Shameless captivation within the RingMaster Parade…

Continuing to tease and light up our ears Shameless PR have sent over another collection of tracks to take a reviewing lick at and we present to you the most compelling of the bunch.

My Nature is a compelling blend of sinister seduction and menacing atmospheric intimation; it is also the latest single from Atlanta-based indie pop duo I Am a Rocketship and the lead track off of their fascinating new album Ghost Stories. It is a song which creeps into the psyche whilst manipulating the body with its infectious grooves and one which suggests indeed demands that the band’s bigger offering should be explored.

I Am a Rocketship unites the craft and imaginations of multi-instrumentalist Eric Weissinger and vocalist/cellist L E Kippner of Swedish synth-pop duo Neobox. From a chance meeting the pair formed Hitchcock Blondes before relocating to Atlanta and creating I Am a Rocketship. Their sound is a kaleidoscope of flavours woven into indie pop bred adventures but songs unafraid to venture through shadows and experimentation embracing electronica and rock instincts among other flavours.

My Nature is a perfect yet individual example of their imagination and the new album, the song immediately haunting ears through Kippner’s captivating tones which are quickly stalked by dark nasally guitar grooves. The riveting just as tenebrific bassline and the teasing touch of keys only add to the evolving temptation with lays across magnetic rhythms; it all proving pure captivation in swift time with its creative flirtation reeking danger and fascination as the song lights the way to easily imagining further rich adventures within Ghost Stories.

Similarly and equally potent in experimentation is the new single from legendary producer Martin Bisi. A fascinating slice of Avant rock, Let It Fall is a dense and compelling encounter bred on unpredictability and relishing the myriad of flavours and styles which inspire that wonderfully erratic but skilfully crafted landscape of ideation.

The track is taken from Solstice, the first solo record in five years from Bisi and his sixth such album within a career working with the eclectic likes of Brian Eno, Bill Laswell, Sonic Youth, Swans, John Zorn, Herbie Hancock, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop, Human Impact and countless others.

Let It Fall barely shares a single breath before the richness and thickness of its mercurial instincts and sound is apparent and enthralling ears. It is not easy to fully suggest the character and voice of the song but it is one bound in the keen essences of rock, jazz, noise, classical, and art rock and more besides. It too is a fusion of menace, disturbance and contagion; haunting the senses and inspiring the imagination whilst savouring the soprano vocals of Amanda White and Genevieve Fernworthy’s electric viola alongside the baritone guitar of Diego Ferri, the dictating rhythms of Oliver Rivera-Drew and Bisi’s alluring touch in vocals and guitar. Let It Fall was soon a track impossible to ignore; one also urging an appetite to explore its main source.

Contrasting the darker hues of the previous two is the new single from San Francisco electronic outfit Nikavo. Yummy Miami is a warm and inviting piece of electronic infection with its techno nurtured pop and catchy disco bred instincts to the fore though it too offers a sound lined with an adventure and dare we say eccentricity akin to that found within the songs already covered.

Nikavo is a musical union of producers Philip Winiger and Alexey Laduda; a pair whose respective informative musical years, the former embracing a love of the German electronic music scene and being part of industrial/ EBM outfit INHALT and the latter growing up “in the rigid, yet highly creative, post-Soviet space, playing the guitar and singing”, has found a uniting passion for dance music and analogue audio synthesis. It has resulted in a project and sound which has a broad smile to its presence and an almost mischievous instinct to experiment and explore.

Yummy Miami simply hugs the senses with its fun and lively spirit, sparking a dance in the step as it strolls through a melodic breeze. Equally vocals and synths are pure infectiousness matched in persuasion by the rousing skip of rhythms and the heated wiring of guitars. That mentioned irregularity in sound is maybe not as apparent here but certainly at enthralling strength within the single’s B-side, No TV; a track bred through a more darkwave/industrial leaning and no less absorbing.

As the band celebrate the 30-year anniversary of their highly acclaimed debut album, Sweden’s celebrated 90s indie rock darlings Easy unveil new album Radical Innocence soon and comes preceded by a couple of melodic flames posing as singles to draw ears like moths.

Since the release of that first full-length, Magic Seed, Easy has frequently toured Britain and Europe and released a host of acclaim luring records; the previous two as their new offering via A Turntable Friend Records. It is a career interrupted by the band suddenly disbanding in 1994 as members explored other projects but since returning in 2010, with the original line-up of Johan Holmlund (vocals), Rikard Jormin (bass), Tommy Dannefjord (drums), Tommy Ericson and Anders Peterson (guitars), the band has found an ever greater potency in their sound and writing.

The singles, Crystal Wave and the just come out Day For Night, present the melodic jangles and lively textures which make up the band’s sound and new album, the first an animated stroll bound in warm keys, infectious hooks, and a catchy almost eighties pop nurtured breath which swiftly got under the skin. Its successor equally had attention quickly hooked, its rhythmic lure irresistible and a persistent lure into the emotive embrace and infectious enterprise waiting to further tempt. Both tracks remind a little of The Mighty Lemon Drops which does neither any harm, both firmly stamp their individuality on eager ears.

With their new album, Coniphers, scheduled for release May 22nd, US rockers Lazaris Pit uncage their new single You Don’t Tag Me In Memes Anymore to also provide a ripe teaser to whet the appetite. The track is a boisterous slice of funk dipped indie rock with an almost rebellious lining of punk rock, the kind of song which inspires a want to know and hear more.

The Raleigh-based outfit formed in 2017 and consists of Ely “Salted Sweet Cream” Yarbrough (guitar and lead vocals), Cameron “Sugarfoot” Preston (bass) and Jon “Dok Tok” Castro (drums and backing vocals). As we suggested their sound is a mix of varied flavours which at certain times also employs essences of funk, soul, psychedelia, reggae, jazz, noise, and ambience in songs as individual to another as you can imagine, a trait epitomised by the feral exploits of Cloudsculpting, the B-side to You Don’t Tag Me In Memes Anymore, and a song with a Everclear breath to its volatile and mercurial reggae and pop punk saunter.

The A-side entices a bit of blues guitar flaming to its rock ‘n’ roll, a poppier rock and that punk instinct uniting in a tenacious and rousing stroll. It also has a great garage rock like rawness to its breath which only increases the magnetism; You Don’t Tag Me In Memes Anymore leaving a lasting mark on ears and intrigue for the upcoming Coniphers.

Another artist entrapping attention with a couple of singles before a larger temptation is Rome-based electro indie pop project Ender Bender. May 1st sees the EQ EP released and providing bold lures for its release are the singles Star Killer and Honey Lavender Girl.

Ender Bender is the solo project of Eddie Olguin, a multi-instrumentalist producer now based in Rome having relocated from LA in a “life-changing move”; a move saving him from self destruction and inspiration to the themes within the EQ EP.

Star Killer swiftly shows itself as a spirited and positive slice of electro rock, every move it makes an eagerly catchy incitement and each melody an invasive contagion drawing out the inner swing in us all. With the spellbinding backing vocals of Roberta Ovatta just as winning as the sounds surrounding them, the song infested ears and body with ease; success replicated by Honey Lavender Girl as it embraced a more indie pop identity. Again Ovatta and Olguin vocally unite with charm and enterprise as guitars and keys weave a fresh side to the Ender Bender sound.

Both songs only lead to one thought, to dance with the EQ EP, job done.

Finally we have new temptations from Beauty in Chaos, the creative project of guitarist Michael Ciravolo (Human Drama, Michael Aston’s Gene Loves Jezebel) which sees him link up with a rich host of musicians song by song. With new album, The Storm Before The Calm, due May 22nd via LA-based label 33.3 Music Collective, a trio of singles have raised the keenest of anticipation of its release.

Following The Delicate Balance of All Things which featured The Mission frontman Wayne Hussey, Beauty in Chaos set free the Curse Mackey (Pigface, My Life With The Thrill Kill Kult, Evil Mothers) guesting A Kind Cruelty recently and is now followed by Almost Pure which finds Steven Seibold (Hate Dept., Pigface) alongside Ciravolo.

A Kind Cruelty rises up on a sonic breeze, bass and guitar conjuring rich intimation as the song grows and expands its intrigue. Hitting its full stride, melodies entice and hooks tease, a resonating bassline enslaving at the core. The track quickly proved a thick slab of magnetic melodic rock, every moment capturing the imagination just as its darker shadows and the vocal prowess of Mackey and indeed just as ably as its successor as a single, Almost Pure. Gothic light immediately soaks ears as the song unveils its presence, an eighties dark rock scent escalating the tempting quickly at play; indeed there is a touch of The Mission to the track at times which only thickened that potency.

Both songs epitomise the diversity and imagination which fuelled previous album Finding Beauty in Chaos and we now expect to breed rich adventures within the forthcoming The Storm Before The Calm.

 

Ghost Stories is now available everywhere digitally, including Spotify, as well as on CD, via the band’s own My Long Wknd imprint. It can be ordered directly from the artist via https://iamarocketship.bandcamp.com/.

Martin Bisi’s Let It Fall is out via Bronson Recordings as too the album Solstice; available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

Yummy Miami from Nikavo is out now.

The Easy singles are available now with Radical Innocence released through A Turntable Friend Records on 1st May.

Lazaris Pit has You Don’t Tag Me in Memes Anymore available everywhere digitally, including Spotify and Apple Music now with the Coniphers album out on May 22nd.

As of May 1st, the EQ EP will be available across online stores and streaming platforms, including Spotify and Bandcamp.

The Storm Before The Calm will be released on CD and digitally on May 22nd with a later release date to be announced for the vinyl editions. These include a 180g vinyl (including a black numbered limited edition and a black & blue duo-tone). Pre-orders come with an immediate download of A Kind Cruelty and the full digital release on May 22nd includes a 25+ minute title opus that does not appear on the vinyl version. The Storm Before The Calm can be ordered here. https://www.beautyinchaosmusic.com/music-store

 

https://iamarocketship.com   https://twitter.com/Iamarocketship1  https://www.facebook.com/iamarocketship/

http://martinbisi.com/   https://www.facebook.com/Martin-Bisi-10025408974   https://twitter.com/martinbisi

https://www.facebook.com/Nikavo-279477962909519  https://nikavo.bandcamp.com/

http://www.easy-magicseeds.se/   https://www.facebook.com/SwedishindiebandEasy/   https://easy-sweden.bandcamp.com/

https://www.lazarispit.com/   https://www.facebook.com/LazarisPit/   https://twitter.com/themLPboys

https://lazarispit.bandcamp.com/

http://www.enderbender.com/   https://www.facebook.com/enderbendersonicdrug/   https://twitter.com/iamEnderBender

https://www.beautyinchaosmusic.com/   https://www.facebook.com/beautyinchaosmusic/   https://twitter.com/MichaelCiravolo   https://beautyinchaos.bandcamp.com/

Pete RingMaster 02/05/2020

Copyright RingMasterReview: MyFreeCopyright

Shatner’s Bassoon – The Self-Titled Album Shansa Barsnaan

SB_RingMaster Review

We have all had a dream which is ripe with randomness so abstract that it somehow makes sense, and that is exactly what it is like listening to The Self-Titled Album Shansa Barsnaan, the new album from Shatner’s Bassoon. Not that our brain cells have yet managed to come to terms with any of its themes, if there are any, or the intent behind its psyche twisting bedlam of creativity, but without doubt we are having the richest fun and enjoyment trying.

Shatner’s Bassoon is a sextet from Leeds taking influences from the likes of Tim Berne, Mr. Bungle, John Zorn, Frank Zappa, and an expansive range of styles and flavours into their warped composing and sound. Equally individual experiences of its members carry a diverse range stemming from European folk, Hindustani music, Brazilian music, straight ahead and free jazz, reggae, metal, contemporary classical, musique concrete and most likely plenty more inspiring spices. 2013 saw the release of their debut album Aquatic Ape Privilege and last year the live EP, The Crowd Grows Mild. Now representing “the summation of the last three years of working since the addition of Joost Hendrickx on drums and electronics”, Shatner’s Bassoon release their second album of unhinged imagination, an encounter from Johhny Richards (Keyboards/Piano), Michael Bardon (Bass/Bongos/Botanical String Quartet), Andrew Lisle (Drums), Oliver Dover (Saxophones/Bass Clarinet), Craig Scott (Guitar), and Hendrickx which puzzles, bemuses, seriously confuses but most of just thrills.

cover_RingMaster Review     Bruce Lawn starts the album off and according to the press release sees “Seemingly disparate musical fragments converge into a unified theme as catchy and uncomfortable as gonorrhoea. It dissolves as quickly as it manifests into a visceral aural soup, crashing into an overtly sexual Transylvanian organ punch.” It opens with a handful of lusty seconds of anthemic sax bursts and handclaps before flinging a host of discord kissed sounds made up of melodic and sonic tweaks. Already thoughts are conjuring a picnic in a thirties freak show, an abundance of off-kilter beauty providing an embrace of joy with sorrowful undertones. As with every track, and no matter the hints given by the band musically and in word, each listen sends the imagination down a new avenue of lively and shadowed adventure, though ones maybe not quite as disturbed or avant-garde as the ideas in the minds bringing the piece to ears. Band and song continue to ‘meander’ and spin new detours, a few of them Essential Logic like, as it drifts into an increasingly sinister haunting; coming out the other side with aural face paint smudged and mental coherence askew.

Bruce Lawn II: Arms like a Mirage comes next; the song’s initial elegantly chilled breath a surreal reflection of its predecessor’s final dark throes whilst spinning slowly deeper into its own turbulent intrigue of sound and barely masked insanity. It all leads to a bordering on bestial climax which is almost 6:33 like in its concussive collision of jazz, rock, and whatever else lies within its tapestry of aggression.

Like that initial spattering of water as rain clouds open is how Fringe in my eyes, Thighs in disguise sheds its mosaic of incompatible yet united sound next, each note from the song sheet a jazz bred splatter marking its territory; yes warped sounds seem to breed warped ideas, in us anyway.

Percussion and rhythms provide a skittish but fluent dance to set Mushroom/Fancy a Waltz away; bulging blobs of sax and clarinet flirting with the spicy strings of the guitar soon after before things get a little psychotically hairy in something best described by the band itself as “a machine gun spluttered duet finally melting into a refreshingly resolute meditation.” To be honest whatever we write or they say is a scratch upon the strange and spellbinding tapestry at work throughout the album and its individual exploits of tangling sound and ingenuity.

Ten seconds of innocence coated sax gaiety is all Mitch Fargone’s walk to school offers before Advocates of Anti-Funk pulsates and shimmers in a kaleidoscope of melodic and brassy sunspots, all wanting to share their swinging hips before eventually colluding in a dark carnival-esque seducing. Rip Rig & Panic meets Mr Bungle might be a good way to describe it…actually not really as again Shatner’s Bassoon cast only their own uniqueness over ears.

The dark enchantment of Boat Comforts moves in like sea fog, creaking boards and melancholic siren sent calls mesmerising and tantalising the senses. Every passing second brings darker and stranger nautical essences, the piece toying with the imagination like a Jules Verne on LSD written adventure complete with a bare boned and crazed shanty. Cardiacs come to mind the more the song spills its insanity and rum brewed frenzy before Boat Comforts Part II: Goat Conference / The Real Shim Lady unveils its own sonic choral of loco spawned textures and cracked rhythmic incitement. Like the unbridled discordance of eighties band Stump infesting the psyche and the creative prowess of a composer to a silent movie, the track goes from low key musical disorder to sinew swung hysteria and back again into deep melancholy.

Next comes DMT AABA which is like a nursery room found in American Horror Story, it in turn followed by the even more thickly haunting of The Ballad of Long Egg, a track which for whatever reason sparked thoughts of films like Roman Polanski’s Repulsion and The Tenant. Closing eyes whilst listening to the track ensures it is an atmospheric noir scare, its textual narrative high suggestion even if the results brewed mentally do or do not match the band’s intent.

Inspector Fargone is another passing swoosh of temptation, its twenty odd seconds like a spaced-out Jacques Tati moment whilst the brilliant Boghead (WaspSpeed) is a fevered uproar of energy through a palette of eccentric funky sounds and demented brass grimaces and eruptions, all coming together like a Dali sculpted painting by numbers, though of course there is no recognisable order or structure to the blaze of premeditated and free form ingenuity.

The album is brought to a close by an enveloping lure of sound which again can only be described as haunting. Will you be my Friend? draws in vocals for the first time, their harmonies as left field and fascinating as the sounds hugging their presence, and wonderfully as musically heretical as the gentle cacophony creating one enthralling and exhaustingly bewitching album.

When you listen to The Self-Titled Album Shansa Barsnaan you will have a totally different view and response to its songs, that is a given such its diversity and unfathomable genius but most will agree that for appetites of humour loaded music with an insanity as broad as the imagination and wealth of flavours in its creation, Shatner’s Bassoon have provided one feverish treat.

The Self-Titled Album Shansa Barsnaan is available via Wasp Millionaire Records from September 24th.

Pete Ringmaster 23/09/2015

Copyright RingMaster: MyFreeCopyright

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

Guano Padano: 2

Like a soundtrack to a disturbed world drawn from the imagination of Sergio Leone, David Lynch, and Robert Rodriguez, 2 the glorious new album from Italian band Guano Padano, lights up every aspect of the body. The release awakens the senses, incites thoughts and imagination whilst using feet like a puppeteer with their contagious heated sounds and rhythms. The album is outstanding, a release which fits nowhere but has a feast of delights for all.

The new album follows the 2009 self titled debut album from Guano Padano which had a limited release in Italy. Released through Ipecac Recordings, 2 gives the band a needed and deserved wider canvas to recruit from and it is hard to imagine their following not increasing dramatically as the album reaches many more ears. The trio of guitarist/multi-string instrumentalist Alessandro Stefana, Danilo Gallo bass/piano/organ and Zeno De Rossi on drums, unleash a series of cinematic instrumentals which evoke individual moments and lives within this golden world which dazzle and transport thoughts to new yet familiar soundscapes. Musically the band combines the fine flavours distilled from jazz, bluegrass, surf rock, country, folk, rock and more, to conjure a smouldering journey with a spaghetti western film noir breath. To be honest it is wonderfully hard to explain but very easy to immerse within and enjoy to the full.

The album opens with the short Last Night, a piece of music which is emotively elegant but comes with a blistered background and increasing intensity as it moves into the waiting heat of Zebulon. The second track gallops into view with an eager swagger and shimmering spaghetti western melodics. You can feel the heat sliding off the atmosphere which wraps the music and visualise sceneries of sand and bristling activity. There is also a slight surf spice to the composition which wakens the taste buds for the full flavour a little further on within Gran Bazaar.

The track is stunning, a sultry presence within the ear and a seductive temptation for the senses. With guitars either picking at notes to find their limits before snapping  or sending flames of sharp melodic  passion through the air, the track is an insatiable infection offering a fluid feast of Middle Eastern promise and surf romance within its mesmeric world. It is a near wanton tease which no one can or would refuse.

The album as each track passes into the imagination, shows fully eclectic sounds and ideas, the likes of the slow pacing Gumbo with its pulsating jazz whispers and evocative melodic showers, the excitable hoe down Bellavista, and Miss Chan with its hypnotic oriental kiss, all offering  new detours and experiences within the expansive journey. The last of the three starts off with a scratchy mesh of oriental radio voices and the plunking of traditional eastern strings before erupting into another sizzling fire of surf and Japanese sounds veined with acidic sonic guitar manipulations. As seemingly everywhere one is transported into an enveloping weave of picture telling emotion and sonic sights soundtracked by great provocative sounds.

2 is an album with every track leaving nothing but deep pleasure in their wake but as always personal tastes finds ones which stand out from the crowd and alongside Gran Bazaar there are two which ignite the fullest fires. Firstly there is Lynch, a track borne from the dark shadows and empty solitary street corners with just a lone jazz musician for a friend.  The track has a film noir breath but behind it there is a sinister and almost unworldly pulse, a hungry discord waiting to misdirect the melodic enterprise. It is glorious, arguably the most powerful of all the tracks and one which lingers in the mind well past its expiring notes.

As with their first album, the band brought in the talents of others on 2 letting the craft of the likes of Marc Ribot (John Zorn, Tom Waits), Chris Speed, and Paul Niehaus (Lambchop) grace the release. The other great highlight of the album Prairie Fire, the only track with vocals. It also features a guest, the inimitable Mike Patton. The track is brilliant, a song with the wicked grin of the devil and the mischief of, well Mike Patton. It is slightly schizophrenic with more than an air of a Gotham City villain to the vocal character. It is a rock n roll contagion of the purest sin brought with a wholly unique and inventive majesty to have one dribbling lust. If this song does not take Guano Padano in the ears and minds of the world nothing will.

The album ends with a cover of the Santo & Johnny track Sleep Walk, a song which has had numerous versions made of it and it has to be said Guano Padano do not do anything to make it their own. Against the excellence before it is just a pleasant kiss goodnight from the album to be honest and the only time the album drops its levels.

2 is a vibrant dream and escape rolled into one stirring and immersive journey. It gives only pleasure whilst inspiring thoughts to create their own landscape and companions for the trip alongside your aural tour guide Guano Padano.

https://www.facebook.com/pages/GUANO-PADANO/128526000583127

RingMaster 23/08/2012

Copyright RingMaster: MyFreeCopyright

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