Les Bof! – Voila!

Everything about Les Bof! is a surprise and real pleasure; great rewards found in our introduction to them courtesy of the guys at the ever welcome Dirty Water Records. The reason for it all is new album, Voila!; a collection of songs which got under the skin like a mischievously voracious itch.

Les Bof! revels in the heart of French 60s garage rock but a band hailing from the rousing highlands of Scotland. Featuring members of The Thanes, The No-Things, The Sensation Seekers, and Preston Pfanz & the Seaton Sands, the quartet consists of guitarist Angus McPake, bassist Colin Morris, drummer Ross Fairbairn, and French chanteur Laurent Monbel. 2011 saw the release of debut album, Nous Sommes les Bof!, something easy to feel we really missed out on such the addictive and rousing exploits now of Voila! and its fourteen enthralling romps.

From the moment opener Jezebel melodically rumbled into view it is fair to say we were hooked, especially once it set down its swinging gait and nagging stroll. Monbel’s vocals as swiftly enticed even though in a language we have never had a handle on, his tempting more than matched by guitar and rhythmic enterprise. There is a whiff of Mano Negra to the track’s garage rock revelry, a favouring which repeats enjoyably across the album from time to time.

With its drama and captivation increasing by the chord, the song makes way for the just as alluring Fin De Monde, a song with definite Stones-esque flaming to its hooks and energy. Rock ‘n’ roll of the most magnetic order it is still soon eclipsed by the thrilling Vie De Chien. Already in three songs Les Bof! have proven adept at the most merciless of hooks and melodic devilry, the third song casting its own irresistible types led by the delicious groove of the bass wrapped in the spidery snare of guitar; alone one of the most seductive moments of the album.

The sing-a-long canter of Ma Claque just commands participation next up while Je Suis Le Boss owns ears with its sepia shaded sixties shuffle blessed with the intoxicating jangle of keys and the harmonic flaming of Monbel; another great pair which is still outshone by another as Drogue ‘N’ Roll swaggers in with unapologetically flirtatious grooves leading devilish power pop tainted moves and garage pop sprung temptation.

The surf seduction of Souviens Toi nestles perfectly in the arms of the song’s intimate chanson to simply bewitch with Un Deux Trois Quatre bringing the body back to full involvement with its eager animation and virulent quiver; physical excitement further escalated by the rawer but no less melodically enticing rock ‘n’ roll of Soixante-Huitard.

As Liberes Moi with its fiery sixties breath inflames and the similarly era nurtured prowl of C’est La Vie taunts, Voila! only enriched its fascination, grip, and variety of sound with La Fievre Du R’n’R adding to all with its garage rock fever and inescapable holler.

The album goes out as masterfully as it came in; Port St Louis teasing and transfixing with its smouldering instrumental writhing with threads of sonic fire before Formidable provides arguably the most addictive moment of the album with its niggling hooks and flirtation loaded swing. It is a glorious end to quite simply one of the real pleasures of the year so far so as Les Bof! declares…Voila!

Voila! is out now via Dirty Water Records: available @ https://lesbof.bandcamp.com/album/voila

 

 https://www.facebook.com/Les-BOF-109315552443996/   http://www.lesbof.fr

Pete RingMaster 25/06/2019

Copyright RingMaster: MyFreeCopyright

LaBrassBanda – Europa

10369702_10152746523032834_5755316661823139889_n

To support and celebrate the band’s recent UK tour, German nine-piece LaBrassBanda have re-released their acclaimed 14-track album Europa, and if like us you missed it first time around, now is the time to join their compelling festival of sound. Uniting the richest contagious elements of everything from techno to funk, reggae to ska, and punk to alternative rock pop, the Bavarian outfit take ears and imagination on a euro stomp of irresistible creative revelry.

LaBrassBanda was formed in 2007, one of its founders, vocalist/trumpeter Stefan Dettl inspired by the Youngblood Brass Band. With a few line-up changes and an expansion of personnel, the band has persistently ventured across Europe with their sound, becoming renowned for their high energy live performances. As mentioned the band’s sound is bred on styles and flavours as diverse as the different musical backgrounds and tastes of its members. Originally released in 2013, Europa gets a fresh UK concentrated unleashing to accompany their just completed and highly successful tour and before the full complement of trumpeters Jörg Hartl and Korbinian Weber, trombonist Manuel Winbeck, bassist Mario Schönhofer, drummer Manuel Da Coll, percussionist Tobias Weber, tuba player Stefan Huber, and guitarist Fabian Jungreithmayr alongside Dettl hit the festivals of Europe.

The album fires up ears and thoughts straight away with opener Tecno, its sound as you would expect from its title a vibrant enticement for feet and dance-floors aligned to a great throaty shadowing of bass and tuba. The expressive vocals of Dettl are equally low in tone but as magnetic as the flames of brass which flirt with the senses across the relatively restrained but tenacious encounter. Thoughts of eighties bands like Pigbag and Mouth spring up as the song dances with ears before passing the baton of infectiousness over to the following Jacqueline. Immediately more feisty and energetic than its predecessor, the song swings and grooves with a funk bred air and gypsy folk devilry, again body swerves and lively feet the target.

0888837022521     The album hits its pinnacle early with the exceptional Holland, the track a slightly deranged waltz of hip hop tinged vocals and an accompanying mashing of syllables courted by a soundtrack of busy and psyche seducing brass. It is just the start of the fun and lustful persuasion though, a fluid step into a reggae spiced, punk hued romp reminding of bands like Asian Dub Foundation causing pure addiction. A track to bring graveyards alive and lungs exhaustion, the track is pure manna for body and soul. What it is about who knows, being Bavarian illiterate we fail you on that aspect as there is not an English word spoken across the whole album but we are led to believe plenty of songs are about beer, girls and partying.

Schweden next nudges and entices the listener with an electro beat based offering equipped with a potent seduction of bass which blossoms into a sultry croon of brass and melodic persuasion. It also has a whiff of nostalgia, parts of it reminding of Dalek I Love You whilst it’s more feisty and lively exotic catchiness has a sense of Mano Negra to its enterprise. The freely flowing encounter never erupts into a blaze but relentlessly seduces before allowing the agitated adventure of Z’spat Dro to tease and bounce with ears and appetite. A punk tenacity and energy surges through the infectious anthemic romp, think Biting Elbows meets Les Négresses Vertes and you have another treat of a track.

The punchy Nackert with is rock pop croon keeps the energies and thorough enjoyment in top gear whilst Sarajevo takes a gentler but no less enthralling flight across a boldly simmering but reserved scenery of melodic craft. The elegant instrumental has the imagination casting its own travelogue of adventure, brass and guitar providing the colour and rhythms the drama for thought sculpted exploits.

Entering into the second half of the album, Europa evolves into a more evocative and suggestive persuasion than the more forceful devilry of its opening half, though first of all the cosmopolitan soundscape of Frankreich reveals itself as another instrumental with bold rousing hints for ears and thoughts to play with. The colder climate of the melancholically charmed Russland comes next, its slow haunting an immersive caress whilst Western straight after saunters along with a jazz funk smile and brassy mysticism as vocals unite in harmonic, almost shamanic prowess.

Though admittedly there was pining for the outright devilment of a Jacqueline of Holland at this point, the album still has the listener firmly departed from the real world attention wise with each proposal, a success continued with the warm and dark theatre of Griechenland and following that, the folk lined shuffle of Vogerl where that gypsy folk/punk tempting returns to take feet and emotions on another flirtatious dance.

Europa ends with firstly the highly persuasive Opa and lastly the melancholic, funereal like sigh of Hymne, arguably the one time not understanding the spoken narrative is missed, though the wake like reverence of the music explains plenty.

It is fair to say that Europa is easily one of our favourite encounters this year and at times offers songs sparking a lust which borders on illegal. To bring your summer and year to life, if you have not already, time to join the LaBrassBanda festivities we suggest.

Europa is available now via Sony Music/RCA @ https://itunes.apple.com/us/album/europa/id651995604

http://www.labrassbanda.com   https://www.facebook.com/LaBrassBanda

RingMaster 12/05/2015

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

The Cardboard Crowns – Global Citizen

cardboard-crowns_web-2

There are treats, there are triumphs, and there is undiluted devilry, and in the case of Global Citizen there are irrepressible riots of combining all three. The album comes from Canadian rockers The Cardboard Crowns, a band creating a mischievous maelstrom of adventure from the raw tenacity of punk, the majestic swagger of ska, and the sultry charm of reggae, not forgetting a very healthy dose of pop. Formed in 2009, the band has been a relative secret outside of their home borders but it is easy with a little bit of luck to see that changing thanks to the thrilling stomp of Global Citizen.

Hailing from Aylmer, Quebec and now Ottawa based, The Cardboard Crowns’ seeds begin in high school with Joel “Rat” Kuehn (vocals/guitar), David “Tokyo” Speirs (drums), and Matthew “Googles” Megannety (lead guitar), the first two already strong friends before meeting the third in that place of learning. They formed a trio of garage bands, The Madd Fizz, The Fog Pilots, and The Rocket-Propelled Space-Fish along the way of their musical journey, potent steps which have laid the seeds for what they offer today. It was with the link-up with bassist Franks “Mystery Skunk” Cuningham around five years ago though that the spark for Cardboard Crowns was ignited, and from that point it has been full steam ahead for the band and its insatiable revelry.

It does not take long to realise the eclectic and inventive expanse of sound and imagination which fuels the album, the first three songs enough to reveal the wonderfully unpredictable and infectious variety at play. Opener Pulling Teeth sets things off, its opening and immediately engaging acoustic caress and alluring vocals folk like with a summery breeze to their relaxed temptation. It is just the gentle coaxing to bigger and bolder things though, energy building towards a rampant stride of punchy rhythms and tangy grooves driven by equally tenacious vocals from Kuehn and band. The song reminds of British band Knots, its emerging instinctive and anthemic stomp inescapable flirtation for feet and passions. The track is exceptional, fiery blazes of raw guitar only adding to the drama and power of the brilliant encounter.

Its might is soon backed up as the album’s title track and the following Hats Off unveil their distinctive and diverse designs. The first of the two strolls in on a smiling stride of reggae seeded Album Cover (Small)riffs and a rhythmic swing which soon has body and imagination swaying in unison. There is a just as vibrant pop punk enterprise to the song, bands like Smashmouth and Reel Big Fish coming to mind as it swerves and entices with vivacious melodies and bubbly chords, though the track ultimately evolves a unique identity. It’s smiling gait and devilry is matched by its successor, ska bred stabs igniting ears within seconds as a punkish air sets in motion another contagious persuasion. The song though not flawless, the band shouts not working for personal tastes, manages to smoulder and bounce simultaneously, like an exotic temptress with seductive curves and voracious appetite.

Sun And The Stars winds around ears next; its tone equipped with a country twang aligned to smoky keys and Southern kissed sonic flaming. Again sound and vocals provides a seriously catchy and excitable devilry and even though it lacks the final persuasive spark which ignited its predecessors, the track leaves appetite hungrier and satisfaction fuller. It is a level of pleasure straight away thrust to new levels by the outstanding Shut My Mouth, another incendiary romp of piercing hooks and devilish enterprise allowing pop punk and ska to collude in a virulently infectious rascality which might even have the power to bring the feet of the lifeless to dance.

The thrilling adventures and diversity just keeps coming as Olé brings its Latin ska tempting to tease and excite ears and imagination. The cosmopolitan shuffle is a festival of swarthy rhythms and rosy faced melodies, a lively footed canter merging the rebellious charm of Mano Negra with the seductive zeal of Les Négresses Vertes. At the song’s end its gentle hug allows a breather to be taken before the rugged brilliance of Your Son has body and emotions leaping again. Adding new causticity to vocals and chords, the track switches its roars and croons for the album’s most ferociously captivating offering. Pop and punk collide, virtually brawling throughout as they breed some of the sharpest appetising hooks and rhythmic provocation you are likely to devour this year.

The release is brought to an end by firstly the seriously magnetic Bounty On His Head, a part punk and part folk romp, and lastly through the carnival-esque tempting of Generations. The final song is a mix of gypsy punk and folk vaudeville, like a mix of Tankus The Henge and Flogging Molly, and a sensational end to one scintillating tapestry of sound and invention.

It is hard to imagine The Cardboard Crowns remaining a relatively unknown proposition once Global Citizen works its alchemy around the world. The album offering music just as it should be; imaginative, passionate, and pure fun.

Global Citizen is available now @ http://thecardboardcrowns.bandcamp.com/

http://www.thecardboardcrowns.com/

RingMaster 04/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Toumaï – Sapiens Demens

cover

Creating what they term psyche-fonk metal, French band Toumaï is one of those encounters which send tingles down the spine as it teases and ignites the imagination. Unleashing a majestic psyche twisting bedlam in the tasty shape of debut album Sapiens Demens, the quintet from the south of France bewitch and tantalise with each psychotic note and every maniacal rhythm. Their album is a tempest of ideas and cracked invention presenting an adventure like no other and a pleasure which only turns lustful over time.

What little we can tell you about Toumaï is that the band formed in 2006 and consists of vocalist Antoine Flaven Hude, guitarist Julien Mahoudeau, bassist Christophe Applanat, drummer Clement Mahoudeau, and Célia  on keys and trumpet. That is about it, apart from the fact that their first album is irresistible and uncontrollably insatiable with imagination, mischief, and inventive hunger. The five-piece bring influences from the likes of Psykup, Infectious Groove, Primus, Gojira, Mr. Bungle, Primus Band, Rage Against The Machine, Tool, and Red Hot Chili Peppers into their fusion of funk, rock, and metal, but it is only one shade of the whole picture; the release a musical canvas which only the ears can truly represent not our simple words, though we will give it a go of course.

The opening track is Little Psycho, a title so apt for song and album. From an initial percussive tease the drums lay down a riveting frame around which the bass roams and leans on the senses with a menacing glee whilst the keys dance with energy and mischievousness over the ears as vocals explore their narrative with quality and equally enterprising rascality. The swagger of the song is a delicious bait alone within its ever changing gait and presence of the song whilst bursts of aggression make the perfect suitor to the elegant beauty which coats the keys and their melodic caresses. There is a similarity to fellow Frenchmen Mucho Tapioca at times as the song climbs and soars through its persistently shifting glory but also of System Of A Down in its latter moments and Faith No More across its stirring flanks.

The impressive start is immediately left in the wake of next up Madness in Mind, the best track on the album with ease. Vocal croons wrap the ears right away as the guitar and keys stroke attention to its fullest height, before the song settles into a ska kissed, reggae bred stroll within metallic walls which get their turn to intimidatingly press upon and please the senses. With its funk hips swaying leading to the raucous chorus, the track is like King Prawn meets Korn though when it slips into a beauteous wash of ever engaging keys and vocal harmonies punctuated by another striking bass line and rhythmic probing, the band takes the listener down a more alternative rock avenue. This is only halfway in though and the track only accelerates to greater potency and persuasion once it lifts its knees to romp into an infection soaked waltz of enterprise fusing the loco folk/pop of Mano Negra with the contagious unhinged temptation of Kontrust before thrusting it all through a Skindred bred causticity. It is crazy and completely enthralling, not forgetting simply sensational.

The following Petit Punk en Ut#m is no slouch in tripping the switch to the strongest satisfaction either, its more noise seeded rock and disorientating psyche funk tempting another feast of unpredictability and hunger breeding invention. Scavenging the senses for the weakest spot, the song flares over the opportunity with punk belligerence and metal sculpted antagonism as it works towards its climax, not before having seduced with dazzles of psychotic indie melody seeded teasing. Another highlight, the song is backed in strength by the less crazed Anachron, a track which admittedly does not quite reach those earlier set heights but still magnetises attention and appetite with its funk stepping vibrancy and contagious melodic smile.

Both Bankster and Wiki Puppies keep the listener on their toes physically and mentally, the first and extensive expanse of craft and imagination which lays down a pulsating quickstep of reggae spawned pop. This is then wrung through voracious cantankerous crescendos at certain moments which burst from the song’s wonderfully exhausting enticement which builds towards a dramatically powerful and aurally traumatic brilliant closing declaration. Its successor pounces and leaps over the imagination as if its notes and ideas are crossing hot coals. It is a tempestuous mix of jazz, rock, psyche, and avant-garde devilry placed in a maelstrom which seamlessly forges an addiction spawning triumph from it all, rhythmically, melodically, and vocally.

The two parts of the title track almost come as a shock, the first especially subdued and restrained in its cinematic atmosphere and noir clad shadows and spoken vocals in comparison to the rest of the album, though the second part is soon climbing up the walls with scorching grooves and twisting melodic flames igniting the air around the again excellent vocal presentation. A relatively, and we say that with tongue slightly in cheek, straight forward heavy rock infused slice of metal with those continually entrancing keys of Celia enticing the emotions, the track is a deeply pleasing venture setting up the appetite for the closing mastery of  Prey of Birds.

The final song enjoyably plagues the ears with a kaleidoscope of sounds and challenging invention shuffled to an inch of its cohesive life, but as on all tracks it casts a proposition which is fully coherent and wholly. Sapiens Demens is a thrilling testament to endeavour and outside the box thinking but crafted with a knowledge nestling within Toumaï of how far to go and where to link everything for an innovative and breath-taking whirlpool of sound. Another to add to the must have list.

http://www.toumai-music.net/

10/10

RingMaster 07/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Tankus the Henge – Self Titled

tankus the henge 3

Such the potent riotous seduction and thrilling devilry of Cakewalk, the first single from the self-titled debut album of UK aural mischief conjurors Tankus the Henge, you wondered if it was the taster for something spectacular or the lead into an album which would be an anti-climax compared to the excitement and hunger the introductory track spawned. With a loud and dramatic confirmation it is undoubtedly the former of the two outcomes, the eleven track feast of what the band calls Carnival rock ‘n’ roll is a pulsating, riveting triumph of musical and lyrical eccentricity, exhausting imaginative adventures, and shadow wrapped dark revelry.

With the line-up breeding the scintillating album coming together in 2011, the sextet of ‘six sharped dressed and bedraggled gentlemen hailing from some of the more eccentric parts of London Town’ has ignited a major appetite for their insatiably inventive and explosive sounds across the UK, Europe and into the likes of America, Albania and the Isle of Wight through their live shows, this year alone seemingly a successful ride of festival after festival performances. The sound of Tankus the Henge is seeded in the eclectic beds of reggae, blues, and funk to ragtime and gypsy punk, the result something unique to the band though they have been described as ‘Like The Clash from New Orleans’. Imagine a creative and passionate meeting of Cardiacs and Gogol Bordello with The Kinks and Cockney Rebel and the inventive rascality you suspect is a strong but still hinting flavour of the fun the band provides.

The album immediately seizes the hand and leads the listener into the embrace of a jazz flamed, dirty floored New Orleans speakeasy Tankus_coverwith Who’s Gonna Catch Ya, the melodic call of the trumpet from Jake Stoddart and sax of Louis Schultz-Wiremu heating up the atmosphere and setting the scene. Guitars and rhythms are soon strolling into the mix with a glint in their eyes as the excellent vocals of Jaz Delorean accompanied by his evocative keys unveil the scenic narrative. It is an addiction causing entrance soon enslaving the heart when the virulently contagious chorus reaps the submission of an already awoken hunger. With great vocal harmonies and back-up from the band to the gravel laced tones of Delorean, and plenty of delicious discord teasing across every aspect of the ridiculously infectious stomp, the track is an irresistible lure and persuasion into the album and instantly confirmation that yes the single was just the teaser to equally magnificent things.

The following Smiling Makes The Day Go Quicker opens with emotive keys alongside the expressive restrained vocals of Delorean. It is a gentle intriguing beckon which deepens with the beats of Will Stanley, which you sense they are waiting to trigger something, the fuse to an impending release of energy. The brewing evocative caress of the brass warm the ear further whilst all the time the emerging passionate fire of the song works away on the senses and imagination. It never explodes into the pyre hinted at but still creates a thumping and resonating joy of elevated passion and inciting pleasure, every part of the band and song merging into an incendiary and triumphant declaration before the greedy appetite. Its successor Hat has a more energetic intent but again is soaked in absorbing melodies from keys and brass, whilst the bass of Dan Mason roams the track with a mischievous presence behind the dual vocals of a dusty flavoured delivery from Delorean and the equally cleaner tones of either Mason or guitarist Tim Fulker, both contributing across the album but unclear who is joint leading this magnetic song.

Orange Is The New Black steps up next to seize the passions, its sultry stroll with tempting sixties Hammond keys through  Mediterranean spiced air a dramatic flight across provocative and elegant impossibly alluring skies. It makes the perfect appetiser for Cakewalk, the song still stealing top honours within heart and imagination. Swaggering through the ear with a mix of Ian Dury and early Squeeze to give a sense of its sensational enterprise whilst a lick of Mano Negra and Les Négresses Vertes punk folkiness also plays within its stride, the track is the scene of a colour drenched circus, Delorean the ringmaster to the contagion.

There is an exciting mix of sounds and invention across the album, emphasised by the likes of Lying and Recurring Dream, the first a gentle glaze of smouldering melodic kisses within a slightly darker reflective embrace, again a folk venture bringing evocation to the trip, this time with shadowed hues. The keys and sax wrap a mesmeric arm around the senses whilst the vocals offer their own tenderness within the at times wonderfully dark emotive skies, an ambience and texture to the presence reminding of Dizraeli and the Small Gods in their equally poetically emotive moments. The second of the pair stomps into a gypsy punk like encounter, the drums a rolling entrapment enslaving before the eagerly roaming guitar and bass dance their own steps within the smiling waltz of the keys. There is a XTC breath to the song at times to elevate its already lofty heights, but it is the Eastern European circus enchantment and pace that ultimately steals the heart.

      Life Is A Grimm Tale (Sometimes) is another major pinnacle, its Creature Feature like darkness and Germanic wanton gait impossible to refuse and leave alone even after the song’s conclusion. Sinister and lusciously tempting with Delorean bringing a sideshow like barker descript for thoughts, the track is a unrelenting stalker of rapture, its epidemically catchy and forcefully rioting swagger the perfect bait. Its waggish romp is followed by the slow burning Riddles, a hazy blaze on evocative persuasion and noir washed mystery, and the brilliant tale of The Deviationist Society. The song from a pondering melancholic string and key suasion expands through Morricone like sculpted western hated climes and soulful brass and harmonica sighs. It brings strengths to its melodic and infection drenched sinews as its reaches further into its imaginative and fiery story, the guitars and keys finding that lure the best sixties TV show themes had and the strings providing greater passionate tonic to the sizzling heat of the song.

The album is concluded by The Last Days Are Coming, the track a scintillating final blues and emotion encrusted New Orleans funereal march through to the full ardour the album has evoked within. It is a mighty end to a sublimely gorgeous release. Tankus the Henge is a devil bred puppeteer for limbs, heart, and soul. A band which has fused light and dark, seduction and sinisterly honed persuasion into one of the most thrilling and sensationally addictive releases this year. Roll up and enter the welcoming to the dark carnival of Tankus the Henge, you will not regret one second of its fantastic touch.

http://tankusthehenge.com

10/10

RingMaster 22/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Tankus the Henge – Cakewalk

Tankus the Henge pic

If you are looking for a joyful and infectious party to romp through the summer with then UK band Tankus the Henge have the perfect soundtrack to match the revelry in their new single Cakewalk. The song is a teasing escapade through numerous flavours and mischievous sounds which wherever you hide your emotions it will find and ignite them into a stomp of contagious devilment.

Described as six sharped dressed and bedraggled gentlemen hailing from some of the more eccentric parts of London Town, Tankus the Henge since finalising their current line-up in 2011 has been on a whirlwind of live performances and the creation of their self –titled debut album from which Cakewalk steps forth. Brewing up a storm across the UK, Europe and into the likes of America, Albania, and the Isle of Wight, the London based sextet has created a carnival of sound and energy which leaves all drenched in invigorated rascality. Their music blends everything from reggae, blues, and funk to ragtime and gypsy punk, with the single the perfect introduction for all newcomers to a band described as ‘Like The Clash from New Orleans.’

From the opening crack of drums of Will Stanley and the fiery fanfare of brass from trumpeter Jake Stoddart and saxophonist Louis Schultz-Wiremu, the song leaps and romps around the ear with the energy of a playground and enterprise of a colour drenched circus. It is an irresistible temptation taken to another beach of persuasion when vocalist Jaz Delorean dances vocally over his simple contagious keys whilst the bass of Dan Mason prods it all with its throaty taunts and the guitar of Tim Fulker skates around and into the addictive charm to flesh out the brewing heat and lyrical exploits. The best way to describe the song is Mano Negra, Ian Dury and the Blockheads, and Gogol Bordello meets Chas & Dave hand in hand with early Squeeze and the Flaming Lips, or to put it a better way something which is deliciously riotous and incendiary to the passions.

Cakewalk is one of those simple and honest treats which no matter your prime tastes, lights up the day and heart with a virulence which is unstoppable. Go get infected by Tankus the Henge is our suggestion.

http://www.tankusthehenge.com/

9/10

RingMaster 22/07/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Molotov Jukebox – Bang EP

To incite the gypsy in us all and to make each day a summer blaze of enjoyment, the Bang EP from London sextet Molotov Jukebox is a stunning riot of infectious melodies, feisty hooks, and insatiable energy. Combining the heated elements of swing, jazz, ska, punk, Latin fires, and sultry rock n roll, or as they call it gypstep, the band ignites hungry fires within and a lustful urgency to share their irresistible melodic dance. Like a mischievous blend of Gogol Bordello, Sonic Boom 6, Mano Negra, and Bang Data, Molotov Jukebox set new unique adventures for the senses and weave delicious wicked teases to tempt and seduce the heart.

Bang is a revelation, a wholly refreshing and exciting release which continues the impressive creativity given and acclaim received by the band. From their singles Laid To Rest and Get Ready to their previous EP Double Dare, the six piece has lit up the passions with their sensational sounds. It is impossible not to be excited and exuberant when describing the band, and especially so with Bang, the four songs which make up the EP grabbing hold of limbs and emotions from first note to last whisking them in to a breathless and fulfilling contagiously melodic tempest.

First song Tick Tock instantly throws the senses into an enthralled and agitated frenzy, its bubbling tones eager and successful in inciting an immediate and energised reaction. The song steps back slightly in its energy as the alluring tones of vocalist Natalia Tena spread their warm and soothing flavour across the expanse of the song to provoke and a deep grin inside and out. Also known from her acting including important roles in the Harry Potter movies and TV show Game Of Thrones, Tena is simply mesmeric, a stunning singer who spices and elevates the songs as impressively as the startling imagination which conjures the sounds. With her accordion skills accompanying her vocals and the keen swagger of the song wonderfully, the track is a tender stomp which has one hypnotised and in mutual union physically and emotionally. At times the flaming trumpet cries of Angus Moncrieff shoot across the skies impressively whilst the sonic whispers which swoon within the song just invite further evocative thoughts and feelings to accompany the partying.

Trumpet flames spark the air again as Tena caresses the ear with sultry vocal fumes to bring Don’t Panic into view, the song simply bewitching from its slow entrancing initial introduction. It soon erupts into a full body of magnetic grandeur to burn the heart, with expectations of an orchestral epic, weight wise, rife. This band though do not deliver the expected and the song is within seconds a ravenous swagger of pulsating prods and wicked melodic taunts, the song winking its eye throughout and chuckling with sonic devilment. The song lifts and enlivens the senses with its swinging elegance and passion, the bass of Tom Wilson and beats of Max Burnett the instigators of mischief whilst the guitar of Adam Burke fire the rockabilly like romp with endeavour and skill. The song is stunning, a melodic furnace to devour and be consumed by brought through inventive imagination and inspired invention.

Give It A Go takes one deep into the Caribbean sunshine with Latin textures to thrill further. Impossibly catchy with the vocal additives of violinist Sam Apley running perfectly by the side of the ever captivating voice of Tena, the song has bits on board its listeners swaying which have no rights to be and the heart smouldering with adoration. There is a slight mariachi feel to the song to add to the diverse flavouring which leaves the soul breathlessly submerged in its contagious presence. By now subservience to the immense ideas, musicianship, and most of all glorious sounds is a sealed deal but the band still ensures the pleasure is a full event with the closing song.

Trying weaves in with a subtle gypsy punk coaxing which fires up into a fully vibrant festival of thoughtful melodics and enticing grooves. Yet another fiesta to swing hips and voice to, the song is a charismatic sunset with full glowing skies and emotive peaceful rays of light from its rosy setting sun. It is the perfect finish to a perfect release, the band and EP defying criticism or anything less than ardour.

Molotov Jukebox is a band all should have and need in their lives, the purveyors of warmth and instinctive pleasures to bring the deep rooted fun in all to the surface, and the Bang EP the vehicle leading to bliss.

http://www.molotov-jukebox.co.uk/

RingMaster 03/10/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.