Caesaria – Wavin’ Goodbye

Setting up the September scheduled release of a new EP, French outfit Caesaria have video/single Wavin’ Goodbye out to tempt: the song a slice of electro pop/rock bringing instant infection to ears and body.

Consisting of Théo Chaumard, Ced Machi, Thomas Fariney, and Louis Arcens, the 2013 formed Caesaria has already earned potent attention and support with their debut EP Sparks of Visions. Offering five tracks giving the dance-floor a busy time, the band has surrounded its success with a live presence which has included opening for Naive New Beaters and appearances at festivals such as Printemps de Bourges music festival and Les Eurockéennes de Belfort.

As mentioned, Wavin’ Goodbye is the prelude to their next EP, a song embracing familiar essences in its own fresh and energetic bounce. Keys shimmer in and around ears initially, closely following vocals cloaked in harmonies as eager to entice as the rhythmic coaxing now at play. Once into its infectious stride, the song glistens with melodic enterprise whilst its jangle feels like it is teasing the darker grooves of the bass. In some ways the track is like a fusion of Heaven 17 and Orange Juice, in other ways MGMT meets Empire Of The Sun comes to mind; all flavours which add to the overall shine of the song and its introspective theme of a dying person looking back on their life.

Increasingly accomplished and contagious, the track similarly growing in its creative textures, Wavin’ Goodbye provides plenty for body and pleasure to find a keen appetite for whilst setting up that forthcoming EP very nicely.

Wavin’ Goodbye is out now.

http://www.caesaria.fr/     https://www.facebook.com/wearecaesaria/    https://twitter.com/WEARECAESARIA

Pete RingMaster 04/04/2017

Copyright RingMaster: MyFreeCopyrigh

Venice Trip – Look Forward EP

Photo Cred Kamila K Stanley

Photo Cred Kamila K Stanley

As the summer heats up so does the wealth of smouldering and sultry sounds on offer, and possibly none as bewitching as those unveiled by UK band Venice Trip within the Look Forward EP. Bringing three songs which are fuelled by the breath of late sixties/early seventies psychedelic rock and cultured in a modern imagination, the release is a striking and captivating introduction to the London quartet which more than lives up to the buzz already arising from the band’s live presence.

Fresh from making an acclaimed appearance at The Great Escape in Brighton, the foursome of vocalist/guitarist Andrés Alcover, keyboardist/vocalist Shenny, bassist Nick GK, and drummer Joe Wood immediately has ears aflame with the EP’s title track. The opening song emerges on a feisty shuffle of rhythms and wiry riffs but it is the tangy melody which has the imagination and appetite especially drooling, its sultry shimmer and inescapable lure the lead into a rich seduction of vocals and melodic enterprise. Beats continue to cast an anthemic lure whilst a sixties glazing captivatingly coats vocals and melodies, everything uniting in a contagion which sublimely engulfs body and passions. There is no escaping a sense of The Doors to the track, but equally there are essences bred in artists such as Small Faces, Syd Barrett and more currently MGMT, as well as surprisingly a potent feel of eighties band Associates at times. The song is sensational and a dramatically thrilling start to the release.

Ep cover_RingMaster Review The following Oh Katy is a gentler caress of energy though no less infectious with its evocative grooving and glowing harmonies. The psych pop resonance of the song sizzles on the ears, its spatial tempting grounded by the just as riveting and effective melancholic bass lures amidst thick swipes upon drums. Whereas the first song has a tenacious and broad sense of life and energy, its successor offers a more intimately emotional and personal presence with a just as transfixing and intoxicating tapestry of sound. It also has a slight whisper of Arctic Monkeys to it, though again the main scent of the track is soaked in psychedelic rock from across the decades.

Look Forward closes with Father Of The Universe, another song revealing fresh depths and variety to the band’s sound. From its opening seconds it flirts with a delicious garage punk like lure, the kind of dark and psyche twisted bait which graced the likes of The Cramps and The Orson Family. Swiftly infusing more Jim Morrison and Co like acidity into its alluring grooves and an increasing seduction of keys, the song blossoms into a dramatic, bordering on psychotic waltz of creative and vocal adventure where shadows and beauty collide and collude within increasingly tempestuous character.

It is a fiery blaze bringing a superb encounter to a mighty end. With the only moan about the release being it is far too short for greedy enjoyment it feels quite safe to say that Venice Trip is going to be a major part of many musical lives and quite likely the British rock scene ahead.

The Look Forward EP is available now via RYP Recordings @ https://itunes.apple.com/gb/album/look-forward-single/id1003281940

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

RingMaster 03/07/2015

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

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

 

Goldsmack – Wild Season

Goldsmack-Wild-Season-EP

To be honest it is proving hard to describe the Goldsmack sound; certainly it is a blaze of sultry pop equipped with a potent glaze of psychedelia. But equally it delves into dark rock ‘n’ roll and blues bred exploits whilst casting a theatre of intimate drama amidst an evolving landscape of aural roars and smouldering emotions. Maybe the closest hint is to say that the Italian trio create something akin to Nick Cave and the Velvet Underground uniting in the seduction of My Baby and MGMT, but then again maybe not. There is also a familiarity to their music which makes accessibility very easy but as revealed by the diverse collection of adventures within their new debut EP Wild Season, it is once caught by that invitation that the real adventure and thrill actually begins.

Goldsmack consists of vocalist Georgia Minelli, guitarist Davide Tebaldi, and bassist/keyboardist Luca Bagatti, three childhood friends brought up “in the single most beautiful and boring place on earth”. It was a small village in the gentle hills of northern Italy where the trio nurtured their musical prowess and imagination, amongst many things to while away the hours. Their sound plays like the home of dreams and isolation bred from a similar source of inspiration in their remote upbringing whilst the band name, again to quote from the press release, “…refers not as much to real gold, but rather to an alchemical sort of gold, a chimera, a potent drug…a prismatic, paradoxical thought that becomes circular and obsessive.

Good Morning Star tantalises first, a monotone sonic lure the thread to a web of electronic beats and guitar cast spirals of melodic enticing. A thick bass tempting swiftly adds to the potent bait, the mix carrying a post punk air reinforced by the also singularly expressive tones of Minelli, an essence of the Au Pairs coming to mind at this early point. At the heart of the persuasion a brewing infectiousness grows, wrapping the increasing celestial pop and vivacious radiance of the encounter. Contrasting it though are prowling shadows courtesy of the bass aligned to a sonic predation, extremes colluding to offer their part in the exploration within the EP of “the impossible triangle between Love, Money and Spiritual Enlightenment”.

The captivating start is swiftly surpassed by A Wild Wild Season, a fascinating dark rock stroll seeing Bagatti bring his full vocal participation to the narrative alongside Minelli. A spicy melody winds itself around another darkly lit bass coaxing, beats resonating in the background as Bagatti’s equally shadowed Cave-esque tones cast the beginning of the evocative narrative. The song continues to saunter, merging lighter scenery into the sinisterly aired landscape, whilst both Bagatti and Minelli duet and entwine their compelling deliveries to enthralling success. The seduction gains even greater momentum as a croon of orchestral like coaxing reveals their provocative textures in another riveting and mouth-watering triumph to the release.

A feisty ambience of blues and psyche rock smothers ears next as Rites Of Spring takes over, that My Baby reference a perfect clue to the sultry and fiery shuffle of the encounter. Minelli is as much ablaze as the guitars, their individual tempestuous energies and impassioned creativity uniting in a fire of persuasion though one kept in check a touch by the great wandering tenacity of the sobering bass. Once more ears are glued and imagination ignited; their appetites hungry for more and straight away fed by the similarly caustic delta blues pop/funk of Kids with Guns. Feet and emotions are quickly recruited to the swagger of the song, ears seduced by the impressive and sizzling enterprise of Tebaldi’s guitar resulting in one more increasingly enjoyable and incendiary escapade.

The closing Of Human Bondage is an enthralling oddity, a turbulent experience of dark drama and emotional torment coloured by insightful references and samples. These alone reinforce the imposing theatre and power of the track but are matched just as potently by the menacing shadow coursing its sound. Within it all a dark beauty is at work too, a calm and hope which only accentuates the track’s absorbing provocative heart.

It is a gripping end to a thrilling introduction to Goldsmack. Wild Season is an infestation of the psyche which continues to work away even after its sound has left the body; a golden slice of psychedelic darkness and shadowed pop whose recommendation comes as a roar.

Wild Season is available now @ https://itunes.apple.com/us/album/wild-season-ep/id988821494

http://goldsmackmusic.com/   https://www.facebook.com/pages/Goldsmack/804817556212518

RingMaster 20/05/2015

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

 

Interview with Henry Kaye of the The Static Jacks

New Jersey indie rock band The Static Jacks has just given the UK a double treat in the release of their new double A-sided single ‘Into The Sun’/‘Mercy Hallelujah’ and a virtual whistle stop visit to these shores to put on a handful of warmly received and acclaimed gigs. With the release of their debut album If You’re Young on Fearless Records in the UK also impending The RingMaster Review had the pleasure whilst the band were here to ask guitarist Henry Kaye about the visit, single and about The Static Jacks themselves.

Hi thanks for talking with us at The Ringmaster Review and welcome to the UK.

This is your first time here as a band and individually?

Henry:  Yeah this is my first time here! As well as Michael and Andrew’s first time.  Nick and Ian have been to the UK before though on vacations.

It may be a silly question but what is it about the UK that excites you and makes you guys think, as we do, that your sounds will hit the right key with audiences and ears here? 

Henry:  I think it’s exciting that the other night we played Koko in London and in between bands they would play The Vaccines and MGMT over the speakers.  In America you go to a club and they play Katy Perry and Lady Gaga.  It’s nice to hear indie rock music at clubs.  It shows there’s a real interest for it.

Within a day of arriving you had your first show, how did that go?

Henry:  Ahh yeah, we played at 100 Club.  It was a blurry show.  We all felt dead after stepping off of the plane but knew we had to still bring it that night.  Let’s just say after all of the plane ride’s turbulence Ian still didn’t get sick all over the crowd.

Did you find the crowd had a stronger knowledge of you and your songs than you expected?

Henry:  Yeah I think we find that recently everywhere we go there are surprisingly people there that know who we are.  This is all so new to us.  It’s mind boggling to see people singing along to “Into The Sun’s” final chorus.

What are you expecting or hoping to achieve from your brief visit to the UK, for yourselves and the band?

Henry:  It’s been a goal of ours for a very long time to come over here and play shows.  We were just hoping a few people would come out and give us a reason to come back again and again and again.  The reaction so far has definitely exceeded our expectations.  We’ll be back.

Can we go back to the beginnings of The Static Jacks, how did you all meet and what was the aim starting out as a band?

Henry:  I met Ian and Nick when we were 14-years-old and freshmen in high school.  We started writing songs together in an early version of what would become The Static Jacks and playing at school events and in clubs in New York we weren’t old enough to get in to.  The aim was just to write rock songs that friends could relate to and sing along to.  One of the first shows we ever played was in Nick’s basement, where we have practiced since day one.  It was just a ton of our friends surrounding us in a corner singing and dancing to every song.  I think that set a good tone for what we were trying to achieve.  After graduating high school we decided we wanted to push forward with the band idea where we met Michael who grew up in a town over from us. And so the adventure continues.

The songs carry a great and effective mix of influences and genre flavours, how would you describe your music to someone never having heard a track?

Henry:  I would call it rock music with hooky melodies and a punk spirit!

What are the influences that have helped form your music and sound?

Henry:  I think Arcade Fire have really helped remind everyone what a band should sound and look like.  Also, their subject matter is something we all really connect to.  All of these ideas about growing up in the suburbs, riding bikes with friends, parties.  It’s all there.

Your debut UK double A-sided single ‘Into The Sun’/‘Mercy Hallelujah’ is just about to be released here, that must add extra excitement to the shows?

Henry: Definitely! We’re big fans of the 7” single.  It’s amazing to come over here and have an exclusive to give out.

Do the two great songs making up the single give a good representation of what people can expect on your impending album If You’re Young released here soon?

Henry: Yeah I think it’s a good lead off for what to expect from the whole thing.  Big choruses.  Sing a longs.  That kind of stuff.

Mercy Hallelujah’ carries a melody that we cheekily said you ‘borrowed’ from The Cure, would it be too rude to ask if that really was where the inspiration for the hypnotic melody came from.

Henry:  Haha, it wasn’t intentional but if there’s a place to steal from I think The Cure is a good spot.

You are very much an independent band in thought and ethos, continuing the punk DIY intent. Would you relinquish that control and instinct if a big time label came in with an enticing offer which included them having control of most things?

Henry:  I don’t think we’d ever feel comfortable in a situation where we weren’t in control of most things.  I think we’d no longer be this band if we didn’t have a say in what songs made an album, what the package looked like and where our music winds up.  I want to be as big of a band as possible, but it has to be done the right way.

Lyrically your songs are emotive and intelligent ‘story telling’, what inspires the majority of the themes?

Henry:  This album is mostly about being 20 or so and growing up and moving on from your hometown and relationships that you’ve built there since you were a child.  Everyone you know, including yourself is moving in opposite directions and it’s a tricky situation to “figure out” the rest of your life and where you want to go.

How does the songwriting process work within the band?

Henry:  There are ideas flowing in from all directions.  We all can bring song ideas in individually, in which case they are then fully worked out as a group.  Or I’ll come in with a riff and structure idea.  Every combination has happened.  We definitely have a lot of material because everyone writes.  It’s so much easier then depending on one guy.

Is there a final voice that makes a decision when things cannot be agreed amongst you or are moments like that left to concentrate on other aspects of the band and music?

Henry:  Usually the band can just vote on it and we can figure it out internally.  But when things can get more complex we talk to our management and listen to their ideas.  It’s definitely not a final say, but it at least gives us another opinion to sway the arguement.

What is next for The Static Jacks on both sides of The Pond?

Henry:  More and more touring next year!  Constant touring.  Our debut album “If You’re Young” should be finally coming out over here.  And we’ll definitely be coming back to play more shows soon.

Do you set yourselves targets or simply concentrate on the now?

Henry:  We have goals for sure, but I think it’s important to just keep blinders on and plow through the moment.  I don’t like to get caught up in long term plans or strategies.  Save that for the labels.

A big thanks for sparing time to chat with us, and good luck for the remaining dates with hope your return is swift. Would you like to finish with a message for the UK and your existing fans everywhere?

Henry:  Thanks for coming out to see us and showing us that people do know our music!  We’ll definitely be seeing you again next year.  Come say hi at the merch table!

And finally what special treat are you sneaking back to the US in your luggage?

Henry:  I think Ian will be sneaking back a few bags of Percy Pig candy.

 

Read Single review@ https://ringmasterreviewintroduces.wordpress.com/2011/11/25/the-static-jacks-into-the-sunmercy-hallelujah/

Ringmaster 30/11/2011
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