Ed Zealous – Wired

    

    Unveiled on the back of three singles which certainly raised an eager appetite for its appearance, Wired the debut album from electronic pop band Ed Zealous easily confirms and reinforces all the promise and radiant enterprise brought from those early releases. The February 3^rd released ten track album is a feisty adventure of energetic electro/ dance enterprise and guitar crafted indie pop, a record soaked in a busy sound seemingly seeded in eighties electronic endeavour yet constantly taunting and careering thrillingly through the ear with a modern rock rapaciousness. Arguably the sound of the Belfast quartet is not breaking in new ground to explore but there are few others striding confidently down the same interpretative path of already discovered invention as this richly promising and powerfully enjoyable band.

     Consisting of vocalist Steve McAvoy, guitarist Andrew Wilson, bassist Pete Lloyd, and drummer Paul Irwin, Ed Zealous as mentioned has stirred up very potent attention and anticipation for their album through the trio of singles released in 2013. One by one Medicines, Thanks A Million, and Telepaths have washed creative juices around the passions to breed a hunger for Wired, an appetite the album feeds with ease and more. Forging emotively fuelled synths with fiery guitar temptation within a rhythmic punch which never relinquishes its addictive bait whilst drawing on influences which come from the likes of David Bowie, Talking Heads, Pulp, and TV On The Radio the band look set to make 2014, like the last, another year to mark a rapid ascent in their striking emergence. Predominantly recorded with engineer Rocky O’Reilly with additional production by Eliot James (Bloc Party, Noah and The Whale and Does It Offend You, Yeah?), Wired is an exhaustive magnetic party of creative rampancy and contagious adventure; not necessarily ripe with pure originality but undeniably bulging with excitement and riveting imagination.

     As soon as the opening suspenseful drama of 147 hits the ear you sense there is something special brewing. Synths lure in the imagination right away before the song settles into a mellow yet intensive persuasion with thumping rhythms and moody dark tones puncturing the electronic wash. It is an instantly engaging and provocative encounter but one which goes more directly for the passions once the guitars and bass temptation strides and erupts across the song around the expressive enjoyable vocals of McAvoy. At times unashamedly anthemic and constantly stirring up the imagination with a melodic craft which helps fuel an already hungry appetite for the release, the track is an urgently persuasive introduction to the album setting a high bar for it to maintain.

     Something it definitely does with the following Thanks A Million, the one song on the album recorded with producer Rich Jackson. As soon as its initial melodic narrative wraps around the ear followed by a lush groove, there is a familiarity to the song which only pleases and takes thoughts to eighties electronic pop essences. A definite Thomas Dolby feel emerges with the senses wrapping synth imagination yet equally you are reminded of the current sounds of James Cook and Does It Offend You, Yeah? whilst the track sculpts its own identity to devour eagerly. A track which manages to impress immediately and also slow burn its way deeper into the emotions over time through its big bruising bass tones and gripping melodic coaxing, it is dark temptation immersing the ears in a sizzling evocative wash.

    The devilishly infectious Medicines steps up next to deepen the lure of the album, its Blancmange like electro pop excitement and bordering on wanton energy insatiably seductive whilst the infection clad chorus and vocal call only grips satisfaction tighter for a lingering and compulsively addictive encounter. Recent single Telepaths breathes the same contagion as its predecessor, guitar and synths driven by outstanding vocals luring senses and feet to a feverish submission for the raucous electro rock party. Both tracks continue the high range of peaks established by the album and light the fuse to even greater suspicions as to how good and successful Ed Zealous could become.

     I Will Destroy You is a perfectly placed track, its melodramatic and emotive textures aligned to a slower gaited temptation exploring new depths and enterprise within the band and their songwriting. Though not as immediate to persuade as those before, the song enslaves keen attention for its thoughtful shape and evocative hues and allows a breath to be taken whilst it’s subtle and inventive majesty works its way into the imagination. The following Talk With Your Hands also takes time but with its David Byrne like creative swagger and heavy rhythmic caging it also secures full satisfaction and hungry attention over numerous exploits.

     There is something infuriately familiar to the start of Diamonds For Eyes yet it evades definition even after plenty of adventures with the dancefloor hugging track whilst These Words reaps those eighties influences yet again as its magnetic body inspires thoughts of China Crisis. Both songs stretch and add to the fascination of Wired with skill and mischievous flair before making way for the outstanding Videohead, a track which emerges as the favourite here. Adding an electro punk element to its fuzzy electronic flaming, the song is like a mix of Calling All Astronauts, B-Movie, and at times the John Foxx led Ultravox, the band again bringing a touch of nostalgia into a more aggressive modern exertion and invention. It is an enthralling and addiction causing maelstrom of ideas and sonic sculpting brewed into a contagious provocation of epidemic proportions.

    Completed by the funk ripped It’s Only The End, a song which you feel would ignite the dancefloor of any era such its blend of irrepressible decade crossing melodies and electronic virulence, Wired is an exceptional first album from Ed Zealous, one which impresses right away and only increases its strengths and stature over time. This is a band you can see creating new boundaries for electronic pop ahead and becoming a well-worn name over time.

http://edzealous.com/

https://www.facebook.com/pages/Ed-Zealous/89457839303

9/10

RingMaster 06/01/2014

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the Greeting Committee – Island

Hailing from the sultry streets of Newcastle, the Greeting Committee is one of those smouldering embraces which once laying their spellbinding caress over the ear leaves a lingering temptation which persistently invites and receives a return into the arms of the band’s exotic sound. Creating a web of psychedelic and indie seeded rock with Brit pop and sixties blues kissed seduction, the sextet return from the success of their first single Show Me The Lights Of Home at the closing weeks of last year, with debut EP Island released via Puzzle Push Records. Consisting of three magnetically compelling tracks, the release is a wake-up call and introduction to all newcomers and confirmation for existing fans of the potent promise and strength of this very exciting emerging band.

The title track opens things up with a dramatic brew of strings, keys, and atmospheric intensity which once securing full focus mellows out into a melodic breeze of impressive vocals and sonic imagination. It is a thick and intensive breath though which drives the song, one also unafraid to settle into less imposing textures and weight to allow the vocals and guitars to cast an infectious mesmeric weave. Imagine a merger of My Bloody Valentine, House Of Love, and The Verve and Island is the resulting alchemy and more. A brooding and increasingly seductive encounter the track is a beauteous evocation for the imagination and passions.

The following What’s It Like again takes a relatively gentle entrance into its resourceful body, its initial and following presence another filtrated through the essences of House Of Love with some Inspiral Carpets whilst infused with a delicious sixties Eastern sultriness and melodic warmth. Deceptively infectious and virulently compelling, the song is a persistent and welcome instigator of the passions, a rapturous engagement which is the strongest on the release and for personal tastes would have been the better lead track, though the fade out is an annoyance and seemingly suggesting the song is incomplete in this version.

The closing Borders & Patrols also ventures into an older climate of sound for inspiration, a whisper of The Doors washing teasingly over the harmonics and melodic intrigue conjured by the guitars. A celestial elegance from the keys accompanies the rich slowly roving bassline across the track to keep the persuasion unpredictable verging on mysterious whilst the excellent vocals and skilled guitar narrative brings a hue to the song which leaves a purposeful hunger in the appetite for band and release.

The Island EP is a masterful adventure which only disappoints in its contents being admittedly magnificent but only a trio of songs. the Greeting Committee breeds a greed which the release certainly suffices but also leaves short and impatiently wanting more by its lack of more tracks, but then it equally leaves anticipation for the next encounter an eager fire. This is a band destined to major things, just watch this space as the saying goes.

http://www.thegreetingcommittee.co.uk/

9/10

RingMaster 25/11/2013

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The Darlingtons – Who Says There’s No Beach In Doncaster EP

Soaked in a melancholy which enthuse their hearts rather than casting them in darker oppressive shadows, the songs and sound of UK indie rock band The Darlingtons is an absorbing and magnetic wash of imagination and craft. The Taunton band has a presence and ability to reflect the darker shadows of ordinary life in a way which pulls no punches but still brings a breath of hope and consolatory comfort; most of all though it provides one pleasing and evocative encounter which plays like a new old friend and emotional co-conspirator.

With already their debut EP Decades Dance under their belt and the experience of having a label ‘behind’ them, the foursome of Kiran Roy, Daniel Young, Alex Bispham, and Chris Holmes now forge their own furrow and fight their own battles alone, and earning plenty of acclaim for their live performances and now their second EP through it. Who says there’s no beach on Doncaster? Is a collection of six live tracks bringing the band’s stage potency directly into the ears of the listener. It is a raw and unafraid to show warts and all encounter which declares the quality of songwriting and sound of The Darlingtons with unrestrained ease, and probably with such intensity to the emotive strength of the quartet, does so far better than any studio release might be able.

Opening song Bats is an immediate attention grabbing proposition, rhythms a bold enticement around which the guitars float and flame with melodic enterprise. Everything takes a step back soon after arriving, apart from the continuing to jab rhythms and moody bass, to allow the excellent vocals to begin their narrative. It is compelling stuff which only intensifies as the guitars return their sonic embracing and vocal harmonies skirt the emotive vocal delivery. Though arguably not as tender in its touch, there is a feel of the House Of Love to the song which seduces as successfully as the every punchy rhythmic frame. It is a mesmeric lure and already a powerful declaration of the band in songwriting and live performance.

The following Ship At Sea has turmoil in its presence from the first note, keys offering an unsettled emotive suggestiveness whilst the drums prowl the song as if expecting dark clouds and trouble ahead. The rhythmic aspect of the band is a scintillating temptation throughout the release, constantly offering immense and dramatic textures and cages which thrust the song to the heart of imagination and emotions within its recipients. Within the song the still impressive vocals find themselves a little overrun by the intensity and rhythmic intent but not enough to defuse their effect and reflective potency whilst the guitars and bass conjure individual entrapments for the senses which are as irresistibly toxic as they are mouth-wateringly enterprising, especially the twang lilted bait laid down in the latter part of the riveting track. With a slight resemblance to Prince Edward Island and evocatively Scottish band Letters, the track leaves a lingering breath-taking impact in its wake.

Both Don’t Give Me Hope and For Some Else In Time keep the band’s hold on the passions secure, the first an insightful beckoning lyrically and musically around again rolling hypnotic rhythms which slowly builds its atmosphere and intensity into a climactic finale which never quite reaches the full blaze its hints at but certainly has the air smouldering brightly. Its successor equally burns with a resourceful but reserved suasion which leaves the appetite well catered for and want for more an open greed. Neither of the songs quite matches the might of the previous tracks but with elements which fully seduce and overall a presence that breeds satisfaction, the pair only enhances the experience of Who Says There’s No Beach In Doncaster?.

The opening to Everything is a surprising welcome, guitars prancing with a festive heart and dark bass romping within their eager caresses. It is not that the other tracks are manna to the pessimist but the shadows are noticeable by their absence at the start of the song and when it sparks its rhythmic and guitar spawned explosive fuel. The track then does step into that melancholic shade again which initially disappoints but only until the song merges both extremes into a vibrant and magnetic dance of sound and emotional expulsion. Though the song also falls just behind the outstanding start to the EP it provides another varied and flavoursome treat, rhythms and guitar strokes addictive, keys and vocals alluring.,

     Watch Yourself brings the release to a close in fine style, the song an infection loaded slice of indie pop with a heavy emotional body which a virulently anthemic chorus. It completes in Who Says There’s No Beach In Doncaster? an exciting and robust encounter from a band we are going to hear a lot of in coming years you suspect and one definitely that should be seen on stage.

http://www.wearethedarlingtons.co.uk

8/10

RingMaster 22/11/2013

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The Welcome Matt – POPJUNKFLUFF&HYPE

Without one of our favourite albums of last year was The Panhandle Years from The Welcome Matt, an album which compiled a wealth of tracks taken from the project’s previous seven albums to introduce a very talented sound and presence to the wider world. It was a refreshing and exciting introduction for us to the band and San Francisco based musician Matt Langlois who is The Welcome Matt. Following up its impressive persuasion, comes new album POPJUNKFLUFF&HYPE, a release which quite simply carries on where its predecessor left off, inflaming the passions and creating some quite irresistible and enterprising rock pop.

Finding success and acclaim with his work with Members Of Sound from 2009 through to 2011, a musical project which released a new song every month for two years and resulted in two major CD releases from this work with an array of Bay Area musicians and producers, Langlois in many ways brought his solo project into its strongest limelight, certainly in respect of an emerging world awareness with The Panhandle Years. It was a kind of summing up of his adventure and creative journey to that point which POPJUNKFLUFF&HYPE now extends with its own delicious stomp of imaginative infection.

The Welcome Back opens up the ‘return’, lightly jagged guitars coaxing attention as the distinctive expressive vocals of Langlois wait for a moment before beginning their narrative. Into its full stride the song unveils a bluesy melodic embrace aligned to sixties tinted harmonies and melodic temptation. Lifting its knees the track eventually moves from an inviting walk into a feisty stomp, one weaving tendrils of contagious seventies pop rock and sixties charm into a gait which never truly explodes into riotousness but leaves the senses energised as the sounds toy with them. It is a mesmeric start which awakens a healthy appetite for the release and immediately feeds the anticipation bred by the album’s predecessor.

The following Key of G opens with Bolanesque strumming and vocal harmonies, the influence unmistakable and a pleasing lure into a song which evolves the inspiration into a compelling striding of inventive persuasion, guitars and keys almost wanton in their temptation whilst a throaty bass sounds has their back, it bringing shadows into the equation. It is impossible to resist its enticement; it like many of the songs breeding a familiarity within a fresh and magnetic wash of imagination. Its successor Let It Lead You, the new single from the album, is very much the same, its presence and teasing that of a recognisable friend but in a brand new enterprising suit. The rhythmic beckoning at the start instantly has feet and hunger on alert whilst the keys and vocals alongside, not for the first time upon the album, a virulently addictive groove littered with potent hooks seduces with every note and touch. It is a deviously effective pop song and catchy doorway into the album and The Welcome Matt for newcomers.

Pop Junk Fluff and Hype steps up next, a funk fed introduction taking little time in recruiting thoughts and emotions as it romps eagerly around the ears. Fiery rock guitars flame over the pop canvas whilst vocals and keys leap with energetic rigour and enterprise. It is a spellbinding mix of styles and flavours, electro and alternative rock adding to the insatiable and outstanding toxicity. Just as epidemically enthralling is Mode Of Transportation, a fusion of power pop and indie/electro rock which plays like a mix of The Motors meets Cockney Rebel with a splash of Cheap Trick. The song almost prowls around the senses and imagination even in its radiantly hued stance leading the listener into yet another impossible to ignore or resist piece of excellent rock ‘n’ roll.

A Hail Mary mischievously teases from the outset with a discord bleeding caress of chords and electronic nagging, its suasion early XTC like with a little Hot Hot Heat festivity to its riveting coaxing whilst Get Shameless is a foot stomping dance of hypnotic rhythms and frisky melodies. Keys and bass add their individual textures to the electric dance as Langlois immerses the listener in a skilled and adventurous addiction.

Both Mind Control and Lets Really Go continue the impressive exploits within the album, the first with a seemingly Sparks bred form of pop punk with hooks and a bass pulse which stick welcome barbs in deeply and the second through a devilishly compelling transfixing slice of country rock sing-a-long with slithers of punk and rock ‘n‘ roll adding their teasing.

Cast A Line brings POPJUNKFLUFF&HYPE to a Bolan/Kinks tasting and enjoyable end to conclude a thoroughly thrilling and incredible contagious encounter. It is a storming blaze of pop rock which feeds every want and need with accomplished infectious ease, and an album all should pay attention to.

http://www.welcomemattsf.com

9/10

RingMaster 18/11/2013

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Allusondrugs – MyCat/Fruit

Providing a sultry tease which toys with and triggers the passions, UK alternative rock band Allusondrugs confirm and build upon the promise set by their debut release with the thrilling new double A-side single MyCat/Fruit. Two tracks of riveting fuzz lined vibrancy with a sinewy bass to hang it all upon the release is a further impressive step in the emergence of one refreshingly exciting band.

Hailing from Castleford in West Yorkshire, Allusondrugs formed in the autumn of 2012 and took little time in honing a sound which drew potent attention and acclaim through the quintet’s live performances locally.  Constantly spreading their presence especially through debut single Plasters, the band now stands poised to work upon the rest of the country with the new release and a tour across the north of the UK. Released as its predecessor via Clue Records, MyCat/Fruit is a magnetic feast of mischievous sound, one with a seductive embrace and a steely temptation.

    MyCat opens with a scuzz coated hand on the shoulder of the senses, an almost industrial caress rubbing attention into action before thumping beats and electronic strikes punctuate its lure. It is a powerful invitation taken into irresistible climes when the track explodes with a stoneresque acidic groove and a heated intense vibrant energy. The harmonic vocals soon after instantly complete the virulent bait of the song as does the brief caustic explosions which equally grip the arisen appetite for the sounds offered; it is a riveting persuasion which has feet and emotions dancing and the imagination soaring. Across its impressive body the song sparks thoughts of Queen Of The Stone Age, The Pixies, and Hot Hot Heat, though there is something wholly distinct to Allusondrugs, a core which sets the song and them enjoyably apart.

The song also holds a shoegaze quality, if one with a want to devilishly bruise simultaneously and that essence makes a stronger tempting on Fruit. The song from a discord kissed single guitar beckoning stretches its arms with a grunge spiced stomp, riffs and rhythms a hungry recruiter of the passions. Settling into a compelling stride the track then taunts assumptions by smoothly slipping into a gentle melodic flight, a candescent passage bringing a mix of My Bloody Valentine and Felt into view before switching back and forth with the previous Foo Fighters like charge. It is a glorious slice of imagination, its persistently twisting and engaging adventure addiction sparking beauty and contagious feistiness united for a thoroughly scintillating encounter.

As the brilliant combination of MyCat and Fruit massages and riles up the passions it is hard not to anticipate Allusondrugs growing into and creating one of the more exciting and spellbinding presences within British rock over the upcoming horizons. We for one cannot wait…

MyCat/Fruit is released as a 100 strong limited edition CD and download

https://www.facebook.com/Allusondrugs

10/10

RingMaster 14/11/2013

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Haarts- Article Way

Making their debut with first single Article Way, UK indie rock band Haarts present themselves as a rather enterprising and intriguing proposition, one with a magnetic presence soaked in rich promise. The single is a dramatic entrance though one which seduces rather than demands attention with the result ultimately the same, full persuasion. It is a potent encounter, one which places the band firmly on the radar.

Article Way is the first of a trio of singles to be released and is an impressive start for a band whose founders met at secondary school. Since starting the Lake District hailing quartet has built a strong local reputation for their live performances, shows which has seen the band regularly playing 100 minute live sets in pubs and clubs. Their sound is a dark but vibrant form of indie rock, its brooding tones musically and vocally reminiscent of Editors but fuelled by a refreshing energy which sets the band out from most. Produced by Bryan Wilson, the single leaves a very healthy appetite for the band in its wake and a hunger for their upcoming releases.

The opening sharp shard of guitar instantly brings Article Way into focus especially when the expressive baritone vocals of Phil Hampson join the welcoming embrace. Shadows are soon infiltrating the crystalline breath of the song through the heavy bass and rhythmic caging of the drums but equally as it expands the track unveils an acidic melodic elegance and tempting which fires up the emotions. The body of the song is cavernous, offering a deep expanse of emotive resonance around the thumping heart of its declaration and almost exhausting climactic atmosphere. It is an enthralling provocation of the imagination and an immensely pleasing lure into the band for thoughts and passions.

Though only one song, Article Way suggests that Haarts is an emerging presence with extremely potent horizons ahead of them, roll on the next single…

http://www.haartsofficial.com/

9/10

RingMaster 09/11/2013

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This Early Autumn – Mood

    This Early Autumn is an alternative rock band hailing from Columbia which is beginning to create a feisty wash of acclaim around itself. Driven by lead vocalist/producer Juan Valderama, the Bogotá band are set to release their new single Mood, a track which as our introduction to the band takes a firm and engaging grip on thoughts. It is too early on the evidence of one song to say that the band is or is not a potent force in the brewing stage but certainly it is an intriguing proposition with plenty of open promise.

From what we are led to believe This Early Autumn emerged from a graduation project which spawned two songs Hollow and Mood. The new single is the follow-up to debut release Nothing Compares which drew strong eager responses in Columbia and the UK as well as good MTV coverage. The trio of songs also made up the Primary Pursuit EP but it was the single which grabbed the attention outside of their homeland and which Mood you suspect will increase or at least cement. In 2011 Valderama moved over to London and has been making numerous live appearances around the city since, again to great responses which the single should find an enthusiastic home from.

As soon as Mood caresses the ear you are soaked in thoughts of Placebo, Radiohead, Japanese band Tokyo City Chaos, and fellow Columbian band Hidden Desires. This is not to say the song is unremarkable but the essences are strong within the fresh breath of the single. The vocals of Valderama take a little while to soak in but by the chorus spark nicely in the ear whilst the melodic grace and infectiousness of the keys and guitar only provide a compelling persuasion which like the vocals takes time to seduce but ultimately do with good strength. Of those references This Early Autumn remind most closely of the Japanese trio though the single has a lighter energetic poise in comparison but is less intensively evocative and passionate.

The song is a gentle flame of richly hued melodies and lyrical suasion which add to the colour of the temptation which is undoubtedly at large but against that there is a dimmed spark to prevent it being a lingering kiss upon the ear and memory. It is a pleasing and appetising encounter though and one ensured to make This Early Autumn a band to have strong hopes for.

www.thisearlyautumn.com

7/10

RingMaster 30/09/2013

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Strange Names – Self Titled EP

The self-titled EP from US electro pop band Strange Names is best described as an exploding star of warm mesmeric radiance and rich melodic hues falling upon the senses with varied flavoursome and refreshing warmth. It shows with ease why the duo of New York born Liam Benzvi (vocals, percussion, keyboards)and Minneapolis hailing Francis Jiminez (vocals, guitar, keyboards) has created such a buzz around themselves back home and now the UK release of their debut EP should act as a magnet for the imagination and passions of plenty more eager appetites this side of the blue too.

The two musicians met whilst at the University of Minnesota in 2010 and soon were collaborating with live performances following in2012, the band growing to a quartet live with the addition of bassist Andre Borka and drummer Fletcher Aleckson, who also play on the EP. It’s and a single’s successful Stateside release to strong acclaim via White Iris Records followed Strange Names being named as the Twin Cities Best New Band of last year. Live the band has also garnered strong reactions including shows with the likes of Yeasayer, Mac DeMarco, and The Walkmen. With the pair working on their debut album right now, the EP gets its timely unveiling on this side of the pond through Minor Times Records September 16^th  to equal response.

Potential Wife starts things off with electronic starlets of sound expelling their sonic beauty in the sky of the song before beats rupture their elegance and the track is led by a delicious bass croon bursts into a contagious blaze of jangly guitars and melodic dance. With the bass adding extra funk to proceedings the sound sits somewhere between Talking Heads and The Tom Tom Club before evolving into even juicier affair as the great dual flames of harmonies and mesmeric vocals from Benzvi and Jimenez kiss and caress the ear.  It is an absorbing start to the release with elements of eighties new wave and modern electro brewing further enticing whispers within the elegantly grooved waltz.

Strange Revelation continues the impressive start and instantly shows the variation and diversity ripe within the songwriting and its sound, a haunting post punk breath wrapping every note and lyrical coaxing whilst a melodic breeze stokes up further irresistible heat. The bass and excellent chilled guitar taunts have a Joy Division cold beauty whilst the contrasting warm melodies and vocal exploits pull thoughts of China Crisis into play. It is a mesmeric weave of masterful and evocative craft which confirms the potency and temptation of band and release.

     Luxury Child finds seeds back in the pop well of enterprise though the throaty pulsating dark tones brings welcome shadows to contrast the excellent Haircut 100 like guitar stroking and the ever impressive and smouldering warm vocals. Simultaneously tender and vibrantly energetic the song is an enthralling venture soon matched by final song Young. The closing track is a deep wash of potently hued electronic incandescence and slightly raw but invigorating sonic colour which continues the immense bewitchment and creative heights of the EP. It does not quite match the success of the previous songs but is arguably the most intense and imaginative of the four, and the most telling of the strength and expanse of the band’s songwriting.

Strange Names is poised to seduce the UK and Europe just like it has its homeland, their first EP an undeniable persuasion of that assumption and future promise, the first step towards many exciting horizons for them and us.

http://www.strangenamesmusic.com

9/10

RingMaster 13/09/2013

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Saint Agnes – The Good Fight EP

There is a romantic smouldering to The Good Fight EP from London duo Saint Agnes which is just as seductive and fascinating as the sizzling tantalising sounds which it is seeded from. The four track release is a mesmeric treat which transports the listener into a sweltering world of spaghetti western ambience and passion soaked psychedelic temptation, a visual evocation as much as it is an aural one and quite delicious.

Saint Agnes consists of Jon Tufnell (guitars, vocals, bass, harmonica, drums) from The Lost Souls Club and Kitty Austen (guitars, vocals, organ, percussion, bass) of Lola Colt, their meeting occurring when their bands played a gig together and creative union emerging, according from the promo with the release, from ‘Having both grown a little weary of the self-conscious restraint they heard around them they sought to create something bold and cinematic.’ That they certainly have with The Good Fight. The wholly DIY project and release was recorded on a shoestring budget in Kitty’s bedroom, though feels as expansive and full as any studio recorded release whilst holding a rawness which adds to the rich imagery provoked by its sounds, and across its evocative length provides a presence which is inciting to thoughts and visual imagination as much as it is to ears and passions.

Opening track Old Bone Rattle provides a visual impact as its title suggests, the song a flight of hollow rhythmic tempting and rattlesnake percussion around a sweltering melodic persuasion, igniting a vision of cattle skulls around ageing prospectors and Mexican Pistoleros laying down tequila driven stomps. The initial rhythms make an appealing sinewy cage to which the melodies and guitars add flesh and the excellent dual vocal embrace heart and character. The rhythmic persuasion never lets up throughout the track, its muscular tempting a spine to the sonic blazes and emotive melodic enterprise whilst the excellent vocal blend and swarthy Doors like keys add the vivacious call bringing it all together for a sultry seducing of the passions.

It is a stunning start soon matched by the following The Tower Falls. Again the rhythms lead the way with compelling allure whilst the soon to enter guitar carves a Tarantino like picturesque narrative for Kitty to heat up and explore with her wonderful siren like vocal inducement. Like its predecessor imagery and thoughts colour between the lyrical and sonic lines presented to create a landscape and emotional expanse as vivid as the impressive song. The harmonica is a potent call within the reflecting sun in the song’s skies whilst again the keys bring an ambient wash which envelops and evokes from ear through to mind and heart.

Drown Me In The River once more enters on a tide of big and bold rhythms, something which instantly connects with the listener each and every varied time. Keys and guitar paint the scenic premise with a vibrant hue to their enterprise whilst the bass canters along with a throaty intrigue which only adds to the emerging romance of the tale and aural portrait being weaved. It is another outstanding enchantment, the best on the EP, and an irresistible bait to keep a close eye on the project as they hopefully evolve into even greater realms.

As mentioned there is a loud Doors whisper to the release which is admitted in many ways by the closing song, a cover of the band’s Roadhouse Blues, but to that there is also elements which remind of the Dennis Hopper Choppers and Helldorado, though Saint Agnes truly with their almost shoegaze like pop kisses standing unique. The final track is a simmering acoustic fire of guitar, harmonica, and that delicious vocal union, its hug around the shoulders a blues kissed piece of humid beauty. Once the keys add their voice towards the end of the bewitching charm its flames are burning just that little more intensely for the fullest suasion.

The Good Fight EP is a real gem, a sensational haze of fiery imagination and hallucinatory inspiring invention. Released as a Name Your Price release @ http://saintagnes.bandcamp.com/ this is a no questions asked deeply rewarding purchase…so go get your sensory provocateur.

https://www.facebook.com/wearesaintagnes

9/10

RingMaster 03/07/2013

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Jingo – Black Flowers

Earlier this year, London based Jingo more than impressed with a trio of single released a couple of weeks or so apart from each other. Each was a distinct emotional soundscape with scenery of melodic and colour drenched narratives lyrically and musically capturing the imagination. It is fair to say each of the three left thoughts and emotions eager and happy to declare the promise and an assumed potent horizon of the band. Well it turns out that we were merely on the appetisers for greater things, the songs just hints and temptations of what was to come ahead and certainly with their fourth release. Black Flowers is simply magnificent, a flame of creative mastery which leaves as great as they were, its predecessors well back in the shade. Jingo have truly arrived and in a fire of adventure.

Consisting of husband and wife guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, alongside drummer Joseph Reeves, and Sahil Batra on keys/bass/guitar/vocals, the quartet certainly took no time in drawing attention, their first gig as Jingo coming as support for Graham Coxon of Blur in March this year at a sold out charity night at Mother London. That same day saw the release of debut single IQ84 soon after followed by Same Without You and subsequently Matador. Each song left a stronger and increasing appetite and thirst for their descriptive musical narratives and rich lyrical expression, something Black Flowers more than quenches. Comparisons in many ways to bands such as Fleetwood Mac and The Magic Numbers have been mentioned but it is fair to say Jingo have already managed to stand alone, and even more so with the more intensive and formidable single.

As soon as the drone kissed riffs of guitar and bass opened up the air there is a feeling of darker more intensive things afoot. The addition of the glorious vocals of Katie offers an immediate seduction but they cannot dismiss the shadows draping eagerly over the ear. It is a magnetic welcome which only deepens in lure and intensity as the drums flex their forceful sinews and the guitars bring a greater gnarly caress to the encounter. With the keys expanding their richly hued imaginative presence within the veins of doom spawned  corruptive contagion, the blend of light and dark is pure ingenious whilst the exceptional enchanting vocals and harmonies act like a beacon to restrain the musical and lyrical darkness. Other songs maybe have sparked thoughts The Magic Numbers etc. but Black Flowers seem to find a kind of kinship with bands such as Blood Ceremony and Jess & the Ancient Ones.

Black Flowers is outstanding, a track to thrust the band into the heart of British rock music, though you get the inkling that Jingo will never settle in one camp, and that makes them and their new single even the more exhilarating.

Stream/download Black Flowers @ https://soundcloud.com/jingomusic/black-flowers

https://www.facebook.com/jingomusic

10/10

RingMaster 07/09/2013

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