Serenade The Stars – She’s The One

The brainchild of songwriter/guitarist Damian Carruthers, Serenade The Stars is a new proposition on the British music scene about to make their full and rather flavoursome introduction with debut single She’s The One.

Formed in Amersham/Chesham earlier this year, Carruthers has united with the talents of vocalist Matthew Harman, guitarist/bassist James Wrigley, and drummer James Burton to bring his ideas first formulated around five years back and songwriting to life. A tale of “falling hopelessly for the girl of your dreams and the ensuing battle that goes on in your mind about how to confess your love…”, She’s The One quickly wraps ears in its melodic grace and emotive expression. Harman’s impressive tones are soon in the mix too, uniting with the tender yet powerful sounds with matching endeavour as the track bares its heart and enterprise.

Echoing a premise we all have awareness with, the song is a magnet which seems to draw attention with greater adeptness listen by listen, its more familiar aspects just as potent as its individual traits and prowess.  She’s The One is just the one song but more than hints that we might have a very promising and captivating prospect in store ahead with Serenade The Stars.

She’s The One is out December 1st.

https://www.facebook.com/serenadethestars

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

The Emergency Please – Remember You

Having recently chatted to The Emergency Please founder and vocalist/guitarist Karan Master (ex A Gentleman’s Film) about his band and debut release, it was only right we also leapt into the Remember You EP from the UK outfit. Released a handful of days ago, the four track encounter is a spirited stroll of pop punk and funk infused alternative rock which needs little effort to have the body and imagination swinging.

Inspired by a varied host of artists headed by Jimi Hendrix, John Mayer, and The Smashing Pumpkins, Master has linked up with bassist Michael Hartley and drummer Sam Garnett to complete The Emergency Please line-up though Remember You was recorded with the aid of Sam West (drums) and Adam Porter (bass). Southampton based, the band has a sound which is maybe still in the brewing stages but as their first EP shows, it is already a flavoursome proposition with rich stock for future adventurous recipes.

Remember You opens with its title track, a magnetic affair bursting from an initial guitar jangle with energy and spirit in sound and vocals. Boisterous beats punctuate the melodic web cast by the guitar, the bass more moody but no less keen an ingredient in a song which second by second gets under the skin. A little folk pop, plenty indie rock with a pop punk lining, it captivates from start to finish, alluring ears and hips with equal dexterity.

The following I Can’t Stop is just as energetic and eager to tempt with funk infused hooks and a rhythmic shuffle which just swings along. Speeding up its lures at certain times, it is a great nag on the appetite with more controlled moments providing a tapestry of creative suggestion. Put all together it provides a shuffle which is as bold as it is accomplished, matching the heights of its predecessor to keep the release holding rich attention before Lost casts its calmer, melodically intimate caress on the senses. Melancholic but with heart felt light to its touch, the track provides its own captivation to complement its previous companions.

The EP closes with Clark Kent Syndrome, a song which begins with a mouth-watering temptation of guitar string picking and proceeds to seduce with rhythmic bait led by the pulsating yearning of the bass. With vocals as potent as ever, it continues to dance on the ear though it does not quite live up to its early promise for personal tastes. Nevertheless it is a thickly pleasing end to a release which grows and persuades with increasing prowess, its closing expulsions of vocal angst against the funk woven shuffle of the guitar epitomising its appeal.

Remember You is an introduction which makes you take notice; a strong first step from a band with plenty to discover in their imagination and on the evidence of the EP, plenty of tenacity and craft to bring it to our anticipating ears.

Remember You is available now @ https://theemergencyplease.bandcamp.com/album/remember-you

Read our interview with Karan Master @ https://ringmasterreviewintroduces.wordpress.com/2017/05/10/leaping-to-the-front-exploring-the-emergency-please-with-founder-karan-master/

https://www.facebook.com/theemergencyplease

Pete RingMaster 16/11/2017

Copyright RingMaster: MyFreeCopyright

Speak, Brother – Lions Roar

If previous single, Magnificent, was not enough to tease sure anticipation for their upcoming debut album, British indie outfit Speak, Brother seals the deal with its striking successor. As the last single lived up to its name in sound and presence so Lions Roar backs its moniker with a temptation which vociferates with power and gusto as a melodic mane swings.

Emerging from Rugby in 2011, Speak, Brother has proceeded to stir real attention their way with a couple of EPs and tracks which immersed ears and imagination in ethereal yet forceful persuasion. Such the rising support of the band, their forthcoming album, Young & Brave set for release early 2018, has been a crowd-funding success with thick anticipation awaiting its arrival. Songs like Lions Roar are the reason why, tracks which ripple with creative drama and an emotional tension yet seduce and beguile with indie rock energy and adventure.

The quintet of James Herring, Matthew Cotterill, Nathan Morris, Dan Smith, and Sam Oakes bring the track into view on a swift melodic breeze, its breath bearing boisterously rousing rhythms courted by the melodic grace of the piano. They swiftly align with the ever impressing tones of Herring, his voice as the music rich in commanding expression and weighty enterprise.

Strings join keys in further captivating an imagination already caught in the instinctive lure of the song, its moments of reflective calm as compelling as the lustful crescendos which surge with relish through ears with anthemic tenacity.

The track is immense, even in the final few seconds of its finale, a rousing and almost spiritual incitement which with its predecessor ensures that Young & Brave just cannot come soon enough. Indeed if both singles are the evidence of things to come, we just might be looking at a game changing treat for the UK indie scene.

Lions Roar is out now with Young & Brave set to be released in Spring 2018.

http://speakbrother.co.uk     https://www.facebook.com/speakbrotheruk/     https://twitter.com/SpeakBrotheruk/

Pete RingMaster 04/11/2017

Copyright RingMaster: MyFreeCopyright

Bad Llama – Apocrypha

UK band Bad Llama emerged early last year and swiftly poked eager attention with the release of first EP Shedding Skin and its lead single The Wolf You Feed from fans and media alike. Now ahead of their upcoming follow-up EP, Crooked Empire, the Burton upon Trent quintet ups the ante with the release’s first track, Apocrypha.

It is a powerful and rousing encounter which demands attention whilst revealing a new maturity and intensity in the band’s multi-flavoured sound. A list of Bad Llama’s inspirations reveals an eclectic mix ranging from Red Hot Chili Peppers, Incubus, and Tool to Korn, Faith No More, Rage Against The Machine and Bring Me the Horizon; a mix equalled in the metal and heavy rock bred enterprise of a sound also bearing the spices of progressive and industrial nurturing. As previous releases suggested, what emerges is a sound distinct and becoming more unique to the band; Apocrypha another definite potent step towards that originality.

Recorded with producer Gavin Monaghan, Apocrypha moves in on ears with an almost predacious atmosphere and similarly swinging beats, its threat dissipating slightly as Kyle Jordan’s expressive tones step into the web of suggestion cast by the guitars of Dan Houlbrooke and Sam Wyatt. The gnarly snarling bass of Lewis Hutchings though keeps the intimidation flowing; a delicious texture prowling the sonic temptation continuing to entangle the imagination of song and listener as Gaz Waddell’s beats bite.

It is a captivating mix in a song which grows and blossoms in thought and enterprise with every passing second. Apocrypha is a masterful proposition, skilfully crafted and emotionally intense which it is hard to see not stoking up attention for Bad llama and anticipation for that forthcoming EP.

Apocrypha is self-released November 10th.

https://www.facebook.com/Badllamaofficial    https://twitter.com/BadLlamaBand    https://www.instagram.com/badllama_/

Pete RingMaster 04/11/2017

Copyright RingMaster: MyFreeCopyright

The Vintage Calvinos – An Invitation To Infamy

Being engulfed in fascination for something is one of life’s pleasures and stepping into the kaleidoscopic world of An Invitation To Infamy is certainly both. The debut album from The Vintage Calvinos is an absorbing tapestry of sound and suggestion loaded with observation, insight, and a creative devilment which just gets right under the skin.

The band is the creation of song writer/bassist/vocalist David Baird who lured in some of the finest Scottish musicians to the Aberdeen based project and indeed, in the case of backing singer Xavia, literally just passing by talent of drawn to the pied piper-esque sounds coming through the windows of The Anatomy Rooms where the band was rehearsing. Together they have created a web of temptation in skilfully conjured word and multi-flavoured music which has the body swaying and imagination swinging in joyful enterprise and contemplation. From pop to indie, rock to folk and a host of numerous other spices, An Invitation To Infamy is a beautiful collusion drawn from the hearts of a collective of musical adventurers.

The instantly compelling rub of drama soaked strings as Prelude leaps upon ears and imagination sets the scene and tone of things to come, its vocal compulsion subsequently slipping into a warm slow waltz with a flowing energy which soon has hips leaning to and fro as guitars and strings engage with the romancing keys in entwining dulled yet potent percussive beats. The forcibly engaging piece leads into the waiting arms of Last Tango which opens with melodic drama somewhat akin to War of The Worlds. Its rich strains soon twist into a rolling stroll with more infectiousness than a viral cold and a net of creative intrigue which has ears and thoughts enslaved. Baird’s great vocals are more than matched by the backing of Xavia, both wrapped in the melodic dexterity of Paul Davidson’s guitar. With a second never wasted on predictability, the track is superb, almost reason enough alone to accept An Invitation To Infamy.

So Many People follows, the buzz of life breeding a slow carnival march, one seemingly infusing the tiredness of perpetually imposing life with the joy of being. Brass blows with an enticing clamour as rhythms throb, a welcoming cacophony parting for the melancholic spicing of Baird’s vocals and the stirring scythes of strings and in turn uniting for a creative throng which just magnetises the senses. Like a sonic pagan scented Lowry composition with a broader outlook, the track utterly seduces before new single You Are Always on My Mind infests the psyche. The striking coaxing of Mitsuki Takayama’s violin instantly grips, a hold tightening as the song evolves into a sixties pop scented canter. There is no resistance to its teasing temptations and lively catchiness, the quickly involved antics of body and vocal chords swift evidence. Davidson’s wall of keys is just as irresistible along with the theatre of strings and the rhythmic saunter of Baird’s bass and Fraser Peterkin’s drum beats.

The indie seduction of This Handsome Boy absorbs attention next. It is a track with a touch of Lightning Seeds to it at certain moments and pure pop contagion throughout led by the golden tones of Iona Macdonald and warm surges of brass expelled by trumpeter Bill Thompson, trombonist Denis Webb, and saxophonist Dave Carter. Sometimes there is something about it which feels quite familiar yet for no obvious reason as it floods ears with instinctive pleasure.

The album’s first single, No Room at The Inn released a couple of weeks ago, steps in to captivate straight after with its gentle stroll. Its proposal is low key, compared to other songs, but rich invitation into the album’s broadening musical and lyrical craft while Clouds smoulders with elegance and undiluted captivation. At times it sounds like a blend of Steely Dan and Weekend, a wistful seduction with intensity in its heart and an energetic adventure in its nature.

Through the haunting entrance and golden incestuous intimacy of Alice and the minimalistic but rich stirring of Lost, band and album continue to bewitch with adventurous diversity and creative revelry. Both tracks simply enthral whilst manipulating the body before Teardrops in My Eyes swaggers in with sorrowful melodies and sinful energy to reinforce the submission of ears and appetite before The Vintage Calvinos.

The dusky rock ‘n’ roll of Rock Dreams Part 2 is like a soundtrack to many of our musical upbringings and warm homage to its kings and quite irresistible as too after a magnetic instrumental reprise of No Room at The Inn, is closing track The Beautiful and the Damned. A shadow draped ballad to the lost and the lonely with the darkest outcome, the song is simply sultry aural beauty epitomising the craft and debut of The Vintage Calvinos.

With a host of other striking individual contributions involved in the collective creation of An Invitation To Infamy, all deserving recognition, the album is one of the year’s most essential encounters. The first listen is gold but only an appetizer to the delights and unbridled pleasures which follow with every subsequent union between ear and sound.

An Invitation To Infamy is released October 27th on Stereogram Recordings with the single You Are Always On My Mind out October 20th.

The album’s launch is to be held at Under The Hammer, North Silver Street, Aberdeen on Saturday 28th October 2017 from 2pm.

http://www.stereogramrecordings.co.uk/the-vintage-calvinos/    https://www.facebook.com/thevintagecalvinos/

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Venus de Vilo – Edgar Allan Ho 5th Anniversary Edition

It seems impossible that it was five years ago that we, as so many others, were seduced by the shadowed clad, blood strewn creative world of dark seductiveness of Venus de Vilo through the Edgar Allan Ho EP. It is in some ways still a relatively undiscovered but certainly a revered and acclaimed gem by those in the know, and was the prelude to equally compelling tales of dark deeds, shadowed carnivals, blood drenched burlesques, and dead borne vaudevilles  in songs, literature, and art by the Irish songstress ever since. This October on Friday 13th, its release is celebrated by the artist in union with the great independent label, Undead Artists, with the unveiling of the 5th Anniversary Edition of Edgar Allan Ho.

Hailing from Dublin, Venus has frequently lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and further afield with her Goth-Shock anthems since emerging around 2011. The release of Edgar Allan Ho in 2012 saw fan and online radio attention gather with plaudits to the fore, our own podcasts eagerly among them with all persistently enthralled by subsequent encounters with singles, EPs, words, and comic books alike.

Venus is like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, and the energy of Fay Fife with a pinch of the rock ‘n’ roll infection Horrorpops for good measure. Edgar Allan Ho soon revealed though she is as unique as they come, all those essences rich hues in her own kaleidoscopic imagination and sound.

The Anniversary Edition of Edgar Allan Ho as well as regaling in the original tracks also features remixes and covers of its songs by notorious Gothic-Industrial, Cabaret Noir and Alternative musicians, unique artwork by some of the best underground horror artists inspired by its songs, some steampunk stories also based on the EP’s anthems, and a full Behind the Screams book by Venus discussing the entire processing of writing, recording and out-ing the EP.

The EP opens up with Heartless Horseman and immediately the riveting tones of Venus grab ears and attention. As her acoustic guitar stabs, a rockabilly feel reminding of The Creepshow swiftly joins the song, a flavouring in turn bringing even more potent bite to the voice and delivery of Venus, her soaring compelling vocal imagination and drama holding an Agnete Kjølsrud of Djerv meets Lene Lovich like agility. A sweeping lure into night terrors and dark romantic suasion, the irresistible track is still soon outshone by the brilliant Ringmaster. It is a mesmeric waltz of colourful enchantment and dark carnival cast by voice, harmonies, and guitar. As one of its protagonists, it swings like an aerial gymnast, swaying elegantly in ears like a glorious aural siren. It is also a spectacular with one delicious chorus sharing a riveting likeness to The Dickies’ Killer Klowns From Outer Space. It was our undeniable favourite back in 2012 and remains so but every track within the EP is a mighty challenge.

Miss Frankenstein is next, an aural incitement which is as cinematic as it is sonically suggestive. Its rhythms are a bold enslavement matched in temptation by the electronic strings and Venus’ ever inimitable and irresistible tones. It is an epidemic of sound, an almost toxic and certainly addictive contagion which leaves you no option but to dive voice and feet first into its twisted majesty.

The more understated but no less seductive Penny Dreadful Love is next, its shadowed climate and Victorian draped air a creeping tempting out on a funereal stroll.  As lady and song lace the senses and thoughts with their visceral love poisoned evocation, the track simply and sublimely absorbs the listener in dark hearted romantic serenade.

Crooning from within a gothic Bauhaus-esque mist, Carmilla’s Return atmospherically swarms around ear and imagination with keys and guitar caressing the continually powerful and virulently enticing tones of Venus, behind whom the chants of the ‘dead’ hauntingly harmonise. It is a pungent kiss on the senses but one wrought with threat and danger; the best kind of seduction there is.

Apocalips completes the EP, its rockabilly swagger and virulent swing pure manna to the soul. Again voice and guitar transfix like a celebratory incantation, rhythms scything across its dark beauty with relish and similarly teasing venom. The track flirts with the wantonness of a fifties siren and the intimidating composure of instinctive psychobilly, rich traits colluding with everything else for one wholly contagious shard of mesmeric delight.

Apart from a couple of live track and remixes by Elvis Einstein, all sheer passion fuelling theatre, we have yet to taste the whole package of the EP’s re-release but its core tracks alone make Edgar Allan Ho an essential must. It is time to feel the Venus de Vilo embrace world.

The Edgar Allan Ho 5th Anniversary Edition is released October 13th through Undead Artists @ https://www.facebook.com/events/100369350679694/

https://www.facebook.com/VenusDeViloTheVoiceOfHorror/    https://twitter.com/VenusDeVilo

https://venusdevilo.bandcamp.com/

Pete RingMaster 11/10/2017

Copyright RingMaster: MyFreeCopyright

Ape Rising – Self Titled

It is hard to believe that it is five years and a few months ago that we were tantalised and hooked on the melodic dexterity and acoustic mischief of The Radioactive Grandma and their debut album, the fact that numerous of its tracks from it are still a regular part of our intimate listening for pleasure moments. Ready to re-energise that playlist, the outfit has returned with a new offering to grip ears and seduce the imagination.

It is not quite as simple as that though. Firstly the Co Cavan and Maynooth hailing band is now called Ape Rising and where once a trio it is now a tenaciously inventive quintet. Band originals in vocalist/guitarists Johno Leader and Peter Donohue are still there leading the way in melodic enterprise and lyrical suggestiveness but now joined by keyboardist Peter Denton, drummer Fran Mc Donnell, and bassist Jimmy Deface who is/was also one half of the excellent duo Juggling Wolves alongside Leader. Whether it was the need to recruit new members or the evolution of their sound which inspired the new moniker, or as hinted at elsewhere a dubious porn site taking their previous domain name, it certainly comes with a fresh wind of invention and a broader array of sound with the outfit; a blend simply lighting up their new self-titled treat.

Their acoustic prowess is still in evidence but embraced by a new indie/progressive/math rock venture which truly refuses to sit in any camp but embraces plenty of styles and flavours within its retro kissed synth inspired adventure. To say it is magnetic from start to finish does not do the increasing irresistibility of the album justice. It swiftly gets under the skin and engagingly niggles away whether with or without its company. It all starts with In Their Masses, the song rising from an initial ignition sparking sample in a melodic haze before guitars begin weaving their suggestive enterprise around the vocal prowess of Leader and the assisting tones of Donohue and band. Perpetually blossoming second by second as melodies and harmonies cluster, a seventies synth essence brings its flowing colours to the creative canvas. It is just one of the emerging traits though, a raw alternative growl having its moment in voice and sound too before things settle back into the track’s gentler yet still fiery seduction.

The song is pure temptation sparking things off and setting the heart of the release in fine style before being eclipsed by the following Oddysee. Straight away a great nagging hook is at work, its touch part celestial part espionage like resembling one of the teasing attributes of those classic sixties/seventies spy/sci-fi TV show themes. From its intrigue, a strolling body of infectious energy and endeavour surges, spun by guitar and keys as rhythms dance boisterously around zeal fuelled vocals. There is theatre in its nature, adventure in its heart; a combination with individually cast bold invention unites to simply hit the spot.

There is a bit of early Jimmy Eat World to next up King Of The Universe, Denton’ s keys bubbling with that ever present seventies  revelry alongside the irresistible acoustic craft of the guitars. Incessantly catchy to feet, neck muscles, and appetite, the song whisks the imagination away into its own climate of warm temptation; a plateau frequented just as captivatingly by Divide where imagining Young Knives and KingBathmat fused together gives an idea of the enticing progressive hug of the song and its graceful voice.

Keeping Me Away is a slice of indie rock ‘n’ pop which has the body bouncing with just its first eager strum, and swinging by the time keys swarm poetically across high-spirited rhythms.  Of all the songs within the album, this has the boldest Radioactive Grandma feel to its swinging body but it comes with the organic infectiousness which made eighties outfit The Woodentops so glorious, and now adds the same addictive quality to Ape Rising.

The calmer reflection of Medicine Part 1 shares a poetic suasion which reminds of songwriter/composer/musician John Bassett while Medicine Part 2 loads all of its predecessor’s assets into its own rousing sortie on ears and imagination, at times bewitching like a hybrid of Yes and Voyager. Numerous tracks make a play for best honours but this always stands at the front of the pack with every listen.

It is probably fair to say that To Daze The Day I borrows something of Juggling Wolves for its emotive canter but a stroll which bubbles with an energy which borders on raucous as keen invention simply lights up ears and the passions with an unrelenting imagination.

New single, The Model Prime skips in next; its melodic dance and harmonic sways animatingly lighting the song’s retro tone and mesh of glowing flavours. Like a siren it calls on ears and the spirit, unafraid to add unpredictability to its warmly cast temptations before the shuffle of the album gets even more kinetic within Joysticks & Stones, a song which at times has a touch of eighties band Furniture to it and in other moments the more hot-headed devilry of someone like Bloc Party.

The album finishes on the lustfully simmering progressive pop of Flicker and finally the pop rock beauty of 6 Eight 7. Both tracks simply match the pleasures before them with their own ear stroking, spirit stirring enterprises with the stunning first again having a great KingBathmat vibe which can never do any harm while its successor offers an acoustically nurtured samba which excites the senses with its unrelenting and greedily accepted infection.

The Radioactive Grandma will never be forgotten here or lose their spot on for pleasure only listening but now they are joined with equal zeal by Ape Rising, a proposition sure to drive you to highly pleasurable distraction.

The Ape Rising album is out now @ https://aperising.bandcamp.com/and through other stores.

https://www.aperising.com/     https://www.facebook.com/ApeRising/    https://twitter.com/Ape_Rising

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright