Yukon Blonde – On Blonde

Yukon Blonde_Reputation Radio/RingMaster Review

There is a melodic humidity to On Blonde, the new album from Canadian indie rockers Yukon Blonde, a sultry and almost sticky feel and ambience embracing and seducing the senses song by song. Already renowned for their seamlessly crafted and contagious pop songs, the Vancouver band went into experimentation mode for their latest endeavour, weaving in textures and sounds bred within psychedelic, digital, and synthetic adventure. It was a move bringing bolder and more fascinating character to music and release whilst breeding an even greater virulence for their maybe unexpectedly purest pop encounter yet.

It is easy to expect infectious proposals from a Yukon Blonde release but the quartet of Graham Jones, Jeffrey Innes, Brandon Scott, and James Younger have found a new epidemic of persuasion and catchiness despite venturing into the ‘unknown’ with On Blonde. Frontman Innes has said about the album, “We were more ambitious writing On Blonde so it’s sort of ironic that in experimenting we created a more accessible record than ever before.” Easy to slip into and embrace, the Colin Stewart (Black Mountain, Dan Mangan, Sleepy Sun) produced, Tony Hoffer (M83, Beck, Foster the People, Air, Depeche Mode) mixed album simply backs up his words, starting straight away with opener Confused.

The first song instantly swamps ears with a buzzing electro tempting, the potent coaxing quickly joined by spicy guitar and crunchy rhythms. It is soon a stroll of magnetic melodic and vocal tenacity, eighties and spatial breezes a lively simmering within the vibrant body and energy of the song. Down below though there is an underlying rumble in the heart of the encounter, a stirring dark intent which gives real depth and intrigue to the refreshing pop romp. There is a bit of Weezer to the song, a bit of Super Happy Fun Club too, but it emerges as something distinct to Yukon Blonde just like Make U Mine which follows. Its body moves with a funky gait within a mellower more reserved energy, vocals and harmonies floating around ears as they forcibly flirt with the imagination alongside musical echoes of bands like Heaven 17 and Röyksopp.

Variety is a swift essence of On Blonde too, the first pair of tracks coming with individual characters but not as openly as the outstanding Como which follows them. Its acoustic lead soon lures the appetite into a summery canter of endearing melodies and vivacious vocals, all tempered by another great shadow wrapped bassline. A tinge of China Crisis teases throughout but equally a whisper of The Beach Boys floats with the tantalising harmonies as guitars dance with sparkling adventure and revelry within the hazy romance of a song.

yb-onblonde-Reputation Radio/RingMaster Review     I Wanna Be Your Man slips into a fuzzier and grittier landscape, one seemingly blossomed from a Bolan-esque seeding. It saunters around which attitude and confidence, every resonating bassy lure and sonic sizzle carrying a glint in their mischievous eye whilst unpredictable and tantalising twists and turns merge with the warm fluid flow of the bewitching proposition. In no time it has seduced and enslaved ears and emotions, an inescapable success and potency cultured just as powerfully by the similarly mouth-watering Saturday Night straight after. The song pounds ears with relentless rhythmic incitement around which eventful vocals and an elegant embrace of melodies rigorously serenade. Every second comes with a flirtation of sound and ideation but also that unpredictable essence which again as much as the fresh investigations of sound infused right across the album, is the spark to new adventure and ingenuity in the Yukon Blonde persuasion.

A sixties hued, folkish ballad in the shape of Hannah steps forward next; its harmonic charm an easy snare for ears. Once it has full focus it unveils bulbous bass tones and evocative drizzles of melodic expression to tighten its hold, though whilst again pushing the diversity of the album, it never manages to come up to the persuasive levels of its predecessors, something the admittedly enthralling Your Broke The Law also cannot quite emulate. In context though both songs are like a lover’s romance with the listener, never leaving them less than enamoured whilst allowing the likes of Starvation to steal more of the limelight which it does with consummate craft. Carrying a Depeche Mode/Daniel Miller like dark croon to its intoxicating enveloping of body and thoughts, the track swings and sways with irresistible and addictive ingenuity, never startling with its temptation but smouldering away for the same long-term effect.

From one triumph to another as the indie rock sculpted Favourite People bounces around with varied guitar jangles and contented bass grumbling within another rosy veil of keys. Just as the energetic musical creativity of the track, the vocals have an animated and frisky intent to their presence and enjoyment, and though once more it is a song which you can only really compare to Yukon Blonde themselves, there is a small urge to suggest the likes of XTC and Talk Talk as hints.

The release ends with the electro rock stomp of Jezebel, a sultry temptress of a song adding a final rich twist and spark in one masterful slab of aural gold. On Blonde is seriously compelling, a whole diverse summer in one spellbinding embrace. Yukon Blonde do not light a blazing fire in the belly and heart with the album but it is the hottest, spiciest warm glow felt from a release in a long time.

On Blonde is available now via Dine Alone Records / Caroline UK digitally and on CD/Vinyl through most online stores.

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

RingMaster 18/06/2015

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

 

High Horses – History Repeats EP

High Horses_Reputation Radio/RingMaster Review

It would not be too far from the mark to say that The Hours EP was a potent and impressive introduction to UK electronic rockers High Horses, with its title track the single last year that especially stirred up ears and appetites for the band’s full and flavoursome sound. Now the Manchester trio has unveiled its successor, History Repeats, a release taking their familiar yet forcibly fresh sound into new dramatic and virulently roaring climes.

Since the release of their first EP and single, the band has been busy with the likes of shows and interviews alongside sessions and regular plays on BBC Introducing. It is a schedule and energy set to be emulated and surpassed as the now three strong line-up of Kieran (guitars/vocals), Stephen (keys/bass/vocals), and Lyndon (drums) reinforce and forge a new stature and reputation to their impressing emergence through History Repeats.

Cover_Reputation Radio/RingMaster ReviewReleased through Animal Farm Records, the EP opens with Fiction and straight away thumping thick beats within a radiance of keys awakes ears and attention. Their magnetic union is soon joined by potent vocals and harmonies, their flame matched by the increasing web of guitar and keys but superbly grounded through the dark tone of bass. A rich drama and virulence comes with the evolving adventure and energy of the track, the chorus a harmonic anthem and keys a narrative of expression and imagination in their own right. Once again it is probably fair to say that some textures and colouring in the song has a recognisable presence yet it only brings appealing hues to the definitely more unique invention and voice of the band’s sound.

The captivating infection continues in Sleep The World Away, punchy beats the lead into a waltz of keys and melodic enterprise. There is a more restrained energy to the song compared to its predecessor, but an equally involved tapestry of keys, guitar, and vocals blessed with, at times, an eighties synth rock air. There is also a more classical, almost medieval hue to the dance conjured by synths, their elegance and invention aligned to a feistier modern tenacity persistently driven by the resonating rhythmic bait of bass and drums.

The track also reveals just a little more of the new maturity and expansion in the High Horses sound between releases; it not a massive leap but one with a new craft and understanding of merging and entwining varied strands of imagination and resourcefulness, a success in evidence again in the closing To The Honour. The song carries open shadows from its first breath, but it is a darker ambience which is at ease in welcoming and giving way to the impassioned and anthemically crafted bellow of the song. Though the increasingly gripping incitement does not have the sonic rush of the first track, it is almost cyclonic in its invigorating and melodically bracing roar, ensuring as it transfixes that it leaves ears and emotions hungry for more.

High Horses have given their potent and fascinating ascent a real push with History Repeats, though there is a sense that the band is still finding its unique feet and that there is much more inside their creativity to blossom and thrill. An exciting thought though more of the same next time would go down a treat too.

The History Repeats EP is out now via Animal Farm Records through many online stores and https://open.spotify.com/album/0plp8Cnq1Mo62TCl3sG8Do

https://www.facebook.com/HighHorsesBand https://twitter.com/highhorsesband

RingMaster 18/06/2015

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 Landed – She

The Landed new band pic 2

Whether the summer will be a blaze of sun or a flood of rain time will tell over the coming weeks but undoubtedly it will be a feel good moment in time thanks to singles like She from UK indie band The Landed. A melodic romance for the senses and catchy enticing for the body, the song is a lively bubbling of pop rock unafraid to weave in some blues sultriness and melodic guitar jangle amongst its captivating spicing.

The Landed hails from Colchester, two brothers and two friends who since uniting musically and initially playing covers, has persistently developed and honed their songwriting and sound. It was also a beginning allowing the quartet of Paul and David Hale, Dan Currie, and Paul Jannece to learn their stage craft, exploring what made great songs tick and audiences come alive then infusing it into their own emerging imagination and music. Last year saw the release of their self-titled debut EP, a collection of six songs quickly luring attention and acclaim from fans as well as the likes of Tom Robinson at 6 Music and Huw Stephens at Radio 1. Now it is She beginning to stir up eager spotlights upon The Landed, a song which for us is undoubtedly the band’s most vibrant and mouth-watering offering yet.

She coverFrom its first breath the song is a lively incitement of guitar jangle and warm melodic temptation, and only increasing its coaxing as the excellent vocals and a moodier but still radiant bassline enters the revelry. Crisp beats provide the heartbeat of the song, the bass the drive, and both come wrapped in the creative and adventurous colour of harmonies and guitar. Within its flowing dance of sound and energy there is also a healthy unpredictability at play in the track, showing itself more openly in certain places more than in others but constantly lurking within the smiling character of the song’s anthemic stroll and endeavour.

She is a sparkling and mesmeric seducing of pop/indie rock from a band with the knack of shifting feet as heartily as they ignite ears and imagination. The Landed have certainly grown-up since their early creative days, and indeed since their first EP to give the coming weeks a definite ray of sunshine.

She is out now
Upcoming live dates:

6th June – University of Essex
28th June – Colchester Free Festival

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

RingMaster 02/06/2015

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

 

Yes Sunshine – No No No

Picture 56

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