Jingo – Make Some Money, Buy Some Love

jingo_RingMasterReview

March 11th sees the eagerly anticipated second album from British rock band Jingo and it is very easy to say that it does not let expectations, bred from the band’s previous impressive releases, down. The ten tracks making up Make Some Money, Buy Some Love are the band’s most eclectic bunch yet, at times in an understated way with closer attention revealing the new myriad of flavours and broad imagination bringing them to life. Just as importantly, it is another mesmerising collection of songs feeding in us and their growing wealth of fans an already eager appetite for the band’s invention and carrying the potential to excite another hungry wave of newcomers to the world of Jingo.

Formed by husband and wife, guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, Jingo seem to have made a strong impact with every move since Jingo played its debut live show was supporting Blur’s Graham Coxon. Through a clutch of captivating singles, creatively provocative EPs, and striking debut album The Art Of Loving of 2014, as well as a live presence seeing the London based band take their imagination and craft across the UK and over to the US, France, Germany, and Belgium, Jingo has enticed rich interest and fan support which has through a highly successful pre-order campaign enabled the band to release Make Some Money, Buy Some Love on CD and vinyl as well as digitally.

With its line-up completed by the invention of Nima Safai, Michael Hussain, and Kelly Lenahan, Jingo has from day one never been easy to pigeonhole. They are generally tagged as alternative rock and have found themselves compared to the varied likes of Portishead, The Magic Numbers, Not Blood Paint, Fleetwood Mac, Interpol, and Jess & the Ancient Ones along the way. As Make Some Money, Buy Some Love again proves Jingo spins broad tapestries which explore diversity with zeal to match their eagerly creative imagination.

art_RingMasterReviewRecorded in New York with producer Kahan James, and mastered by Kevin Blackler (Raconteurs, RHCP etc.), Make Some Money, Buy Some Love opens up with Lifer, the alluring tones of Katie cradled by melodic coaxing as the bass strolls with a controlled but carefree grace. Crisp beats add to the enticement instantly flirting with ears, the song’s underlying funkiness infesting its gait and the listener as pop catchiness and lyrical romancing tempt. Drama is never far from a Jingo twist and turn, its boldest attraction lining Katie’s vocal prowess especially here in a gem of an introduction.

All of the track’s qualities and more emerge in the following Sirens and Vices, Its rhythmic bait quickly infecting feet as melody woven grooves seize hips. Both elements add to the flirtatious nature of the song, impassioned vocals and raw, fiery textures growing in the blend of smouldering and raucous seduction. Grabbing ears and imagination from the first second, it only tightens its grip second by second squeezing lustful responses out before making way for the pop revelry of Money. It is instinctive catchiness with a steely backbone and bold attitude though, dancing persistently and mischievously as the song teases with playful coquetry.

From a busy bedlam Gaia emerges with its own melodic grace and emotive eloquence next, Katie joined by the equally potent tones of Jack as keys and guitars paint their own poetic picture over a more forceful rhythmic spine. It is pure magnetism with a just unveiled eye catching video to match.

Never Love Again also has little trouble winning attention and pleasure as its evocative melodies and warmly invasive essences hug captivating vocals. The song never quite reaches the heights of its predecessors but never lacks a second of enjoyable adventure before the outstanding Death Counts takes over. The track is nothing less than melancholic beauty becoming more exotic, almost sinister, and relentlessly beguiling with each passing seduction of passion fuelled notes and vocal fascination.

The body is back jumping around with Let’s Be Friends next; its noir lit drama and tenacious rhythmic dexterity enough alone to enslave the imagination. Katie is like a devious puppeteer in the midst of the brew of fire bred grooves, agitated beats, and frequently concussive energy; her lures as inescapable as the gloriously tempestuous textures making up another mighty highlight within Make Some Money, Buy Some Love.

Last year’s sensational single Sweet Anne follows, Katie and Jack united in crooning temptation as initially the song gently grows in ears. Soon it is in full swing with boisterous rhythms skirting the tangy funk infused hooks and lecherous grooves uniting and barging against each other. It too has an irresistible tempest like texture to its body but equally melodic calm makes a compelling persuasion in between the song’s moments of vociferous and explosive carnival like devilry.

The album is completed by firstly the melodic romance and harmonic charm of Supersymmetry, one simply bewitching encounter with fire in its heart and finally by the pop rock seducing of The Shell. Both tracks solicit emotions and body to get involved in quick time and each leave only a want for more, the perpetual hunger which seems to come with every Jingo encounter.

For Make Some Money, Buy Some Love, Jingo has honed their sound into something as diverse and bold as ever but exploring both with a more seamlessly and easily flowing touch; the result being another Jingo moment which makes the world a better place.

Make Some Money, Buy Some Love is released March 11th

http://jingomusic.com/   https://www.facebook.com/jingomusic/   https://twitter.com/JingoMusic

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Jingo – Sweet Anne

jingo_RingMasterReview

There are quite a few bands which spark an extra buzz of anticipation when approaching their new offerings but it is hard to think of many which cause the kind of excitement that a new Jingo song does. The UK band is one which just seems to get bigger, bolder, and more essential with every song; a success reflected in the strength of eagerness to tackle each proposal. It is because of songs like new single Sweet Anne that this almost lustful reaction escapes not only from us but a great many others; and because of songs like this that it is hard to see things changing anytime soon.

London based Jingo have never been slow in sparking big responses to their music, from their early songs like 1q84 and Black Flowers around 2013, through many subsequent tracks  and their outstanding debut album The Art of Loving on to the outstanding Ghost In The Machine EP of last year. The band has persistently grown in sound and temptation whilst nurturing an increasingly fascinating weave of flavours into their unique style. Sweet Anne is no exception to the rule and right now as it blasts in ears again whilst finger dance on keys, is declaring itself as quite possibly the finest four and a half minutes of the band’s creative life.

Sweet Anne artwork_RingMasterReviewStraight away the song is a virulent persuasion of the vocal prowess of guitarist/vocalist Jack Buckett and his wife and vocalist/keyboardist/guitarist Katie. As the music, the vocal pairing, with Katie a temptress against Jack’s expressive captivation, is a distinctive element in the creative webs cast by Jingo, just as compelling as the sounds conjured. Around their harmonic union in a relatively gentle start by the song, the rhythmic shuffle of Nima Safai and Michael Hussain is just as ear catching. As great as its entrance is though, things only get spicier and more irresistible as a suggestive melody harkens an even livelier flirtatious shuffle with tenacious rhythms colluding with Katie’s dynamic tones as strands of melodic wind enticingly weave around the lot.

The song, like the band’s music generally, is not a proposition to stand still and bask though, it then erupting into a feverish and fiery blaze of rock ‘n’ roll led by the rich vocal flames of Katie’s roar backed as potently by Jack and co in their individually skilled ways. That is not the end of it either, a repeated cycle takes the listener into another passage of rhythmic agitation amidst sonic and melodic ingenuity that only adds to the unbridled pleasure found and devoured.

Jess & the Ancient Ones is a band which our thoughts often turn to as a hint to the drama and adventure found in a Jingo song and sound, and in some ways here is no different yet it is hard to imagine they or any others one might offer in comparison, with respect to each, bringing ears and the spirit to the boil as often and gloriously as Jingo seem to and certainly do with Sweet Anne.

Sweet Anne is out now and streaming @ https://soundcloud.com/jingomusic

https://www.facebook.com/jingomusic   https://twitter.com/jingomusic

The single also features the wonderful artwork of Katie Buckett who is holding an exhibition of her portraits at the Lacey Contemporary Gallery in London.  Opening night is on 27th April from 6-8 and the exhibition runs until 15th May. More details @  http://www.katiebuckett.com/ and https://www.facebook.com/events/227725037574069/

Pete Ringmaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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Bernaccia – Awake

Bernaccia_RingMasterReview

British neo-psych rockers Bernaccia has perpetually caught ears and expectations by surprise with their insistently magnetic fusion of psychedelic mystery and desert blues atmospherics driven by tribalistic rhythms. Indeed across EPs and singles, the Newcastle band has grown into one of the UK’s most compelling propositions, beguiling and seducing with their dark and often cinematic rock ‘n’ roll. New single Awake though has arguably provided the biggest and admittedly most flavoursome twist yet with the ear catching addition of vocalist Ellen Chetcuti to the band’s ranks.

From their 2014 released Cinema EP, the foursome of vocalist/guitarist Jonny Noble, synthist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has persistently and increasingly lured attention and acclaim with their fascinating darkly lit psych/melodic rock explorations. Equally their live presence has only reinforced the potency of their emergence as shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People have come and successfully passed alongside the release of impressive proposals like the heftily acclaimed Light//-//Dark EP and last single Power To The Hills. The well-received track was the band’s most intense and dark tapestry of sound and imagination yet and now more than matched by the brighter lit but just as rousing and immersive Awake.

Keys caress ears initially as a percussive shuffle dances with the imagination. Swiftly the unexpected and quickly embraced voice of Chetcuti slips in. Listening to a release before doing research, especially in regard to a band already well known, can often catch expectations out, and here the presence of the band’s newest member certainly provided a rewarding surprise. In no time, Noble’s familiar dark tones step forwards alongside Chetcuti’s, synths rising with suggestive and exotic flames around their alternating and merging persuasions as ears and thoughts are quickly entangled in the song’s thick and shadowed drama. Drenched in similarly immersive atmospheric smog, the track reveals great blues and at times eighties new wave enterprise, playing like a mix of My Baby, Jingo, and King Trigger whilst emerging as another unique Bernaccia adventure.

Increasingly anthemic and spirit rousing with each one of its inciting minutes, Awake is a new step in the gripping rise of Bernaccia. Why the band’s dark and often sinister romances of body and imagination have not made then a name on the lips of multitudes it is hard to understand but maybe Awake will be the spark to tempt the broadest spotlights that the band deserves.

Awake is released April 8th via iTunes and other stores.

Upcoming Live Shows:

April 8th Club Fandango Presents – The Old Blue Last – London

April 28th TS ONE – Middlesbrough

April 30th Sawmill Sessions – Darlington

May 7th The Polar Bear – Hull

May 21st The Mining Institute – Newcastle

https://www.facebook.com/BernacciaMusic    http://twitter.com/bernaccia

Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Minerals – Ball Of String

art_RingMaster Review

As crystalline as the band’s name might suggest, The Minerals’ sound is a kaleidoscope of warm and organic textures woven into a hazy seduction of melodic drama. It may only be two songs, but their new single Ball Of String is fascinating evidence of the fact, and further proof that the magnetically emerging Welsh band is one exciting prospect.

Based in the South Wales Valleys and formed in 2014, The Minerals is the creative union of Colenso Jones and Jodie Gibson. Drawing on inspirations found in the a range of artists from The Vaselines and Leadbelly to Mogwai and Nick Drake, the duo quickly bred their own tantalising sound from a blend simplified as folk and country rock meets electronic and psychedelic exploration. Past experiences have seen the pair being involved in punk bands throughout their teens and early twenties which too in DIY attitude alone simply adds to the invention of The Minerals.

The winter of 2014 saw a collection of songs written by the band in the remote hills of Southern France, songs which were to become their self-titled debut album which was released last June through Staylittle Music. Ball Of String and its companion on the single, Lo-Fi are taken from the eight track full-length and as potent a lure into that full body of songs as you could wish for.

Ball Of String takes little time to grab attention as guitar strums and bass seduction collude to lure ears into the impending embrace of vocal repetition. Lyrically the song is a rotation of a couple of lines, but such their delivery and simple but pungent make-up, the listener is drawn into full involvement. Around them the initially calm but lively climate of sound becomes not exactly volatile but more robustly shadow filled as if building to a major outbreak of intensity. It never goes that far but the drama created is as irresistible as the sounds woven into its insatiable virulence.

The track is glorious, a galvanic whipping up of the passions masterfully backed by Lo-Fi. Once again, a guitar caresses ears initially as a flirtatious bassline mixes with firmer beats. This time around Gibson takes the vocal lead, though both songs are a splendid union of hers and Jones’ potent tones. Musically a stronger psychedelic air lines each suggestive melody from guitar and keys as well as coats the floating harmonies which entice with siren-esque beauty.

Like a mix of Jingo and Jess & The Ancient Ones in many ways, especially the second, both songs leave ears in rapture and a need to hear more as ripe as the enterprise inspiring that greed.

Ball Of String is released February 26th via Staylittle Music @ http://themineralsband.bandcamp.com/album/ball-of-string

Upcoming Live Dates:

April 15th – The Moon Club, Cardiff (supporting Rusty Shackle)

April 16th – Snails Deli, Rhiwbina, Cardiff

https://www.facebook.com/themineralsband   https://twitter.com/themineralsband

Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

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Scarlet Echo – An Exact Portrayal of Nothing in Particular

SE_RingMaster Review

Starting off 2016 in fine style, we look at an album released just a few weeks back with keen intrigue inspired by the more recent single taken from its compelling body. An Exact Portrayal of Nothing in Particular is the debut album from Scarlet Echo, a UK band whose sound, self-described as ferocious echospheric music, expertly sparks ears and imagination into eager involvement.

Proof came with the single Emergency Exit last month, a song stirring up ears and appetite with invention sprung from a fusion of post punk and indie rock. An Exact Portrayal of Nothing in Particular quickly shows that its nature is only one hue in the musical tapestry of the band, a design equally woven from varied electronic and shoegaze nurtured threads. Since forming in 2012, the Essex hailing quartet of Hannah (vocals/guitar), Jamie {guitar), Miles (Bass), and Alex (drums/samples) has incited a healthy buzz and following through their live presence, the sharing of stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, Buzzcocks, The Hoosiers, and Department S amongst highlights. Now they have begun brewing a greater intensity of attention their way through An Exact Portrayal of Nothing in Particular, a tempting in force from its first moments.

Album opener Mainstream swiftly stirs ears with bounding rhythms and dramatic melodies, both aspects as shadowy as they are vibrant whilst laying down the platform for the distinctive vocal presence of Hannah. Miles’ throbbing bassline makes a just as gripping entrance; its post punk throatiness the perfect foil to the Lesley Woods (Au Pairs) like tone of Hannah’s voice. The emerging catchiness of the song draws in all these magnetic hues, in turn creating a flirtatiously gripping stroll part eighties and part modern persuasion.

ALBUM-ARTWORK-FRONT_RingMaster Review   It is a thrilling start to the album, fully waking ears and attention for the following calmer mystery of Factory Floor to play with. Coldly atmospheric and romantically melodic, the track taunts and caresses the imagination with, again, a blend of melodic and raw textures. The Passions come to mind as the song writhes impressively within ears, but as shown time and time again, Scarlet Echo twist any elements into their own imaginative devilment; a Talking Heads spiced bassline perfect evidence from within the excellent encounter.

A fiery climate is explored by the sonic heat of Mass Production next, the addictive song a sultry resonance of sound and emotion driven by tenacious rhythms quickly matched in success by the sizzling blues wrung blaze of Technophobia. Its fire is interspersed with evocative slithers of calm, though it is the almost occultist air of the blistering rock expulsions which steals the show within the brief but scintillating proposition. The song shows yet another side to the band’s sound, its volatile might at times like a mix of Jingo and Jess & the Ancient Ones.

Falling Prey offers an instrumental relaxation from the fire, its shimmering melodic beauty and warm ambience enticingly mesmeric before making way for the boisterous adventure of Emergency Exit. The track opens with a splattering of guitar tempting, those bubbling lures soon joined by The Cure like potency of the bass. The minimalistic landscape of the song is beguiling, almost Young Marble Giants like on its way to brewing a livelier and thicker contagion driven by dynamic rhythms, guitar jangling, and the excellent character of the vocals. As a single the song impressed but fair to say it has only grown in stature over time, creating another major pinnacle of An Exact Portrayal of Nothing in Particular.

The smoky jazzy air of Paradigm envelops the senses straight after to fine effect; its charm and muggy seducing an absorbing temper to the revelry of its predecessor whilst casting its own hard to resist instrumental flight into imagination feeding pastures and provocative aural scenery. Its potency is emulated and surpassed by the outstanding Silicone City, its unique exploration a trigger to adventurous thoughts and heavily pleased ears as guitar and voice simmer and sway over the tempestuous incitement of bass and drums.

The album is brought to a close by firstly the sonically evocative, ambience soaked Ataraxy and lastly the poppier shuffle of Lose Control. Neither track quite lives up to what came before them yet each has body and satisfaction eagerly on board with their creative and dramatic captivations.

Scarlet Echo is a band destined to further transfix and thrill as they grow and creatively spring from this impressive debut. An Exact Portrayal of Nothing in Particular may have been released at the tail end of 2015 but for a new year of musical exploration we could not have got things off to a better start.

An Exact Portrayal of Nothing in Particular is out now through iTunes or at http://scarletecho.bigcartel.com/product/an-exact-portrayal-of-nothing-in-particular

http://www.scarletecho.co.uk/   https://www.facebook.com/scarletecho    https://twitter.com/scarletecho

Pete RingMaster 04/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Mouth of Ghosts – Falling Down/Somebody Like You

Artwork_RingMaster Review

It has been two years since UK alternative rock band Mouth of Ghosts unveiled something new to captivate ears and ignite the imagination, but a time seeing the band grow creatively richer and bolder in sound and invention. Equally the already potent temptation in their songs has been honed into a thicker seduction; the evidence is all there in the London based band’s new single. Already this decade Mouth of Ghosts has given ardour an outlet through one of the decade’s best singles in the shape of When The Sun Sets, now they stoke the fire again with a pair of riveting gems, with as potent accompanying videos, in Falling Down and Somebody Like You.

The beginning of Mouth of Ghosts goes back to 2011, guitarist Simon Langford and bassist Marco Italia starting the project with vocalist Alla Seydalieva joining the pair soon after. With their band name taken from a Dillinger Escape Plan song, Mouth of Ghosts quickly whipped up ears and attention with debut EP When The Sun Sets in 2012, its title track as previously mentioned, the bewitching lead into a fascinating merger of romantic melodies, atmospheric textures, and a theatre of expression. The following year its successor, the You Will Go Again From Me EP confirmed the impressive emergence and potential of the band, luring a wealth of new fans and media attention in turn. Now it is the double A-sided single doing the inescapable tempting with real prospect of the trio, Langford, bassist Polyannidis, and drummer Phil Page stepping into the broadest, greediest spotlight.

Falling Down instantly kisses ears with melodic romanticism blessed with warm ambience and the stunning vocal lure of guest singer Elisa Zoot from Black Casino and The Ghost. The recognisable creative hue of Mouth of Ghosts is right there seducing the senses and appetite from the start but already there is a more dynamic energy to the structure of the song and its drama loaded textures. Keys court thoughts and emotions as rhythms build a shadowy landscape over which a sonic and vocal expression glides with infectious charm. A Portishead meets Jingo like air comes with the uniqueness of the song but also a less pronounced but spicy essence which reminds of The Capsules also warms the imagination. The song is aural seduction, a spellbinding slightly tempestuous hug filled with inventive drama, vocal beauty, and enthralling magnificence.

Somebody Like You is a different kind of temptation, a song again fuelled by the distinctive Mouth of Ghosts craft and imaginative colour but exploring a noir lit landscape with more than a hint of Bond inspired cinema to it. The song, as Zoot’s vocals, flow seductively but every element from the slow paced rhythms to the immersive croon are lined with a dark tint of shadowed emotion amidst a similarly smoky ambience. The track, as its predecessor, is pure magnetism; a compelling event in its own right that takes the listener into a world of dramatic aural alchemy.

Mouth of Ghosts has returned better than ever with two songs sure to linger in hearts and push the band to deserving new heights.

Falling Down/Somebody Like You is out now and available for download http://www.themouthofghosts.com/

https://www.facebook.com/TheMouthOfGhosts     https://twitter.com/Themouthofghost

Pete RingMaster 01/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Vienna Ditto – Circle

Vienna Ditto _Reputation Radio/RingMaster Review

With every song and single released, UK duo Vienna Ditto has enhanced the seductive hex they have laid on certainly our ears since being infected by the band’s Ugly EP in 2013. Now the pairing of Hatty Taylor and Nigel Firth has set free their long awaited and highly anticipated debut album, and fair to say that their melodic voodoo has just got seriously enslaving. Bringing some old fan favourites together with re-workings of older releases and brand new slices of sonic devilment, Circle is a bewitching romance of sultry atmospheres, bordering on sinister melodic beauty, and psychedelic sunspots of harmonic alchemy.

Originally meeting when Firth taught Taylor the guitar when she was 11 years old, the duo began writing and creating together in 2009 after meeting by chance again in the street. Within a week of that moment, they recorded an electronic version of the Johnny Cash classic Ring of Fire and in a matter of another seven of so days created and unveiled their own first song Long Way Down. This quickly managed to find itself played on Huw Stephens’ Radio One show, leading to Vienna Ditto playing the BBC Introducing stage at Glastonbury. 2011 saw the band’s self-titled debut EP get a well-received release, its temptation the beginning to greater attention and responses earned by a couple of singles and more so the Liar Liar and Ugly EPs two years later. With further singles only enhancing and confirming the duo’s potent emergence and increasing evolution of sound, there has been a greedy appetite brewing amongst a great many for this first album. Now here it is easy to say that no-one will be disappointed and for newcomers, well simply welcome to a new musical lust.

The encounter opens with This Is Normal, a song instantly luring ears through a minimal but potent bassy riff and the siren-esque tones and expression of Taylor’s voice. As crispy beats and additional guitar enticing joins the mix so the song’s energy also elevates, though it is quickly back into the low key gait so things continue to be potently intriguing and unpredictable. As electronic invention springs its bait next, the track eventually slips into a magnetic stroll with Morningwood like revelry but yet again things only get twisted and turned around to relentlessly excite ears and imagination.

Owly circle_Reputation Radio/RingMaster Review    The irresistible start is emulated and surpassed by the following Feeling Good. With garage rock hooks colluding with surf and sci-fi shimmers, the song is quickly teasing and flirting like a sixties Venusian temptress. Also though there is simultaneously a climatic and sultry air enveloping the senses whilst beneath it a smouldering Tarantino cultured landscape becomes the home for an irresistible dance of vocals and grooves. The song is pure musical and emotional drama, an infection getting under the skin and into the psyche whilst providing the first major pinnacle of the album.

A melodic calm caresses ears next through the mellow charm of Wintertime. Comparisons to Portishead have been a regular offering since Vienna Ditto began and easy to see why with the golden kiss of charm offered by the tantalising third song on the album. It has its own intimacy and individual, almost raw innocence and beauty though as it casts a lingering peace which eventually makes way for the off kilter cosmopolitan enticement of A Happy Car is a Stolen Car. With a ska shaped bassline and exotic melodic hues within a spatial atmosphere, the song is a fascinating waltz of warped imagination and enterprise. The effect hugged vocals of Taylor court the bedlamic shuffle of the song and again a sixties pop hued psyche rock twisted soundscape. It takes a couple of listens or so to fully explore and understand the wonderful turbulence of ideas and bold adventure at work but rewards patience with another major highlight within Circle.

The band takes ears back into the dusty climes of a Morricone like terrain next through Pale Horse Rider, voice and strained guitar strings a compelling lead into a continually evolving and absorbing immersion of sound and emotion. Beauty again is the keenest description to lie at its door before the first of the band’s two current singles step forward side by side. Oh Josephine which we are led to believe is a tribute to dancer and civil rights icon Josephine Baker, has a haunting and pulsating shine to its air, a glow which resonates across every aspect as rhythms and the simply catchiness of the song steal body swerves and lustful thoughts from the listener. The following Long Way Down is an epidemic of addictiveness and brilliance. Primarily garage punk and rock across its numerous strands of temptation, the song also weaves a funk and synth pop lure encased in psychedelic salaciousness. Think Chick Quest meets MGMT with a touch of Jingo for good measure and you have a closer clue to the brilliance of the song.

     Both the hypnotic almost oppressive psychedelic wash of A Wheel Within a Wheel and the bulging devilry of Hold On enthral and thrill; the first a song bordering on psychotic with its kaleidoscope of sonic colour and melodic seducing aligned to off the wall ingenuity. The second of the two is jazz/funk pop twisted out of shape and stretched on muscular rhythmic sinews, then infused with guitar jangles and electronic mania before being given to Taylor to bind in her ever alluring vocals. The result is one virulent dance of unbridled infection and enjoyment though it is soon overshadowed by the sensational Hammer and a Nail. Opening with a caress of southern guitar and the endearing tones of Taylor, the song soon spreads into again Morricone seeded scenery within a dusty hot ambience. It is a transfixing maelstrom of mystique kissed sounds and emotional drama which toys with ears and imagination. The more revealed the darker the track becomes, its rapacious throat and intensity an encroaching clouding over the open beauty and sultry resonance of voice and melodies. As a single this incitement was glorious but reshaped and re-coloured for the album it is simply majestic.

The gentle croon of Liar Liar Quietly is almost an anti-climax initially after the previous glory but soon has ears and thoughts firmly in its soft and persuasive melody soaked hands. It is a spellbinding kiss with a need to spill eighties post punk like invention from within its serenade, again the band reaping seeds from earlier decades to enrich their own scintillating invention.

The album closes with a smouldering slice of gospel bred psyche balladry; I Know His Blood Will Make Me Whole another cast in the dark country of psychedelic rock ‘n’ roll. As expected the track spins a mesh of perpetual unpredictability and off beat exploration which just gets darker, bolder, and more addictive with time and age.

There is also a bonus track on certainly the digital version of Circle called Squeaking Wheel and it too is a sensational romp, one built on a blues sound and craft wound in creative mischief and ingenuity. Whether this or I Know His Blood Will Make Me Whole completes the album, Circle is easily one of the most scintillating and invigorating thrills of the year so far. Full of surprises and originality, album and Vienna Ditto deserve all your attention with the only losers being those not taking a listen.

Circle is available now @ https://viennaditto.bandcamp.com/album/circle

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

RingMaster 16/05/2015

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