Yes Sunshine – No No No

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What could be better than a high octane pop song sculpted on a punk bred guitar clang, devilishly anthemic rhythms, and a spicy dose of discord to make your toes curl? On the evidence of No No No, the new single from UK quintet Yes Sunshine not a lot. The song is a virulent stomp, an insatiable temptation which has feet as quickly alert and active as ears. There is a buzz brewing up around the Coventry hailing band and right now easy to see why thanks to No No No.

11082558_766870466741612_8200293885106745004_n     Yes Sunshine began back in the spring of 2013, Michael McCann, Mark Fazakarley, Jord Harrold, Declan McCann, and Chris Feltwell musically uniting to commemorate the passing of a close friend. They were soon hitting and enlivening the local live scene before spreading their sound and performances just as quickly across the UK and Ireland. Their first year alone saw the band playing venues such as The Dublin Castle, The Shed, and a headline show at The 100 Club as well as an appearance at Manchester’s Ethihad Stadium and two packed out shows at The Great Escape Festival. Yes Sunshine has supported the likes of with Pete Doherty, Royal Blood, Zane Lowe, Yuck, The Enemy, and The View along the way too whilst their debut single in 2014 courted the attention of BBC Radio 1, XFM, and Amazing Radio amongst many. The beginning of this year saw the successful release of the single Because of You, a fiery marker for the band which No No No has taken to another level.

The band’s sound is a volatile weave of indie, rock, and punk honed into one rebellious pop roar, and swiftly infecting ears as No No No opens with a jangle of guitar chords before flicking the switch to an agitated, tenaciously lively stroll. The vocals are just as energised and infectious as they jump into the revelry whilst a thick juicy bassline invigorates the already rampant tempting on offer further. It is the discord soaked enterprise of the guitars which is the most compelling component in the song though, acidic noise oozing from every note whilst conjuring a pop romp to get nothing less than fully involved with. Early Strokes has been suggested as a comparison to the band’s sound, we say though add some Asylums and eighties band Fire Engines and you get a bigger hint of No No No.

People are claiming big things for Yes Sunshine and after No No No you will get little disagreement here.

No No No is out now via Mint 400 Records @ https://itun.es/gb/sC076

http://www.yes-sunshine.co.uk   https://www.facebook.com/YesSunshine

RingMaster 26/05/2015

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

 

Murder Shoes – Self-Titled EP

Murder Shoes_Credit Photo to Aaron Fenster_01

Photo -Aaron Fenster

 

A slice of dark seduction always goes down a treat especially when brought with an imaginative smile and psyche haunting radiance. A healthy dose of rhythmic drama and melodic revelry similarly has ears and imagination more often than not seriously enthused within that kind of sultry landscape. It is a delicious mix which leaves us generally hosting a keen appreciation for its source, and in the shape of the self-titled EP from US band Murder Shoes, an especially lustful one. The five track encounter from the Minneapolis quintet is an intoxicating temptation of surf, alternative, and indie rock ‘n’ roll, a sound basking in the smouldering essences of each whilst creating its own individual inescapable seducing.

The seeds of Murder Shoes begin with the meeting of guitarists Chris White and Derek Van Gieson, seemingly at a bar where one worked and the other frequented. Conversations about music led to the pair uniting as songwriters, with a torrent of songs emerging from their complimenting ideations. A new potent factor emerged when vocalist/keyboardist Tess Weinberg was brought into the mix, followed by another spark of dynamics when drummer Elliot Manthey and bassist Tim Heinlein completed the line-up. With everything in place Murder Shoes stepped into the light and released the low key three-track Cash On Fire EP last December. It was just an appetiser for major things, a more than decent toe tester in creative waters, but in hindsight now blown totally aside by the might of the band’s new offering on Land Ski Records.

cover Derek Van Gieson

cover Derek Van Gieson

The adventure begins with Charlotte Manning and an opening temptation of sultrily toned guitar strokes aligned to smaller nibbles of their strings on ears. Van Gieson and White swiftly grip the imagination before the siren-esque lure of Weinberg begins her vocal caresses to intensify its involvement. It is a magnetic entrance but soon finding new levels of persuasion with the darker spicing brought by the throaty bass and more fiery hues to the guitar enterprise. A surf rock seducing by this time is just as fruitfully lighting body and thoughts, it all driven by the respectful and increasingly anthemic endeavour of Manthey. Like that packet of your favourite candy where good intentions in having just one becomes two, then another and subsequently the whole thing, such is the power of the song, every minute left alone listen, leaving an insatiable want for more.

And so it is with the following Maybe You Can, and the whole EP to admit the truth. It is another song rampantly persuasive and in control of the senses from its first singular guitar baiting of ears. That lone lure is soon bulging with a feisty march of beats and wrapped in fresh swarthy kisses of guitar as Weinberg produces more of her warm vocal enticing. There is a feel of The Capsules to the melodic and smouldering aspects of Murder Shoes songs whilst the unpredictable twists and invention within the encounter is like a blend of Chick Quest and Two Wounded Birds. The track continues to masterfully impose and enthral before making way for the fiery Under the Sea. You can almost feel the hot tingle of sand between toes as the surf pop persuasion dances with ears and emotions. Its sixties breath adds to the compelling character and sound of the song whilst mini crescendos even in their brief moments just breed a catchy drama to the glorious pop flirtation.

The following Sea a Little Louder brings another embrace of mellower energy but again without losing any of the gripping invention and melodic poetry of its predecessors. It is too bubbly to be classed as a piece of balladry but similarly with its alluring restraint far from being an incitement of intensive activity, a mesmeric croon the apt description for the song’s atmospheric and creative hug. It is easy to drift away with the breezy temptation, even its muscular rhythm saunter and the little bursts of climatic endeavour only empowering its immersive qualities.

Final track In Your Bed Or On a Train has limbs back in a frenzy and emotions fired up with its fusion of old school rock ‘n’ roll, sweltering surf ambience, and indie rock unpredictability. Think a modern day Wanda Jackson fronting a Morningwood type proposition and you sense why the EP’s closing offering is so irresistible. Rolling beats from Manthey again provide the resourceful and unrelenting wave of rhythmic enslavement which cores most songs whilst guitars and bass spin sticky darkly hued webs of adventure. Shrouded in the almost celestial tones of Weinberg, it is an exhilarating proposition, as the whole EP, and if the flavours we most mentioned, surf, indie etc. bring a lick of the lips, you are looking at potentially your favourite release of the year.

The Murder Shoes EP is available now digitally and on CD via Land Ski Records @ http://murdershoes.bandcamp.com/

http://www.murdershoesband.com/   https://www.facebook.com/pages/Murder-Shoes/331873790352913

RingMaster 05/05/2015

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

Yeallow - Band pic (1)

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

Nai Harvest – Hairball

by Ed Crisp

pic by Ed Crisp

 

It is telling that Hairball, the new album from UK rockers Nai Harvest, only took one full listen to become a constantly recurring incitement, returning as it wished and dominating thoughts for the following hours. Subsequent plays only reinforced its initial impact and confirmed that the album is one intoxicating feast of fuzz punk.

There is much more to the sound of the Sheffield duo of Ben Thompson and Lew Currie than fuzz though, a healthy mix of psyche and indie rock, with Brit pop spicing, adding to the tantalising sound fuelling the contagious songs within the pair’s second album. It is a flavouring also markedly distinct to that which lit up the band’s previous album and releases. The sonic uproars which coarsely fascinated from within 2013 debut album Whatever and the more mellower fuzzily charmed sounds of the following year’s Hold Open My Head EP, have evolved into magnetic devilments of indie/pop rock riots flavoured further by the sonic mixed spiced mentioned earlier. With ease the new album overshadows the band’s previous impressive releases, presenting a creative and aural coming of age which is nothing less than irresistible.

Recorded with producer Bob Cooper (Sky Ferreira, Citizen) and released via US label Topshelf Records, Hairball instantly has ears and attention beaming with opener Spin. Enticing beats converse with just as alluring guitar enterprise to start the song off, their unity a sunspot of temptation expanded by the sonic colouring and vocal incitement provided by the guitar and voice of Thompson. The constant beats of Currie pulsate within the subsequent vivacious shuffle of the song, the pair breeding a rousing clamour of melodic punkiness and pop catchiness which has as much of a Ramones hue to it as it does a Teenage Fanclub or Strokes whisper.

The excellent start is swiftly surpassed by Sick on My Heart, the track an immediate onslaught of thumping rhythms and melodic jangles roared over by Thompson’s ever beguiling delivery. Feet and emotions are quickly ignited by the energy and virulence of the fuzz fuelled adventure, with its hazy air as incendiary as its pop punk nature is fiery. Its majestic incitement is followed by the slightly more restrained All the Time though the rhythmic provocation from Currie is just as punchy and anthemic. The track has appetite and emotions recruited quite early on but it is the twists into unpredictable and imaginative exploits which really sets it alight and has ears over excited.

11183_JKT     Both the groove lit Drinking Bleach and the nineties hued Melanie keep things irresistibly bubbling, the first exploring a muggier sonic climate with a more reserved energy across its evocative canvas. Its successor is a glorious kiss of melodic tang and fuzzy tempting, vocals and beats aligning to bring a bit of an edge to what is a superb pop song. Its hooks are sharp and inescapable, enterprise spicy and lingering, but mostly the song is unbridled infectiousness which simply enslaves within seconds.

A new recording of previous single Buttercups steps up next, its tempestuous hazy presence once more overwhelming bait to get greedy over whilst next up Ocean of Madness from a great rhythmic beckoning, saunters through surf rock meets Brit pop seduction with what feels like a Manchester bred swagger. Both songs leave a want for more, a need fed by the raucous revelry of Dive In where again addiction forging hooks and psyche permeating grooves cast a creative hex which returns whenever it pleases whether in a hum, swing of the gait, or a badly delivered croon.

     Gimme Gimme finds a simple seventies pop welcome in its infectious dance, though it is soon immersed in thick melodies and anthemic tenacity courtesy of Currie’s swings and the always richly enticing tones of Thompson. The song’s pungent call has to make way for the closing triumph in the album’s title track. Hairball is just sonic seduction, its initial gentle stroll and melodic flames alone an unstoppable tempting whilst the Weezer-esque air adding to the fuzz fest of persuasion simply enriches the distinct character of the encounter. Unpredictability again has a big part in the strength and potency of the song whilst everything you would want in a pop or rock song is on offer, but combined with a unique resourcefulness and creative mischief it all blossoms in to even greater alchemy.

   Hairball is one colossal epidemic of fun and contagion from a band hitting a new thrilling pinnacle. Not much more to add really.

Hairball is out now through Topshelf Records @ https://topshelfrecords.bandcamp.com/album/hairball

https://twitter.com/naiharvest   https://www.facebook.com/naiharvestband

RingMaster 29/04/2015

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

 

A Billion Lions – Torquay

BILLION LIONS PROMO PIC1

Just who are A Billion Lions? Well they are a UK quartet with a sound bred from a slightly deranged and seriously raucous blend of indie, noise, and punk rock. It is a proposition also equipped with a ridiculously infectious quality that has the involvement of feet and imagination a done deal within the first strains of many captivating songs. Oh there is one more thing too…they are the providers of one of the year’s most invigorating singles in the feisty shape of Torquay.

The band formed in Leeds in 2013 and soon became a potent pull on the local live scene with their rowdy performances. A couple of demo recordings called On My Lover and I’m Free brought a low key but wider introduction to the band via YouTube but it is their ferocious stage hunger which has sparked most attention and subsequently lured the band and End Of The Trail Records to each other. Now the pair unveils first single Torquay, a rampant teaser for A Billion Lions’ impending debut album Let It Happen.

TORQUAY COVER   A single guitar teases ears first, stroking instantly alert ears before being swiftly joined by sturdier riffs and crisply landing rhythms. Vocals are also soon in the mix, the engaging narrative being laid out first by guitarist Joe Parr and ignited further in the chorus through bassist Ryan Olliver. Backed in harmonies by lead guitarist Philly Cheese, the song becomes a sweltering brew of energetic and creative contagion with the chorus the explosive icing on the cake.

The increasingly hefty and agitated beats of drummer Matt Nutter alongside a throaty bassline provide a raw magnetism of the song which is coloured and stirred up more voraciously by the vocals and the guitars attitude wrapped sonic endeavour. It all combines for an addictively devilish mix which quite frankly could incite a party in an empty room.

Roll on that first A Billion Lions album is the overriding thought over Torquay and the first deed in its wake, to press that play button again.

Torquay is out now via End Of The Trail Records

https://www.facebook.com/billionlions

RingMaster 29/04/2015

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 Hokum – Fools, Mules and Baggage…

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Recently UK indie pop rock band The Hokum awoke a fresh wave of attention with latest single Mind Over Matter. It was one of those songs which just gets under the skin, into the psyche, and announced the band as one to pay closer notice of. That meant taking a look at their debut album Fools, Mules and Baggage… from whence the single was plucked. As enjoyable and infectious as the song was it is fair to say that it barely hinted at the adventurous variety and captivating enterprise to be found on the band’s highly enjoyable full-length.

The Hokum hails from Sheffield and emerged in 2013 and is centred round the magnetic songs of songwriting duo Jacob Stanley and Anthony Isaac Stone. As swiftly evidenced by the album, the band’s sound is a vibrant and warm blend of rock and indie pop but also merging in numerous additional spices such as folk and eighties new wave. It is an energetic mix with a swing, even in its seductive ballads, which turns the songs into little anthems of fun impossible to resist. It all starts with Gold Clock, a track which from an almost mischievous prodding of guitar turns into a striding slice of rock ‘n’ roll with stirring riffs and instantly inviting vocals. Bass and beats soon add their heavy lures as the song becomes busier in flavours and energy, stomping along with feisty textures and an increasingly bracing attitude.

It is a great start matched by the smoother swagger of Left for Dead. Opening melodies have a sixties air to their hues, a tone carrying on into vocals and the more power pop nature of the song. As its predecessor there is no escaping being wrapped up in its catchiness, feet and voice ready to comply with its reflective lyrical and musical temptation before it makes way for the blues balladry of Framed. Well we say the song is ballad like but with its folkish essences and tenacious imagination, the encounter simply takes ears and imagination by the hand for a magnetic dance of revelry whilst adding extra seduction with moments of mesmeric calm.

cover170x170     As great as the first few tracks are, they all bow down to the magnificence of Pigs. The first single taken from Fools, Mules and Baggage…, the song is an incitement which has the listener as vocal and fired up as the song itself. Its chorus is pure addiction, served well by the tangy hooks and melodic jangles which colour its way into the passions. Folk pop meets indie rock, the track bounces along with a scent of a snarl to its riffs, moodiness to its basslines, and unbridled persuasion in its contagious invention.

Thankyou has the unenviable task of following the pinnacle of the album and does so with its own caress of harmonies and melodies floating around another lively and charming sixties/seventies inspired ballad. Though it cannot match up to the previous treat, its lingering temptation and smouldering beauty ensures over time it becomes a potent offering just like the more unpredictable and compelling Six of One which follows. Rhythms jump around whilst the guitars send intrigue loaded twangs across the bows of the melody rich stroll. The fascinating song reminds of fellow UK band The Sons, but builds its own distinct identity with constant evolution and a stock of unexpected surprises in gait and imagination.

Next track Knives provides a potent presence though suffers from a raw distortion on the bass when it enters. Whether it is a flaw on the CD or production, it does a great song no favours, which is a shame though normal exciting service is resumed with Cheap and Nasty straight after. Rampant rhythms alone have ears and appetite licking lips, and even more rigorously once vocals and guitar bring their flirtatious swing and festivity to the increasing riot of creative devilry. The blast of blues guitar provides a layer of icing to the excellent aural cake, and the song another great twist in the increasingly impressive album.

Through the ridiculously addictive Duck and latest single Mind over Matter, the band ignites another fresh spark of pleasure, the first a blues/pop tempting equipped with fiery harmonica and bouncy hooks. As across the album, at varying times you get whispers of bands like The Kinks, XTC, and Split Enz to name a few, this song finding breaths of the first two certainly whilst the third is more inspired by Mind over Matter where guitars offer an electrified mischief whilst percussion and beats bring the addictive lures. It is the new wave nature of the hooks and vocal delivery though which provides the really irresistible heart of the outstanding song. As across plenty of Fools, Mules and Baggage…, there is a familiarity at play in the song which only adds to the enjoyment and creative drama, and helps the anthemic quality of songs to take even swifter hold.

The album closes with Monkeys, another thrilling eighties marked slice of punchy pop and new wave contagion with a slightly deranged imagination to its tantalising persuasion. It is a great end to an impressive album, both leaving a want for more and the need to press play again.

Fools, Mules and Baggage… will not necessarily come into your list of classics for the year but as a favourite it is a done deal, certainly once its fourth song starts its devilment.

Fools, Mules and Baggage… is out now @ https://itunes.apple.com/gb/album/fools-mules-and-baggage…/id921949091 and most online stores.

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

RingMaster 26/04/2015

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

Kobadelta – Open Visions

Photo by Daniel Robson

Photo by Daniel Robson

Blending the rousing elements of their second EP and the mesmeric seducing of their last, UK psyche rockers Kobadelta unleash their finest moment yet in the hauntingly irresistible shape of Open Visions. The EP provides a feast for ears and imagination to contemplate and devour in their individual ways, its clutch of songs almost hex like in their immersion and seduction of both. Within its arcane charm the band also reveals a greater maturity and inventive lust in songwriting and sonic explorations, Open Visions the simply irresistible dark side of the band’s creativity and the listener’s psyche.

Newcastle bred and formed in 2010, Kobadelta did not take long to arouse a potent following and local clamour for their sonic swelter of a sound and matching live presence. 2013 Debut EP Ritual (Time Flies) lit more than a few fires in ears and thoughts, which the following year its successors Hidden Door and Remain Distracted, took to stronger and broader levels with their compelling sounds. It is fair to say that 2014 was a big year for the band in general. The release of the two EPs surrounded by further successes with Kobadelta being invited to perform a live session for BBC Introducing, headlining the Tanners stage at Evolution Emerging Festival in Newcastle, and playing events like Stockton Weekender alongside artists such as Peter Hook, Public Enemy, and the Happy Mondays as well as the Split Festival with the likes of The Cribs, Maximo Park, and Dizzee Rascal. Support slots for bands such as Temples, Allusondrugs, We Were Promised Jetpacks, Demob Happy, Splashh, The Temperance Movement, The Weeks, Lola Colt, and The Voyeurs, amongst many more has only increased their reputation and stature too. Now it is the turn of the Open Visions EP to push the Kobadelta cause and as we say, it is irresistible.

a0352850419_10   Even The Odds (They Mean You No Harm) is the first track on the release and immediately brings a raw and fiery proposition to bear on ears and thoughts. Guitars and rhythms make a formidable invitation which is easily accepted, even more so when an underlying melodic lure is given clarity as the initial tempest relaxes and the expressive tones of Dom Noble come in. There is still a muggy air to the song, and a siren-esque shadowing to the track which with the exotic enterprise arising from the guitar of Alex Malliris and the keys of Jordan Robson, entices like The Doors meets The Birthday Party. The song continues to immerse and swallow the senses with its sultry almost erosive beauty, increasing its glamour as it heads towards the moment it slips seamlessly into the following Blame It All On Me.

The second track is simple bewitchment from its first caress, smouldering melodies flirting with ears whilst being stalked by the throaty bassline of Jon Marley. The ticking percussive framing and rhythmic probing of drummer Chris Malliris adds intimidation to the dark premise of the song but it is the flowing melodic seducing of the keys and more unsettling designs cast by the guitars which shape the compelling drama emotively coloured by the distinct tones of Noble. There is a touch of Bauhaus to the post punk essences swimming within the psyche rock contagion whilst the gothic rock shading again springs hints of Nick Cave and co.

A fresh shimmer flows across Maskirovka next, keys and guitars a floating haze of sonic suggestiveness whilst bass and drums create a more formidable incitement which erupts with greater intensity around the climatic crescendos posing as choruses. There is something occult like in the dark rock toxicity oozing from the walls of the song and imagination of the band, an essence breeding encroaching shadows which infest and linger in ears and psyche.

The infectiousness kicks up another level with Watch What You’re Doing, its open caress of guitar the seeds for another compelling bassline and crisply landed beats to work their addictiveness as vocals and keys bring a haunting colour. Once into its magnetic stroll, the song shows itself to be as much pop rock as it is dark rock ‘n’ roll, its catchiness as captivatingly accessible as its soaring sonic enterprise is celestially provocative and darkly fascinating.

Ithaca ventures into an even heavier soundscape but swiftly tempers some of its daunting air with an echoing effect on the ever alluring vocals and backing harmonies, whilst guitars and keys sway and smother the rhythmic spine of the song with the dance of a sonic temptress. The song is pure mesmerism but with an underlying danger which seems to incite richer flames and piercing textures to emerge in the invention of Alex Malliris and Robson.

Final track Black Pyramid, like the first, accosts ears with a slightly caustic and hazy roar of sound but is soon casting an invasive exotic atmosphere through guitars and keys. Eruptions of energy and intensity only add to the sweltering air and impact of the song, whilst melodically and vocally, there is again no escaping a reference to the Jim Morrison’s led band.

If like us you fell in love with Kobadelta’s last EPs, then lust is the outcome with Open Visions, the pinnacle of the band’s sound and invention to date. If new to the transfixing world of the band, then a wealth of dark sultry treats await.

Open Visions is released on May 1st and available via http://kobadelta.bandcamp.com/album/open-visions-ep

Upcoming Kobadelta shows, including EP launch…

Friday 1st May – Think Tank? Newcastle (‘Open Visions’ EP Launch)

Saturday 30th May – ‘Sonic Union #2′ at The Sun Inn, Stockton (with TOY)

Saturday 11th July – Corbridge Festival 2015 (Acoustic Stage)

Friday 24th July – ‘Double Denim Live’ at Verve Bar, Leeds

https://www.facebook.com/Kobadelta

RingMaster 27/04/2015

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