The Sums – Start At The Finish

10733716_10154862228690526_7229741754014078764_o

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

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

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

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

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

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

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

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

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

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

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

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

RingMaster 21/03/2015

Copyright RingMaster: MyFreeCopyright

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

The Reveurs – Take a Bow

Picture 120

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

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

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

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

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

Take a Bow is available from March 16th

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

Upcoming Live Dates for The Reveurs include:

27th March – Verve Bar – Leeds

3rd April – Sound – Liverpool

25th April – Etihad Stadium (City Square)

3rd May – Castle Hotel – Manchester

6th June – Carpe Diem – Leeds

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

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

Matinée – These Days

Matinee

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

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

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

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

These Days is released March 16th

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

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

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

Asylums – Wet Dream Fanzine EP

audioclip-1422899782

What do you get if you take a pinch of Supergrass, add it to an ounce of We Are The Physics, and then spice the mixture with a further splattering of Manic Street Preachers, Devo, and We Are Scientists? Well there is a good chance it will be something like the irresistible sound of and debut release from UK psyche poppers Asylums. There have been some startling entrances and introductions over the past months alone, but it is hard to remember many getting ears and emotions as excitable as the Wet Dream Fanzine EP manages in its three short, sharp slices of angular pop rock. The release is pure contagion but with a deranged invention and devilish imagination which reminds of a few and stands thoroughly unique in its character and temptation.

Asylums hails from Southend and have already picked at rapidly growing attention through their home made videos for the tracks making up the new EP; though having the songs bound together in one addictive package seems to make them grow in greater in persuasion and flirtation again. Live too the quartet of Luke Branch, Jazz Miell, Henry Tyler, and Michael Webster have been stirring up a buzz, a tour with The Vaselines and their own headlining enterprises luring in more and more appetites from fans and media alike. Now the Wet Dream Fanzine EP steps forward, with its title track released on the same day for the band’s new single, and there is a certainty that it is poised to shake up the UK indie rock scene for the better.

That new single opens up the release, Wet Dream Fanzine instantly laying down sonic smog of guitar enterprise which with pungent rhythms, has feet and thoughts immediately engaged and enthralled. The swing of the vocal delivery matches the warm stride and swagger of the song, everything a bouncy dance of mischievous persuasion with melodies and vocal harmonies soaked in creative devilment. There is no escaping the infectiousness of the encounter or its insatiable torrent of quirky and highly flavoursome hooks, it all unrelenting for the whole of the two and a half 10868149_320437288151046_8986672175115969600_nminutes the track takes to leap all over and inflame the passions.

There is no let-up in the devilry and quality either as the punk infused tenacity and urgency of The Death of Television takes over. An initial sonic spearing is the trigger to rebellious percussion and beats aligning to vocals just as sharply edged in their delivery. The song is soon a masterful stomp of creative agitation courted by a rhythmic and riff clad proposal which leaps around like bare feet on hot coals; the type of brilliance which made Baddies so essential when around. There is also an old school punk DIY feel to the EP and songs individually, which simply energises the second song and listener during its brief but addictive stomp.

The release closes with I’ve Seen Your Face In A Music Magazine. The third song combines the spicy grooving which lit up the first song with the more caustic attitude of the last track, merging it into a melodic and discord spiced wine of sound and invention. As the other songs, attitude exudes from every pore and note of the outstanding incitement, guitars toying with the imagination as rhythms jab with their own refined tempo on the senses and pop punk sparked vocals croon and roar with perpetual captivation.

It may be only one release but it is easy to suggest Asylums is the next big thing not only in but for British rock ‘n’ roll. The last time we were this excited was when…well privacy prevents details.

The Wet Dream Fanzine EP and single are available from February 23rd via the band’s own Cool Thing Records.

http://www.asylumsband.com/ / https://www.facebook.com/asylumsuk

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

Heyrocco – Elsewhere

9f38ce25-3fb0-42a8-95bc-37f69ac633e0

It is fair to say that US band Heyrocco wowed the UK with their debut UK tour not so long ago and has gripped a broader expanse of attention through their sounds and releases, especially their Mom Jeans EP. Now with their Soundcloud profile alone hitting over 250k plays over the last six months, the South Carolina trio release new single Elsewhere; the song a potent confirmation of the impressive emergence of the band and a rather tasty appetiser for impending debut album Teenage Movie Soundtrack from which it is taken. The song is a spicy and vivacious dose of angular guitar rock soaked in the distinctive sound which has already drawn comparisons to the likes of Nirvana, Pavements, and Mudhoney.

Elsewhere is a continuation of an already successful tempting of ears and attention through earlier releases and their dynamic live presence. It is fair to say that the threesome of Nate Merli (vocals/guitar), Christopher Cool (bass), and Taco Cooper (drums) has been increasingly finding eager appetites for their dark, nostalgic pop tunes self-proclaimed as ‘Disney Grunge’, since forming around five years ago. Recently the Charleston band as mentioned, has been wooing British audiences on a tour which included headlining a sold out show in front of 1400 people for Club NME @ KOKO. With the release of Teenage Movie Soundtrack looming, the album several years in the making, 2015 is looking another potent proposition for Heyrocco and could not have got off to a more flavoursome start with Elsewhere.

The single is straight into ears with jabbing beats, tangy hooks, and the engaging voice of Merli. It is a start allowing no time for senses and imagination to take a moment to ponder, instead forcing them to greedily devour the lively bounce and almost mischievous character of the song. Within a few further breaths of expressive syllables and spiralling melodies, all wrapped in a acidic spicing, it is easy to see why the band has been matched to those comparisons earlier mentioned, but equally there are whispers of bands such as The Libertines, Arctic Monkeys , and UK’s own newcomers, The Jacques to the song.

Elsewhere continues to dance and flirt with the listener through gradually bolder and more muscular rhythms and the unpredictable but easily accessible nineties seeded endeavour of the guitars. By its close, the single has made the strongest persuasion and bred keen anticipation for the upcoming album, whilst showing Heyrocco as a real feel good proposition with flirtatious shadows that all should consider becoming more closely acquainted with.

Elsewhere is available from February 23rd via Vital Music Group @ https://itunes.apple.com/gb/album/elsewhere-single/id958133606?ls=1

https://www.facebook.com/Heyrocco

RingMaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

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

 

Vienna Ditto – Hammer And A Nail

10462646_10152163488441517_4409918304595880062_n

All seductions should come with a little essence of raw and dirty temptation and that is something you certainly get with the sound of Vienna Ditto, especially in new single Hammer And A Nail. The release is a sultry affair; a steamy and climactic persuasion but equally offers a mellow croon with intimate charm, a mix which simply enthrals and excites. The British band has been nibbling away at major attention for a little while now, with increasing success through their releases, but Hammer And A Nail might just be the spark to lure in the most potent of spotlights.

London based Vienna Ditto is the creation of Hatty Taylor and Nigel Firth, a duo meeting when the latter started teaching the former guitar when she was 11 years old. After a couple of years the two lost touch but a chance meeting in the street in 2009 sowed the seeds to their union as Vienna Ditto. Reaping and weaving the essences of smoky blues, psychedelic rock, and electronica for their fascinating sound, the pair has found interest and air play with the likes of BBC Radio One, BBC6 Music and XFM, as well as highly praising reviews across numerous publications. Now it is 10919057_10152609779061517_1589235084162101861_nthe new single’s turn to push the band on and lure more to join their already strong and devoted following.

Hammer And A Nail opens on a gentle caress of guitar within an electronic wind, a barren landscape already being suggested to the imagination as the continental vocal delivery of Taylor flames within the broadening climate. Melodies come with a sixties colour and character, something persistently and enjoyably spicing their songs generally, whilst Taylor‘s voice has, as everyone seems to mention, a bewitching Edith Piaf quality to its tempting. The song itself brings a Morricone cultured soundscape with a soundtrack cast by a fusion of The Animals and Portishead. It holds an atmospheric breath which swirls around ears and Taylor whilst the skills and invention of Firth provide a transfixing maelstrom of enterprise and expression which is almost tempestuous in character and compelling in its precisely sculpted beauty.

Hammer And A Nail is also a proposition which lingers long after its parting with the senses; worming under the skin, into the psyche, and ultimately into the passions with sublime efficiency. The single is truly a mouth-watering temptation from Vienna Ditto, their finest moment yet, and the next major step in the band’s spellbinding of the UK music scene.

Hammer And A Nail is available from February 23rd

http://viennaditto.com

Ringmaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

 

Pacific – Time To Forget

Pacific-Pic (1)

Like an infectious smile or warm embrace, Time To Forget the new single from UK indie rockers Pacific is an encounter which ignites ears and emotions. Without setting down a brazen look at me like marker, the song just as successfully lures a healthy appetite for its presence with a gentle but firm creative caress and a vivaciously melodic nature. It also reinforces the Cheshire quartet as a prospect more than worthy of increasing attention.

Formed in 2011 and fusing a punchy alternative rock adventure with a more indie bred melodic tangle of enterprise, Pacific has nurtured a strong reputation and following through singles such as Dream of Mine and She Demands, the first already notching up over 20,000 views on YouTube alone. Earning increasing support from the likes of Huw Stephens on BBC Radio 1, BBC 6’s Mark Radcliffe and BBC Stoke Introducing’s Rob Adcock, the foursome of vocalist/pianist Anthony Orzel, bassist Daniel Orzel, guitarist Dave Bithell, and drummer Drew Burns are looking at making 2015 their most prolific success and spotlight wise so far, and taken from their upcoming debut EP, Time To Forget is a thoroughly magnetic start.pacific single cover

A coaxing of piano sparkles across ears first, swiftly joined by a melodic shimmer of guitar and firm but respectfully jabbing rhythms. The strong vocals of Anthony Orzel are soon a harmonic flame in the mix too, potently backed by the rest of the band’s melodic tones. It is a captivating start finding further temptation as a festival of beats and percussive enterprise joins the vibrant stroll and spicy hook of the song’s inventive dance. Continuing to entice and reward with a flavoursome sound and masterful craft, the single never grabs the listener by the scruff of their neck but lingers and seduces with increasing energy over time to still emerge a memorable and exciting endeavour.

Pacific are being talked about with increasing enthusiasm over each passing release and show, something Time To Forget will only add to and increase whilst ensuring anticipation for the band’s impending EP will be particularly enthused.

Time To Forget is released from Monday 23rd February whilst the band’s next show is at White Heat Club @ The Lexington, London on Friday 27th February with Winters Island and Animal Shivers.

http://pacificofficial.com/

RingMaster21/02/2105

Copyright RingMaster: MyFreeCopyright

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