Dogtooth – What For?/Away

Though formed in 2013 and having a well-received debut EP out four years later, Dogtooth come to The RR as a new proposition through a new two track AA sided single. A quick introduction and visit to the Scottish band’s music and previous songs revealed that they have been a potent potential fuelled enticement for a while but the new dual temptation of What For? and Away simply outshines all the exploits that came before.

As mentioned the Breakthrough EP two years back took Dogtooth to a whole new richness of attention whilst continuing to impress with their live presence. It is easy to expect recognition and praise of the band’s indie/alternative rock bred enterprise to increase now through the bold exploits of both What For? and Away; both songs confirming that theirs is a sound which is really developing its own identity.

The Killers has been suggested as a reference to the band’s music but straight away as What For? strolls through ears and especially as it settles into its eager almost teasing temptation an Inspiral Carpets like hue rises to the fore. Even so it is simply a single flavouring in the band’s indie rock audacity as the guitar and vocals of John Hewitson swing across the rhythmic enticement of bassist Craig Morrison and drummer Robert Lang. There is a great grumble to that bass which earths the loftier melodic threads which spring from the guitar while Lang’s beats just enjoyably nag throughout.

Eagerly infectious, the song is more than matched in craft and temptation by Away; it our favourite of the two with ease without diminishing the strength and impact of its companion. The track strides in with a rapacious rhythmic intent and is immediately bound in the delicious sonic wires of Hewitson’s guitar. Quickly, the song reveals a whole fresh web of imagination and devious textures to trap and enslave attention and appetite. Each twist brings potent drama and turn sets irresistible temptation, the song something akin to a mix of Asylums, The Horrors, and Scars with a hint of The Cuban Heels and quite superb.

Evolution in the band’s sound is on-going with both tracks suggesting bigger bolder things to come but there is a new maturity in their songwriting and craft which is most striking and as exciting, Dogtooth for sure heading to bigger things.

What For?/Away is released August 16th.

http://dogtoothofficial.com/   https://www.facebook.com/dogtooth.001/   https://twitter.com/dogtooth4

Pete RingMaster 16/08/2019

Copyright RingMaster: MyFreeCopyright

Some Kind of Illness – Self Titled

SKOI_RingMasterReview

Recently British band Some Kind of Illness signed with Manchester record label Valentine Records. It seems they had been looking at the band for a while and eager to have them join their already potent roster which includes the likes of St Jucifer and Ten Mouth Electron. Listening to the band’s self-titled debut album, it is easy to hear why. The release is a collection of indie guitar sculpted songs aligned with reverberant tone and emotively resonating ambience with the quality of being a quick persuasion but also slow burners in revealing the fullness of their heart bred depths; a mix which simply endears itself to ears and attention.

Hailing from the Bolton/Manchester area of the UK, Some Kind of Illness is the creation of and centred round the Hinks brothers, Paul and Mark. Emerging almost two years ago exactly, the band took little time in luring potent attention with their quickly praised live presence. Last year saw the band play in excess of 100 shows taking in venues such as Manchester Club Academy, Manchester Academy 3, Night And Day Cafe, The Roadhouse, The Ritz, Band On The Wall, The Cavern, and The Zanzibar as well as playing support to the likes of ex-Inspiral Carpets frontman Tom Hingley, The Jackals, and Pink Mountain Tops. That time has also seen the band record demos with Durutti Column’s Vini Reilly who has become a friend and strong supporter of the band and the release of first EP Stratus Dream which featured Luna from Birmingham band PQLYR. The self-released Some Kind Of Illness album was released in the latter part of 2015 but with the band signing to Valentine and a new chapter opening up for them it never does any harm to remind of the kind of treats which has drawn such potent steps in their emergence.

From album opener, The Test of Time, ears are hugged and caressed and thoughts nudged. In the dawning of a warm atmospheric caress, a melody winds its tender way around the senses with keys subsequently entangling with similarly enticing acoustic guitar. It is a mesmeric affair only enhanced by the expressive and distinctive vocals as well as the ebbing and flowing of the charming yet unpredictable ambience soaking all. It is a great start revealing the template of things to come; of the warm melodic enterprise, vocal reflection, and emotive explorations from band and the listener’s own imagination.

Some Kind of Illness - Some Kind Of Illness - cover_RingMasterReviewSome Kind of Illness cast an experience which leaves you feeling chilled yet also coaxes thoughts into exploring more imposing emotional shadows in sound and tone as with the following Angel Breakdown. An instrumental with a sampled vocal piece, the song suggests and incites with its melancholic air and sultry melodies, stirring up imagination and appetite simultaneously before the just as blue and evocative Stars involves ears in its sorrowful yet hopeful croon. Both songs captivate, a quality fuelling the whole of the album and through the more exotic yet intimate landscape of Maple Leaf which features Daisy Davies, who presumably is the child charming ears within the track’s bewitching instrumental.

The Light transfixes next with its Verve like scent; And Live matching its success with its sombre beauty before You Have To Laugh casts the listener upon a floating raft of melodic cheer and harmonic smiles. Each are individual suggestive temptations, songs, especially the last, that border on meditative as they escort the listener towards the absorbing intimate contemplation of My Shadow In The Maze and in turn the woven wrap of light and shadows that is Rush To Wait.

It is hard not to be absorbed by each and the whole of the album which is completed by Fool Man Runaway with Manchester bred Caoilfhionn Rose guesting. It is a final sigh of emotion, a last kiss of melodic poetry which, as the Some Kind of Illness album, leaves a lingering and warm yet maudlin glow which lures ears back to the release time and again. That is a success easy to reward with attention, something we suspect that the band’s link up with Valentine Records and a second album later in 2016 will inspire much more of ahead.

The Some Kind Of Illness album is available now @ https://somekindofillness1.bandcamp.com/album/some-kind-of-illness

https://www.facebook.com/SomeKindofIllness   https://twitter.com/skoiband

Pete RingMaster 19/04/2016

Copyright RingMaster: MyFreeCopyright

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The Jade Assembly – Nothing Changes

 

TJA_RingMasterReview

For us one of last year’s most rousing and emotionally charged singles was One Last Time from UK rock band The Jade Assembly. It is an encounter which still ignites a shiver of excitement when playing in ears ten or so months on. Now the Bolton hailing quartet has its successor, Nothing Changes lined up to build upon the successor of its predecessor.

It is fair to say that buzz around The Jade Assembly has been an on-going rising since they emerged in 2012, but the past twelve months have pushed the band to the fore of a whole new strength of attention thanks to One Last Time and a live presence which only fires up their reputation each and every time. Combined with the depth of variety to their sound and songwriting, it has led to the likes of Clint Boon of Inspiral Carpets describing The Jade Assembly as the ”Best Guitar band since Kasabian.”

art_RingMasterReviewNothing Changes shows more of that wide vein of adventure in the band’s creativity; the song not quite the anthemically forceful kaleidoscope of intensity and emotion fuelled crescendos that shaped One Last Time, but a similarly pungent weave of elegant melodies and tenacious textures aligned to enjoyably imposing rhythms and the expected mesmeric vocal persuasion of vocalist/guitarist John Foster. From the first gentle tingle of melodic guitar, band and song has attention in hand, only tightening the grip as Foster’s heartfelt tones and words emerge in the hug of his and Gareth Smedley’s guitar enterprise. All the while a darker shadowing courts the matching tone within the lyrics, Danny Hayes’s bass strings colluding with the dynamic swipes of drummer Andy Watson as contrasting textures masterfully unite.

The senses and emotions rousing prowess of that earlier single is unsurprisingly also a quality of Nothing Changes if to less dramatic effect across the whole song. Its crescendo of a finale though is one invigorating roar leaving a lingering persuasion in its wake as another single from the band reveals itself a memorable moment.

Accompanying the song is the acoustic croon of Or Somat; a serenade of beguiling voice and emotive guitar which hold ears and thoughts in a firm hold with the qualities of the band inescapable.

Last year was a big one for The Jade Assembly, in many ways thanks to their single and 2016 looks like it will be much the same if the rather enjoyable Nothing Changes can and should, spark the same keen interest.

Nothing Changes is released February 29th on all major music download platforms.

Upcoming Live Dates:

March 5th – Sebright Arms, London

March 17th – Studio 2, Parr Street, Liverpool

March 25th – Engine Rooms, Skelmersdale

http://www.thejadeassembly.com/   https://www.facebook.com/thejadeassembly   https://twitter.com/thejadeassembly

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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Tibican – Love’s Lost Art EP

cover_RingMaster Review

There is a fire burning at the heart of the Tibican sound, a raw energy and creative intensity which whilst apparent in previous releases has been turned up within the band’s latest EP Love’s Lost Art. Though the new release is our introduction to the London based quartet, hindsighted investigation shows that Tibican has been casting a captivating proposal from their fusion of alternative rock and shoegaze with Brit pop properties for a while but as suggested it has found a new fiery plateau within their latest proposition.

Consisting of guitarist/vocalist Domenico Scialo, guitarist Peter Saunby, bassist Cathal Wharton, and drummer/vocalist Marc Saunders, Tibican has certainly sparked attention and support with a clutch of EPs, including in 2014, Things Come Apart and It Runs Deep. Their sounds have been played across radio stations in the UK, US, and Europe, a success easy to expect continuing as Love’s Lost Art tempts more and more ears.

The new EP opens with Things We Know and a rhythmic invitation hard to refuse. That firm bait is soon joined by lingering throbs of bass before twin vocals and wandering melodies offer their potent persuasions to the enticement too. Immediately inspirations of bands like My Bloody Valentine and House Of Love make a suggestion in thoughts though they are soon evolving as fierce flames of guitar erupt as the track continues to grow and blossom into a heated slice of reserved but dramatic rock ‘n’ roll. Equally bluesy in tone as Scialo and Saunby show their guitar craft, the track makes for a rich and engaging start.

Slightly mellower in intensity, the following Torch Song similarly engages ears in mere moments as floating harmonies and sonic suggestiveness sparks the imagination as potently as the emerging caustic jangle of guitar sears the air. Like warm yet volatile sonic sunshine unafraid to embrace harsher shadows, the song becomes an increasing seduction which just grows in stature and persuasion with every listen.

Difference Clouds steps up next, quickly revealing a Brit pop/indie rock swagger which hints at the likes of Inspiral Carpets and Birdland as it twists and turns with again fiery temperament and creative volatility within another vocal seducing. As the track proves on its own, Tibican have a sound which inventively merges varied flavours to create maybe something not yet wholly unique but certainly personal to their own imagination.

Closing with the smouldering beauty of Am I Wasting Your Time, arguably the least original song on the EP but without doubt a seriously compelling proposal easy to devour and often, Love’s Lost Art is a lingering temptation which easily lures attention back time and time again. In some ways Tibican are still working towards their own sound and such the enjoyment found in Love’s Lost Art that only suggests good things lay in wait for them and us.

The Love’s Lost Art EP is available now @ https://tibican.bandcamp.com/album/loves-lost-art-ep

https://www.facebook.com/tibican/   https://twitter.com/Tibican_UK

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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The Jade Assembly – One Last Time

Picture 137

The best singles are those which leave you emotionally and maybe physically (behave) aroused by their conclusion, songs which take the listener on emotional and musical rides with lingering effects. They vary from ear to ear, heart to heart of course but a few manage to tap into a potency and energy which captivates the broadest landscape of eager appreciation. One such proposition is One Last Time, the new single from UK rockers The Jade Assembly. The song is a rousing incitement of passion and energy which from a strong and inviting start simply soars with anthemic and dramatic majesty. It leaves bodies breathless and emotions fired up ready to take on anything, whilst thoughts just want to know and hear more.

The Bolton hailing quartet of vocalist/guitarist John Foster, lead guitarist Gareth Smedley, drummer Andy Watson, and bassist Danny Hayes, has taken the Manchester scene by the scruff of its neck in recent times with their blend of alternative, indie, and melodic rock. They have frequently lured acclaim and support with their fiery impassioned songs, Clint Boon of Inspiral Carpets describing The Jade Assembly as the ”Best Guitar band since Kasabian”. With a song like One Last Time pounding away in ears it is hard to make any counter argument, instead a nod of the head and repeat play of the single the response.

The voice of Foster cupped by a melodic caress of guitar opens up One Last Time, his expressive delivery instantly impressive. A bass tone almost rumbles with resonance next as the song entices with increasing strength, spicy hooks soon emerging alongside firmly jabbing beats and the infectious exploits of Forster’s vocals. The cap on the bottle of the song is soon off, riffs and rhythms suddenly strolling rigorously through ears led by equally fiery vocals and badgering rhythms. Another relaxing emotive breath is taken before things once again erupt into a stirring contagion fuelled canter, the full anthemic force of band and song a raging/seductive persuasion. Riffs and even more tempting hooks explode on the senses whilst the passion of the band drives the heart of the creative and emotional roar of the track.

Obviously one song does not mark a band but a look at other songs soon reveals the creative weight and inventive prowess of the band with One Last Time, The Jade Assembly’s finest moment yet.

One Last Time is available now

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

Upcoming live shows:

Saturday 9th May – Midland, Rochdale (Acoustic)

Saturday 16th May – Sound Control, Manchester with Danny Mahon & Friends

Friday 22nd May – Maida Vale, Sheffield

23rd/24th May – Liverpool Sound City (not yet announced)*

Saturday 20th June – Cadence Festival, Tyldesley

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

Turrentine Jones – Moonlight is On Yer Side

Turrentine Jones - Band pic

Towards the rear of 2014, UK trio Turrentine Jones signed with London based label Rough Trade and released debut album Our Days. It was a proposition which marked an already rising attention upon the 2012 formed Manchester trio, and sparked a fresh wave of media and fan support. Now the band backs it up with the seriously catchy single Moonlight is On Yer Side, a song taken from the band’s full-length carrying all the attributes which has already made Turrentine Jones a very flavoursome favourite for a great many.

Last year saw the band play the BBC Introducing stage at Glastonbury, becoming the third most shared act of the day on the BBC event website. This was soon followed by the link up with Rough Trade and the unveiling of Our Days. So it is fair to say that 2014 was a strong year for the band with all indications that this one will follow suit. First single from the album, Moonlight is On Yer Side has already found itself played across over 40 stations to date, a success you can only expect continuing as its release takes hold.

Produced by Chris Hamilton, the song which is lyrically inspired by vocalist/guitarist Julian Neville’s aunty who is a full-on alcoholic, undeniably has that Manchester air to its swagger and melodic persuasion. There are whispers of bands like Inspiral Carpets and Stone Roses flirting with thoughts within what is a character and presence to the song which prove to be fresh and individual. References to artists such as The Strokes, The Rolling Stones, and Booker T and the MGs have been offered the band’s way too, and again whiffs emerge in the single but once more mere spicing to the infectious encounter.

The opening tone of the bass makes appealing bait and is soon matched in effect by the stabs of guitar from Neville and a colourful and expressive dance of keys from Thomas Scotson. There is a great seventies breath to their designs, a sultriness which equally brings a Brit Pop toning whilst the guitar also at times dips into a magnetic sixties flame with its enterprise. With the crisp beats of Rich Watts framing it all and the vocals of Neville familiar and impressive, that Manchester twang you know, the song is an energetic palette of sonic colour and increasingly persuasive.

The buzz around Turrentine Jones is beginning to become rampant and it is fair to say that the highly satisfying Moonlight is On Yer Side is only going to encourage further praise and attention upon the band.

Moonlight is On Yer Side is available from April 20th

http://www.turrentinejones.co.uk/     https://www.facebook.com/TurrentineJones

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

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Clouder- Sister Raygun

 

Clouder

     It is fair to say that 2013 was a big year for the re-emerging Clouder, the US band finding a spark to reignite their appetite and adventure after a hiatus which left the future of the band in doubt. With the release of their second album Sister Raygun, they and we can expect this year to not only follow the last in success but push the band into greater wider spotlights. Pulsating and brawling with the band’s unique mix of garage and psyche rock driven by punk/power pop energy, the band‘s new release offers a tantalising bait which is contagiously irresistible and irrepressibly belligerent, a glorious mix in the hands of sonic devils like Clouder.

        The Brooklyn quintet took little time to provoke passions from their coming together in 2011, playing over 100 shows around New York City in their first year building and earning a reputation for their fiery live performances. Debut album Freakin’ Out the Squares was uncaged the following year, again to strong praise and reactions from fans and media alike. Then came the eight month hiatus full of personal trials and tribulations for some members which almost brought the band to an end and saw vocalist Eric Gilstrap move to North Carolina. Thankfully the band resumed to writing new songs and spending months sending back and forth rough demos to each other as a new release became flesh. Uniting with producer Jeff Berner (Psychic TV, Heliotropes, Dead Stars) in his Brooklyn studio, the band emerged with Sister Raygun, a release which worries, solicits, and pleasures the imagination like a demonic temptress.

     Released via Fleeting Youth Records, Sister Raygun lays an initial stroke of guitar upon the ear as opener Dancing in the Album CoverProving Grounds moves into view. Its reserved first touch is aided by a rhythmic tempting before the band explodes into a potent stomp of guitar sculpted enterprise guided by the distinct cause yet magnetic vocal tones of Gilstrap. With a sixties punk throat to the voice of the guitars and a raw edge to the sonic suasion, the track provides an enticing entrance into the release, a compelling doorway which is impossible to resist crossing the threshold of.

    The following Lost in Reverie equally shows no restraint in opening up its broad rhythmic shoulders and energetic stroll. There is a swagger to the song from the off, one which soon welcomes the darker delivery of Gilstrap within the acidic invention of guitarists Steve Spinella and Matt Revie. Into its dramatic stride with further deliciously teasing imagination from the guitars and a moody tempting from bassist Max Goransson, the song intimidates and seduces with equal potency. The sound of Clouder is certainly distinct to themselves but imagine a mix of Damn Vandals and early The Horrors with at times the irreverence and haunting howls of Pil and you get an inkling of the menace and beauty on offer.

    The excellent feisty pop call of Lady Retrograde unveils an infectious vivacity and magnetic garage rock canter to continue the impressive and appetite raising stomp of the album, whilst its successors Psychic Cities and The Ballad of Sister Raygun provide further individual bait to bring a greedy hunger to. The first of the pair rides in on another highly persuasive enslaving of the emotions by drummer Jim Wood, his thumping rolling rhythms the prelude to a melancholic but lively web of melodic and sonic endeavour beneath the John Lydon reminding effect wrapped vocals of Gilstrap. There is a mystique and scuzziness to the track which equally lures in the imagination, a psychotic edge which only accentuates the bait of the song whilst its successor slowly walks openly and hauntingly through a shadowed inventive balladry, both songs leaving a lingering inventive suasion.

    Phantom Girl unleashes a new level of addiction forging contagion next, the punk bred garage rocker brewing up essences of past decades into a politely dirty schizophrenic drama. Again The Horrors meets Pil come to mind within the fresh and original character of the sonic storm with just a touch of Spizzenergi to the vocal squall and insatiable hooks. Its glory is swiftly succeeded by All the Royal Years Are Gone, another unpolished treat of dirt clad rock ‘n’ roll with the snarl and honesty to antagonise and ignite the senses.

   The mesmeric black toned Damaged Sun comes next, its sonic acridity aligned to a shadow spawned, discord filtered atmosphere. There is a Mary & Jesus Chain glaze to the track whilst an Inspiral Carpets/Birdland blend seems to infect the melodic and vocal traits of the song; a feel which less openly also spices up the transfixing and enthralling Western Wastelands. Though neither song stands out as forcibly as others on Sister Raygun both engage and satisfy thoroughly though they are not helped by standing right next to the brilliant overpowering closing song, Doldrums. Armed with a groove which simply steals attention and passions from its opening lure upon the ears, the track romps and commands with a swagger and relish that cannot fail to overwhelm the imagination like an epidemic, the repetitive hook an irresistible focus of all the craft and energy at play within band and song.

     Sister Raygun is one of those shot in the arm releases which may not come to be called a classic but has the ability to inspire a genre to explore itself further, though Clouder will be during that anyway if they can hopefully avoid any more breaks in their conquering of garage and psyche rock.

www.facebook.com/ClouderNY

http://fleetingyouthrecords.bandcamp.com/album/clouder-sister-raygun

9/10

RingMaster 05/03/2014

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