevie Kane and the crisply landing swings of Dan Rawlinson only add more creative drama to the encounter.

With the vocal harmonies of Soper and band probably the most virulent part of it all, the song is a mouth-watering introduction to Coquin Migale for newcomers and continuation of a potent ascent those in the know have already taken to their emotions. Quite simply it is a song band which more than supports claims from people like Tom Robinson that the foursome are “currently the best unsigned band in Newcastle. Surely it won’t be long until the majors start knocking?”

Gold is available from Aril 20th via End Of The Trail Records

https://www.facebook.com/CoquinMigale   https://twitter.com/CoquinMigale

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

Turrentine Jones – Moonlight is On Yer Side

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Towards the rear of 2014, UK trio Turrentine Jones signed with London based label Rough Trade and released debut album Our Days. It was a proposition which marked an already rising attention upon the 2012 formed Manchester trio, and sparked a fresh wave of media and fan support. Now the band backs it up with the seriously catchy single Moonlight is On Yer Side, a song taken from the band’s full-length carrying all the attributes which has already made Turrentine Jones a very flavoursome favourite for a great many.

Last year saw the band play the BBC Introducing stage at Glastonbury, becoming the third most shared act of the day on the BBC event website. This was soon followed by the link up with Rough Trade and the unveiling of Our Days. So it is fair to say that 2014 was a strong year for the band with all indications that this one will follow suit. First single from the album, Moonlight is On Yer Side has already found itself played across over 40 stations to date, a success you can only expect continuing as its release takes hold.

Produced by Chris Hamilton, the song which is lyrically inspired by vocalist/guitarist Julian Neville’s aunty who is a full-on alcoholic, undeniably has that Manchester air to its swagger and melodic persuasion. There are whispers of bands like Inspiral Carpets and Stone Roses flirting with thoughts within what is a character and presence to the song which prove to be fresh and individual. References to artists such as The Strokes, The Rolling Stones, and Booker T and the MGs have been offered the band’s way too, and again whiffs emerge in the single but once more mere spicing to the infectious encounter.

The opening tone of the bass makes appealing bait and is soon matched in effect by the stabs of guitar from Neville and a colourful and expressive dance of keys from Thomas Scotson. There is a great seventies breath to their designs, a sultriness which equally brings a Brit Pop toning whilst the guitar also at times dips into a magnetic sixties flame with its enterprise. With the crisp beats of Rich Watts framing it all and the vocals of Neville familiar and impressive, that Manchester twang you know, the song is an energetic palette of sonic colour and increasingly persuasive.

The buzz around Turrentine Jones is beginning to become rampant and it is fair to say that the highly satisfying Moonlight is On Yer Side is only going to encourage further praise and attention upon the band.

Moonlight is On Yer Side is available from April 20th

http://www.turrentinejones.co.uk/     https://www.facebook.com/TurrentineJones

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

 

Sugarmen – Dirt

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With a sound which has a healthy eighties feel to it as well as a modern tenacity and enterprise, UK indie band Sugarmen unveil a rather enjoyable and infectious introduction to themselves via debut single Dirt. It is a rousing and feisty slice of pop rock but equally has a calming melodic tempting to create a nicely rounded and memorable first meeting between ears and the Liverpool quartet.

Sugarmen was formed by songwriters/guitarist Luke Fenlon and Chay Heney, soon concluding their openly creative line-up with bassist Tom Sheilds and drummer Sam McVann. Their inspirations are reflected in their record collections according to their bio and includes flavouring from the likes of Hooton Tennis Club to Peace, Parquet Courts to Alvvays, The Velvet Underground to Wild Beasts, and The Clash to Orange Juice, and it is this latter band which sprung to mind listening to Dirt, they and others like Josef K, The Farmers Boys, and The Bluebells. They were all bands capable of writing and creating the most contagious and blemish free pop songs and though it is only one song, Sugarmen suggest they have that quality too.

DIRT pink   Since forming, the band has played with the likes of Sleaford Mods and Paul Weller whilst this coming June will see them supporting both Blur and The Who in Hyde Park as well as playing the Dot To Dot Festival in May. The Sugarmen sound has also caught the ears and attention of Mick Jones (The Clash / BAD) who after hearing the band’s demo tracks, produced ten songs including the single with them; it all occurring in Paul Weller’s studio which he donated for the recordings. It is fair to say that the band is standing at the point of real attention and potent spotlights, a door Dirt makes the ideal key for.

The song opens on a strum and the vocal prowess of Fenlon, a gentle but potent coaxing which teases for a short while before a stab of sonic tenacity sparks the band into a lively and magnetic stroll. The bass of Sheilds is instant flavoursome bait with its throaty lure matching the striking appeal of the guitars in its own individual way. Hooks and chords, sonic colours and rhythmic jabs all converge on ears with captivating enterprise and contagious endeavour, ridden by the harmonic roar of Fenlon’s vocals and the backing of the band. A sniff of Arctic Monkeys makes a hint to join essences of those mentioned previously but the truth is that Dirt has a voice and character which is primarily Sugarmen and, as their live presence, increasingly persuasive.

Expect to hear more of and from the band ahead, and we suspect in increasingly potent doses.

Dirt is available now via Poor Old Soul Records @ https://itunes.apple.com/gb/album/dirt-single/id978569563

https://www.facebook.com/sugarmenuk   https://twitter.com/Sugarmenuk

RingMaster 19/04/2015

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 Sums – Start At The Finish

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Not so much rising from the ashes of 90’s indie chart topping band Smaller but an evolution of, Liverpool band The Sums is one of those proposals which suddenly swoops on the unsuspecting to unveil one captivating proposition. Certainly that is the situation for us, though for those in the know and fans of their previous guise, the band and its striking presence will be no surprise. What is the same for everyone is the impressive and compelling arrival of new album Start At The Finish on ears and imagination. Consisting of thirteen pop rock offerings weaving flavours from the past decades into tantalising new infections, the bands second full-length is one stomp of melodic and creative magnetism.

The quartet as said emerged from Smaller, a band making a potent contribution to the UK Brit pop scene and whose Badly Badly is listed as one of Noel Gallagher’s all-time favourite albums. Fronted by singer songwriter Peter ‘Digsy’ Deary, the band hit problems from that successful release when their label folded before its successor could be released, an encounter never seeing the light of day. The band continued with various line-up changes marking the years, until in 2005 Digsy and bassist Chris Mullin decided to bring the band to a close and re-emerge as The Sums with a new creative direction in tow. The band had just recorded a new collection of songs showing this evolution in sound so the time was right to regroup and change the band name. First album If Only…,after early demo Treat Your Victim was the first major result of the move, a very well-received offering lighting potent attention the band’s way.

It was in hindsight just the base and teaser to bigger enthralling things, specifically the eagerly awaited Start at the Finish. It is an album which from beginning to end has ears and energies engrossed and at times really ignites a blaze of passion for its almost mischievous enterprise. One such moment comes in the tempting shape of the album’s opener and title track. Start At The Finish opens on a cosmic dazzle of sound, relaxing for an acoustic strum to caress ears and then unleashing a firmer compelling embrace led by a slow heavy bass stroll and exotic melodic radiance. This turn of events is soon joined by the distinct vocal tones of Digsy, his voice a perfect mix of raw touches and pure infectiousness brought with almost side show barker like mastery. The song itself continues to croon and slowly wrap around the senses, its burst of rock intensity as enthralling as the shadow kissed smouldering guiding its persuasion. The track is glorious, addictive, and an inescapable coaxing into the album.

10806237_10154758298730526_1475424889455222043_n     A bluesy touch of guitar opens up the following Cliché, making way for a gentler acoustic hug and the entry of the vocals, before returning straight after with even brighter flames. The rhythms of Mullin and drummer Chris Campbell provide a firm if undemanding frame for the sonic enterprise cast by the guitars of Lee Watson and Digsy, but all together it makes for a highly enjoyable blues rock seeded stomp matched in success by Come On Down right after. Catchy from its first breath, with a chorus impossible not to lend your own tones to, the song has a strong Beatle-esque whisper to its melodies and harmonies and a riveting swing to its whole body, though it and its predecessor are shaded out just a little by the excellent I Won’t which follows them. A little pop punk, a little beat, and completely contagious, the song romps with a great mix of muscular reserve and addictive energy. It is swiftly an irresistible prospect but digs deeper with its flashes of warped devilry as hooks explode across it with discord lit tempting.

Nobody makes an enjoyable companion next, its opening balladry leading into a highly agreeable, and of course should be assumed catchy, rock folk/pop punk forged stroll with a hint of Weezer to it. It is immediately overshadowed though by Get Out Clause. Its opening clockwork rhythmic enticing, (Trumpton anybody?), is the prelude to an outstanding punk ‘n’ roll stamping, though again one cast upon a melodically smouldering and controlled incitement. It has a great snarl to it too, vocally and inventively, whilst its imagination provides a web of fascination employing essences of post punk, new wave, and folk rock.

The reflective and intriguing charm of It’s You cups ears in a sultry haze initially before expelling blues rock winds whilst its successor I’m Not Very Good has a certain XTC elegance and imagination to its captivation. It is also flavoured by the guest vocals of Dave McCabe of the Zutons, who provides a great sandy growl of a passage mid-way and helps turn a great blues veined melodic rock song into another peak of Start At the Finish.

Every song comes with great unpredictability and surprising attention grabbing twists and hooks, this no exception with its guitar and vocal crafted devilry or indeed neither the melodic flight that is Hose Me Dow. Providing its mesmeric croon with almost carnival like quicksteps and harmonic smooches, it is an adventure of ideation and sound again bringing something extra to the character of the album and helping it stand apart from the crowd.

Vegetable is another track which easily grips ears and thoughts if not quite lighting their emotions as dramatically as other tracks, whilst Maybe One Day is a bewitching serenade with a great feel of Holly Johnson meets The Killers to it, and a song which only blossoms to greater heights with its orchestral infused climax.

The album is brought to a close by firstly the tangy, acoustic and atmospherically rich croon of Bad Move and lastly the smoky blues treat of Something’s Afoot. The final song enters on a brilliant deranged vocal and rhythm shuffle and proceeds to coat its length with sonic liquor and melodic spicing set ablaze by the dusty growls of Digsy and a juicy guitar solo.

Produced by Mullin & Pat O’Shaughnessy, and themed by tales of ‘achieving whilst being the underdog’, Start At the Finish just lights up and involves ears and imagination for its whole length. It might not become your most favourite album this year, though it just as easily could, but it and The Sums will be one you return to time and time again with eager haste.

Start At the Finish is available now @ http://thesums.net/store/

https://www.facebook.com/TheSumsofficial/

RingMaster 21/03/2015

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/